-Giza Museum.
Captions:
-539 Nameless granite statue. Salle 39
-540 Small hard stone statue. (old nos 516 3911) (in glass case)
-541 Statue of Nefert nef. [F35-r-t:n:f]
-542 Figure of Apa [i-p-i], with open work. (cat 82)

-Giza Museum.
Captions:
-543 Stela of [H-w-O7-O7-U33] and [k:t-i-s-n]. Salle 2
-544 Hotepheres [R4:(t*p)-Hr:r-s] & Ahat her daur. Ahat [i-H-A-t] & Sitmert [G39&t-U6-r:t] (Cat 23)
-545 Heknu and Ata performing. Stele of Ahat. (Cat 23)
-546 Lower part of stela of Shery [S:r-i-i] (rest of tomb at Florence & Oxford) (Cat.13)

-Giza Museum.
Captions:
-547 Uaset.ankh [M13-t-S34] Salle 2
-548 Boatmen (under No 93 cat.)
-549 Fight of boatmen. (Cat. 94)
-550 Man seized by baboon. (over 93 cat.)

-Giza Museum.
Captions:
-551 Sculptors (cat. 83)
-553 Stele of [i-d-A17-i-i] (old no. 6963).
-554 Stele of Neternefer. [R8-F35-f:r]. (cat 63)
-555 Altar with sculpture of tank in which is the depth of water stated for different seasons. Inscriptions in tank [1-1-.-1-1-1-.-10-10-.-?-Aa19-t-?-M8F(?) / 1-1-1-.-10-10-.-?-Aa19-t-r-? / 1-1-.-10-10-.-?-Aa19-t-n-?]

-Giza Museum.
Captions:
-556 Carved wooden head. (Cat 908) called "Saitic", but pobably XII dyn. (in glass case)
-557 Black stone bowl with figures in boat. (in glass case) Salle 70
-558 Mummy of Ament priestess of Hathor, with original bead necklace. (in glass case) (Cat 115) She has original tattoo lines across the stomach, like a modern Sudanic.
-559 Remains of the stele of king Antef & dogs. (Cat 112)

-Giza Museum.
Captions:
-560 Nefert, queen of Usertesen II. (cat 122)
-561 Nefert. broken statue (cat. 122)
-562 Nefert: broken statue. (cat. 122)
-563 Sphinx of Sebekhotep III, & statues of XII dyn. (cat. 144)

-Giza Museum.
Captions:
-566 Head of "Hyksos" from Bubastis (cat 124)
-565 Head of "Hysos" Bubastis (cat. 124)
-567-8 Granite statue from Medinet Fayum. "Hyksos". cat. 137.

-Giza Museum.
Captions:
-569 Group of heads of "Hyksos" type. Tanis. (cat. 138)
-564 Stele painted & partly engraved. Salle 25
-571 Painted limestone, Amenhotep I (under glass) (cat. 538)
-572. Fragment of stele, Amenhotep I. cat 693. (in glass case)

-Giza Museum.
Captions:
-573 Enigmatical inscription of Tahutmes I. (cat 159)
-574 Queen of Pun (cat 236) (now placed about 7 feet high)
-575 Trial piece of Tahutmes III. &c. Salle 55
-576 Colossal red granite head. Court 26.

-Giza Museum.
Captions:
-577-8 Black granite bust of a King (XVIII dynasty ?) (in a dark corner).
-579 Glazed vase of Amenhotep III (in glass case) (cat. 747)
-580 Glazed ushabti of Ptahmes. (in glass case) (cat. 891)

-Giza Museum.
Captions:
-581 Granite head of a king (Seti I ??) (in glass case, by no. 693) [like Nekhtnebf L.D 301] [Horemheb see Prisse 38]
-582 Stela of Akhenaten.
-585 Head of a regnant queen. (cat 553) painted on limestone. (? Hatshepsut)
-592 Statue of a scribe. (cat. 205)

-Giza Museum.
Captions:
-583-4 Head of a king in sandstone painted. (? Tutankhamen or Ay ?)
-586 Sculptor chiselling a shrine. (Cat. 169)
-587 Funeral of Hor Min. (Cat 172)

-Giza Museum.
Captions:
-588 Butler, & girl dancing (after tasting the wine?) cat. 171
-589 Zay & Naia: late XVIII dyn. (cat 179)
-590-1 Head of Zay, a perfect example of the refined type of the XVIIIth dynasty. (but in an atrocious light) (cat. 179)

-Giza Museum.
Captions:
-593-4 Alabaster head of a king (Horemheb ?). In glass case. (Cat 689)
-595 Back of chair, Senezem. (cat. 522) (in glass case)
-590 [sic = 596] Stele of Ptah du. [p:t-H-D37:D40] near no. 179

-Giza Museum.
Captions:
-597-8. Colossal head of Ramessu II (cat 166)
-599 Heads of Asiatic & Negro, altar of Ramessu II. (cat 699)
-602 Rushwork stand, baskets &c. In glass case. (cat. 508)

-Giza Museum.
Captions:
-600-1 Painted wooden door of Sennezem. (cat. 467) (taken askew to obtain room for the camera) [repeated]
-603 Scribe Amenhotep. painting on limestone. (cat. 544)
-604. Anubis, on limestone. (cat. 525)

