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Editorial 4th – 7th (see below). Among the social and the Milwaukee Art Museum. The events were a reception in the museum committee wants to thank the many — Report by Emily Teeter galleries, a visit to the Field Museum, OI volunteers who assisted in the he annual meeting of the CIPEG a reception at the residence of the conference events. n met at the Oriental Institute, Egyptian Consul-General, and a post- T > cipeg.icom.museum University of Chicago, from 5–8 conference excursion to Milwaukee > Facebook September. Forty-two participants to visit the Milwaukee Public Museum representing thirteen different countries gathered in Breasted Hall Conference participants from Egypt, , Germany, Denmark, Switzerland, for papers addressing the conference Czech Republic, Netherlands, Japan, Russia, Australia, USA, England, Wales and theme “The Role of Curators in Museum Scotland. (Photo: K. Bryce Lowry) Research and Exhibits: Tradition, Change, and Looking to the Future.” CIPEG, which meets in a different city each year, had not met in the United States for seven years. The opening day started off with welcome remarks from Oriental Institute Director Chris Woods, the Consul-General of Egypt, Mohamed Abu el-Dahab, and Gabriele Pieke, the Chair of CIPEG. The meeting began with reports from the institutions followed by a panel discussion on “The Role of Curators in Museums and Research.” Over the next days, twenty- six papers were delivered. The new CIPEG Journal was presented and it was agreed to hold the next CIPEG Annual Meeting 2018 in the Egypt Centre, Swansea University, September

CIPEG Annual Meeting Swansea, 4-7 September 2018

he CIPEG Annual Meeting 2018 to know what your main barriers are T will be hosted by the Egypt Centre, and, ideally, how you have overcome Swansea University, September 4th– them. As always the meeting is also 7th. The topic is ‘Beating Barriers! Over- open for other museum related topics. coming Obstacles to Achievement’. The First Call for papers will be sent out Barriers come in all shapes and sizes, and in the beginning of 2018. n not just the physical ones. Museums may have barriers to research, barriers > Centre, Swansea University to resources, barriers to influencing decision makers, barriers to networking, barriers to a diverse workforce, barriers to audience development, etc. We want

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CIPEG Journal launched at the Annual Meeting in Chicago — Caroline M. Rocheleau

t the General Assembly held Meeting in Milan or the subsequent I would like to thank Aidan Dodson, A during its Annual Meeting in workshop in Bologna, or are other Denise Doxey and Emily Teeter for their Chicago, CIPEG launched the CIPEG contributions of interest to scholars time and effort with this first issue of the Journal: Ancient Egyptian & Sudanese interested in Egyptian and Sudanese Journal as well as the Board of CIPEG for Collections and Museums. The CIPEG collections and museums. their feedback on the design aspect of the Journal serves as a platform for the entire project. Thanks also go to Coralie dissemination of information regarding We are currently working on the Gradel for additional French language the study, preservation, and presentation remaining contributions submitted to editing, and to Anna Voellner, Katrin of such collections, monuments and sites the CIPEG Journal No. 1 (we will continue Bemman and Bettina Müller, who made worldwide. Hosted by the Universitäts- to publish on a rolling schedule once things happen in Heidelberg. Bibliothek Heidelberg, this open access the initial five articles are uploaded) and journal promotes communication and hope this will be completed by the end collaboration among museums, museum of the year. To read the articles currently professionals and other scholars involved available in CIPEG Journal No. 1 (2017), in ancient Egyptian and Sudanese please visit this page. Bookmark the link collections around the world. so you can return to read forthcoming uploads ! The Editorial Committee has been hard at work since late autumn 2016, The Editorial Committee would like reviewing contributions, designing to invite participants at the Chicago the journal, and collaborating with Annual Meeting and other scholars who Heidelberg to create the website to have recently conducted collections host it. Our goal was to have a minimum research or general museum work to of five articles published online in time submit for consideration contributions for the 2017 Annual Meeting. Thanks to CIPEG Journal No. 2. Contributor to everyone’s dedication and efforts, guidelines are available on the CIPEG the first issue of the CIPEG Journal was Journal website (link above) and all launched with the required minimum articles and enquiries should be sent to of articles! The papers featured in [email protected]. n CIPEG Journal No. 1 (2017) were either presented in 2016 at the CIPEG Annual

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Adventures in Egypt: Mrs Goodison & Friends and Manchester Museums show Anne’s relationship with Amelia Edwards and Exhibition at The Atkinson, Southport, until 10 March 2018 the Egypt Exploration Fund. — Tom Hardwick British artist G. F. Watts also visited he Egyptian collection at Southport, Anne was well connected. She knew the Egypt in 1887. While Anne “could never a British seaside resort near Liverpool, art critic John Ruskin, and corresponded T face Mr Ruskin again if I were to go consists of around 1,000 objects from the with the American Egyptologist Charles in a Cook boat”, Watts proudly took collection of Anne Goodison (1845-1906), Edwin Wilbour. Brooklyn Museum’s one of these classic river steamers. His wife of a long-suffering civil engineer. The Wilbour Library generously lent her enigmatic Sphinx guards a display of Goodisons visited Egypt during 1886-7 letters, one mentioning “a ring I acquired hotel memorabilia. [3] and 1890-1, and the 130th anniversary of at Thebes naming King Nubti” [2]. Ring and their first trip to Egypt seemed a good letter are together again after 126 years, Elsewhere, Hatshepsut’s minister excuse to display Anne’s objects in the one of many reunions in the exhibition. Senenmut [1] sits near Lord Cromer, context of the travellers and collectors Queen Victoria’s proconsul in Egypt, and who helped create British Egyptology ! [1] One unalluring fragment has a Lord Kitchener, Sirdar of the Egyptian fascinating label: “Brought by Petrie from army – all powerful servants of powerful Object annotations show how Anne Faiyoum part of great figure mentioned queens. A nationalist cartoon [4] shows acquired them: purchases from dealers, by Herodotus.” It comes from the colossal that the Egypt Mrs Goodison loved gifts from excavators, and in person statues of Amenemhat III at Biahmu, visiting may not have appreciated her at sites. Adventures in Egypt combines excavated in 1888-9. Petrie gave most quite as much as she hoped… n Anne’s objects with loans from UK and of the fragments to the Ashmolean, US collections to illustrate the ambiance but doled out lesser pieces to friends > Adventures in Egypt that helped form her collection. and supporters. Loans from the Petrie

1. General gallery view; in foreground, quartzite block statue of Senenmut ( British Museum loan); in background, portraits of Lords Cromer and Kitchener 4. James Sanua, Expérience Aerostatique (National Portrait Gallery loans). (Le Journal d’Abou Naddara, 1889, n°10).

2. Copper alloy ring with the God Seth on 3. G. F. Watts, The Sphinx (1887). the bezel. New Kingdom Oil on canvas (The Atkinson, Goodison collection). (Watts Gallery – Artists’ Village loan).

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Egypt: The extraordinary discovery of Amenhotep II MUDEC - Milan Museum of Cultures, 13 September 2017 – 7 January 2018 — Christian Orsenigo (Università degli Studi di Milano)

his exhibition is devoted to the life discovered reburied mummies of conceived by the architect Cesare Mari. T and achievements of Amenhotep and important persons, among The exhibition, sponsored by the Milan II, the history of his family and the them the grandmother and very possibly City Council Department of Culture and highlights of society of his time, through the mother of Tutankhamun. by 24 ORE Cultura – Gruppo 24 ORE, the display of some 260 artefacts on which is also the producer, is curated by loan from the Egyptian Museum in Cairo, The exhibition is divided into 4 thematic Patrizia Piacentini (Chair of Egyptology the Rijksmuseum van Oudheden in sections: The days of the Pharaoh; at the State University of Milan) and the Leiden, the Kunsthistorisches Museum Life in high society; From death to life; present writer, with the coordination in Vienna, the National Archaeological and - the core of the exhibition: An of Massimiliana Pozzi Battaglia (SCA- Museum in Florence, and the Castello extraordinary discovery: the tomb of Società Cooperativa Archeologica). n Sforzesco Museum, as well the University Amenhotep II, which displays also some of Milan which has loaned the original of the masterpieces from the king’s > Catalogue of the exhibition: excavation records from discovery of the funerary equipment. In addition, an P. Piacentini, C. Orsenigo eds, Egitto: pharaoh’s tomb. Some other important important contribution has been made La straordinaria scoperta del faraone loans from private collections are also by the multimedia and scenographic Amenofi II, Milano: 24 ORE Cultura, 2017 included, among which a remarkable installations in the exhibition rooms, (ISBN: 978-88-6648-378-6). stela showing Amenhotep II offering to Sculptures of Amenhotep II. Amun-Re, on public display for the first time, and which represents one of the masterpieces of the show.