-Giza Museum.
Captions:
-605 Ramessu IV & his lion, chasing Syrians, outline on limestone. (cat. 527)
-606 Dog hunting a lion. Red outline on limestone (cat. 528)
-607 Glazed inlays of Ramessu III Tell el Yehudiyeh. (cat. 472)
-608. "Fragments d'autels (?)" or tops of palm leaf capitals inverted.? Restored. In glass case. (cat. 463)

-Giza Museum.
Captions:
-609 Black granite head of Taharka? (cat. 164)
-610 Nitakert offering to Amen & Khousu (cat. 260)
-611 Stele of Nekau Stele 37th yr of Sheshenk IV (cat 1079 1080)
-612 Psamtik adoring. Salle 32

-Giza Museum.
Captions:
-613 Yellow sandstone altar of Haa.abra. (cat 242)
-614 Slab of Nekht.hor.heb. red granite. (cat. 246)
-625 Brown granite base of column. (cat. 244.)
-624 Trial piece in course of working. (cat. 557)

-Giza Museum.
Captions:
-[615-618] Series of reliefs from tomb of Psamtek.nefer.sam. (cat. 254)

-Giza Museum.
Captions:
-[619-622 Series of reliefs from tomb of Psamtek.nefer.sam. (cat. 254)]

-Giza Museum.
Captions:
-623 Stela of Alexander Aegus. dedicated by Ptolemy I. (cat. 283)
-624 [626 in pencil] Porphyry colossus of a Roman Emporer. Alexandria. (cat. 298)

-Giza Museum.
Captions:
-627-630 Coptic steles illustrating the [Christogram]. Salle 42.

Inside the front cover of the album.

On the left reads:
'W.M. Flinders Petrie,
8 Crescent Road,
Bromley,
Kent.'

A piece of paper has also been inserted and reads:
'As some friends have desired to have copies of these photographs (which at present I have no time to prepare myself.) I have placed the plates in the hands of Messrs Murray & Heath, 37 Dartmouth Park Hill NW; and arranged with them to supply copies to order (not less than 6 at once) at 3d per print, post free. Only the numbers need be mentioned, but a list of the titles should be retained.
There is far more detail in the negatives than can be transferred to a print; and any one wishing to refer to them for scientific purposes will please to apply to me. Prints on glass are almost as good as the original negatives for examination, and can be easily supplied, as well as enlargement to any scale.
W.M. Flinders Petrie.'

Foreword reads:
'This set of photographs was taken in the winter 1881-2, while living in my tomb at Gizeh, boating up the Nile to Thebes, and tenting there, and about Memphis. In settling what was worth taking I have left out all that has been done before as far as I know; only taking well know things when I wished to shew what was not well known about them. Hence this is more a set to fill up gaps, than to be thought of as a whole in itself. Nevertheless I have tried always to make sure of having one of the best bits of workmanship of each age, so that more should be left out. For the small size of the plates there is good ground, as I often had to carry the camera with a score of plates, through a long days walk over the sandy desert or climbing the cliffs of the Nile valley; hence a bigger size would have just hindered taking the more out of the way & less known sights. Many of these prints are lighter and paler than photographers always take them, as the darker hues are so untrue to the feeling of the brightness and glare of sun-baked Egypt. Often however I yield the truer shade for the sake of shewing more sharpness in little things. I have no wish as a mere beginner that these should be put beside the work of those who make it a business; and it would have been better for my sake to have kept back many of them; but they are here to shew what is, and not how it might be shewn. Sometimes a sand storm would blow showers of sand on to the stock of plates, spotting them with "pinholes", and thus making black specks all over the prints; but as the outlines are always hurt by blocking out the sky, I thought it best to leave the plates as they are, telling their own tale. So hard is it thought in Egypt to get good skies, owing to heat, sand, & other things, that the best photographers there always block them out; thus losing the sweetest bit of a good photograph.
Many plates have been set upon in the night by some crawling or creeping plague that ate off patches of the gelatine film while moist; and some were marred by the dusty feet of a mouse. The stretches of glaring sand or white stone chips that often fill the foreground are most unhappy to shew in a photograph. Those plates that have water in the foreground were taken from a Nile boat, mostly while going; hence they needed to be instantaneous, as well as those of Arabs. The plates were nearly all Edward's dry plates, a few (of Medûm) being the Uranium dry plates which do not seem quite so good.
The camera was made of sheet tin, joined to a box which held 25 plates; the plates were taken out & put into the camera by hand, inside a dark bag joined to the box and camera: thus no plate holders were wanted, and I got rid of much needless weight. The stop generally used for still objects in the open air was 1/16 inch; and the definition in good plates is sharp to 1/1500 inch.
The plates are best seen in a strong light, and with a magnifier; the proper distance of the eye for true perspective is 6 inches.
W.M. Flinders Petrie.'

Map titled: 'Index Map shewing volume and page of the views at each place.'.

'Dates that have been assigned to dynasties by Wilkinson [and] by Mariette.'.

Contents page for the album listing: photograph number, dynasty and reigning king, subject, and page number.