The exhibition sets out to introduce the public to a double ‘rediscovery’: that of the historical figure of Pharaoh Amenhotep II, often unfairly overshadowed by the fame of his powerful father Thutmose III, and the archaeological ‘rediscovery’ of the excavation of the tomb of Amenhotep II in the . The Egypt- ological archives of the State University 1:1 scale rendering of the tomb of Amenhotep II (KV35). (Università degli Studi di Milano) - among the richest in the world - preserve extremely important documentation from the excavation of the tomb of Amenhotep II (KV 35), discovered by the archaeologist Victor Loret in 1898. These invaluable archival materials - unknown until some fifteen years ago - are presented in a “theatrical” setting which offers visitors the opportunity to re-live the excitement of discovery. The reconstruction starts with photographic documentation provided by the Theban Mapping Project: a 1:1 scale rendering of the pillared hall of the tomb and the two annexed rooms in which Loret

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Pharaoh. The Face of Power. Ny Carlsberg Glyptotek, 12.10.2017 - 25.02.2018 — Tine Bagh

he exhibition ‘Pharaoh. The Face sphinx of gneiss of Sesostris III from the The last part of the exhibition displays T of Power’ at the Ny Carlsberg Metropolitan Museum of Art in New coffins, tomb models, pottery and Glyptotek in Copenhagen highlights York (MMA) is joined by a large quartzite canopic jars. At the very end is a room the dominant role of the Egyptian head of the same king from the National with a reconstruction of the rock-cut pharaoh during the period of the Museum of Denmark, and by a painted tomb of the nomarch Djehutyhotep at Middle Kingdom, c. 2000-1700 BC. cast from the Royal Cast Collection el-Bersha in Middle Egypt, with its famous ‘The face of power’ refers in particular in Copenhagen of the front of one of representation of the transport of a to the powerful lined faces of three- Amenemhat III’s “mane sphinxes” now in colossal statue. This was kindly supplied dimensional representations of Sesostris the Egyptian Museum in Cairo. In contrast by the Leuven Dayr al-Barshā Project. III and Amenemhat III. is the large head of a smiling Sesostris I from the Medelhavsmuseet in Stockholm. A children’s trail exists with a corresponding From its introduction area, it is possible Pharaoh’s queens are represented by a booklet containing activities. Four to proceed to side rooms with a fine quartzite head of a small sphinx from listening points are for children as well as ‘reconstruction’ of a small part of the the MFA, together with the Glyptotek’s adults, with texts read aloud in Ancient Hawara ‘Labyrinth’ of Amenemhat III. smaller rather battered head. Egyptian, Arabic, Danish and English, to Here the visitor meets the crowned give a feeling of Pharaonic speeches. Sobek: in 2010 it was revealed that Pharaoh’s officials appear as various a limestone crown with tall feathers personalities on stelae and as sculptures, The exhibition is supported by: Augustinus and horns in the Glyptotek and a bust ranging from the statue of the Fonden, Dronning Margrethes og Prins of Sobek in the Museum of Fine Arts, distinguished seated Royal Seal-Bearer Henriks Fond, Kirsten og Freddy Johansens Boston (MFA), belong together. Gebu to the simpler small wooden figure Fond, Knud Højgaards Fond, B&O Play. of the bald baker Kemen. Two combined Educational Presentation supported by: The The long exhibition room is divided showcases contain faience figurines, so- Carlsberg Bequest – in honour of Brewer into four interconnected main areas: called magic knives and a magic rod, a so- J.C. Jacobsen. n Pharaoh and his queens; the officials; called paddle doll, and another footless life and death under Pharaoh. The figure of a woman, plus necklaces with Catalogue: pharaohs are introduced by a papyrus amulets, scarabs and a kohl container. Pharaoh. The Face of Power, published manuscript of the ‘Instruction of Merikare’ Except for a roaring faience hippo, all are by Ny Carlsberg Glyptotek 2017. on loan from the ToRS Institute, the loans from the National Museum, the MFA University of Copenhagen. The fabulous and the MMA. The Glyptotek’s iconic ‘Black Head of a Two coffins belonging to Nekhetkawi. The crowned Sobek. King’, Amenemhat III wearing the white Steps have been built at the furthest end Both fragments were found by Flinders crown (left), welcomes the visitors to facilitate the viewing of the interiors. Petrie in 1911, but at that time their join in the company of a counterpart on loan Large photos of close-ups and details was not noticed. from the Metropolitan Museum of Art are intended to bring the visitor closer to A short video in the exhibition tells the in New York. ‘Pharaoh and his people’. story of the discovery in 2010. (Photo: Tine Bagh) (Photo: Ana Cecilia Gonzalez) (Photo: Ana Cecilia Gonzalez)

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From the Nile to the Adriatic Sea The Egyptian Collection at the Civico Museo di Storia ed Arte of Trieste — Susanna Moser, Civico Museo di Storia ed Arte

he Civico Museo di Storia ed The most outstanding items are, of animal ones, underwent CT scans in T Arte in Trieste hosts the city’s course, the wooden coffins and the 2004, thanks to which the faces of archaeological collections, ranging red granite sarcophagus of the king’s Pasenenhor and of the female mummy from local Prehistoric and Roman scribe, fan-bearer to the right of the have been digitally reconstructed. artefacts to Greek marbles and vases; king, treasurer of the lord of the Two from Cypriot and Mayan pottery to Lands Sutynakhte, who lived during Other noteworthy objects include: a Numismatics. The Egyptian collection the 19th Dynasty. The sarcophagus portion of a Book of the Dead papyrus is one of the most popular parts of arrived in Trieste on a British ship of the 18th Dynasty (part of pBoulaq the museum, and includes some 1,500 which was in need repairs; the captain 21), a Saite alabaster canopic set, a objects from the Palaeolithic to the having insufficient money, he left the Ptolemaic cartonnage winged scarab, Islamic Period. sarcophagus as a guarantee but never and a Roman mummy mask. After the came back to redeem it. Thus, after Egyptian rooms were redesigned in Rather than being the result of about a hundred years, it was donated 2000, 90% of the collection is now on archaeological excavations, or of the to the Museum. A 26th dynasty white display for the public to enjoy. n donation of a single private collection, sandstone coffin of the lady Isetrestjy, it has been formed - almost literally daughter of the shipowner Psamtek - piece by piece since 1873 through and of the lady Khedebesiretbinet, is donations or sales of single objects by now unfortunately empty. A wooden citizens of Trieste who had travelled 21st Dynasty coffin that originally to Egypt or had spent time living and belonged to the priest of Khonsu working there. The aim of such people, Padiamun was then usurped by the as stated in a letter accompanying a priest of Amun Panefernefer and now The funerary ensemble of the priest Pa- wooden Wepawet statuette of the 25th- contains a female mummy. There also senenhor in its new display. 26th Dynasty, was to “do something are the mummy, cartonnage case and for the city of Trieste”, by making of wooden coffin of the incense-bearer the Museum a prestigious institution. of the temple of Amun Pasenenhor This almost continuous flow of objects (22nd Dynasty), and the coffin of an lasted until 2001, when the face of a anonymous priestess of the late 21st Late Period wooden coffin was the last Dynasty containing a male mummified Egyptian object to enter the collection. body dating to the 4th century BC. All these mummies, as well as the

View of the main Egyptian room, dedicated to the memory of Dr. Claudia Dolzani.

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The Artefacts of Excavation web-resource — Alice Stevenson, UCL

he ‘Artefacts of Excavation’ began these documents are now accessible ‘Philadelphia’, a case in which there T in 2014 as an attempt to analyse on the website. were several institutions receiving finds. the legacy of British fieldwork in Egypt and at the same time provide tools to The website’s structure allows for We are also welcoming additions allow museums and non-specialists numerous points of entry. Specific sites to the ‘object marks’ section, which to begin to make sense of it. To this can be searched, with links to each holds images of numbers, letters or end an online resource, hosted by the field season conducted there, as well other information written on artefacts University of Oxford’s Griffith Institute as links to museums that are believed linking them to an excavation or has been built. to have received finds. Alternatively, context. If colleagues are able to share it is possible to identify particular examples from their collections this It is now clear that through the institutions in order to see which field- could become a useful comparanda process of partage between the seasons are thought to be represented for collections management and Egyptian Antiquities Service and British there. Where information is available, documentation efforts in the future. excavators, at least 325 institutions, PDF lists of objects are given. If in 27 countries across 5 continents museums are willing to share their own A final initiative that is being acquired finds from British work. documentation we would be happy to undertaken is the translation of keys Given the sheer scale, it has not been make it accessible in this way. parts of the website into Arabic. Heba our aim to trace individual artefacts. Abd el-Gawad is responsible for this Rather, the focus has been on digitizing The team welcomes feedback in order aspect and it is hoped that this will and organizing thousands of archival to improve the information provided. provide some transparency on the documents relating to distribution For instance, confusion can occur paths taken by Egypt’s cultural heritage from the archives of the Petrie Museum when institutional names or affiliations after leaving the country. n of Egyptian Archaeology at UCL and have changed. The organization of the Egypt Exploration Society. Through the archival documents reflects this; > See more here the hard work of Emma Libonati, with documents are linked by the original the assistance of Massimilano Pinerello, name provided. This is essential when Amanda Ford Spora and Alix Roberston, only a city name is given, such as www.bigben.be

Editor: ICOM | CIPEG Editorial board: Tine Bagh, Aidan Dodson, Gabriele Pieke | Contribution for future editions should be send to: Gabriele Pieke or Tine Bagh