Four women in black descending stairscase
- Bonomi MSS 52.27
- Stuk
Part of Joseph Bonomi Collection
Four women in black descending stairscase:
- pencil and watercolour sketch on paper
- loose
- 29.5 x 23.3 cm
Four women in black descending stairscase
Part of Joseph Bonomi Collection
Four women in black descending stairscase:
Four women contemplating a bust
Part of Joseph Bonomi Collection
Four women contemplating a bust:
Four vases of Djehuty, provenance not known, now in Turin, Museo Egizio, Cat. 3225-3228 [together with Petrie MSS 3.1.187].
Caption copied by Černý in Petrie MSS 3.2: 'Alabaster vases of [Ḏḥwtj] T'.
Four vases of Djehuty, provenance not known, now in Turin, Museo Egizio, Cat. 3225-3228 [together with Petrie MSS 3.1.186].
Caption copied by Černý in Petrie MSS 3.2: 'Alabaster vases of [Ḏḥwtj] T'.
Four ushabtis, stone, not identified, now in Florence, Museo Archeologico
Four ushabtis, stone, not identified, now in Florence, Museo Archeologico.
Caption copied by Černý in Petrie MSS 3.2: 'Stone ushabtis. [Qȝb-nf-rʿ] C, K. 63, σ black / [Nḫt-Jmnt] c 58 σ micaceous schist / nameless / [Nb-mrwt=f] R, 5, 62, λ F'.
Part of Joseph Bonomi Collection
Four sketches of view and reliefs from a Roman tomb in Ghineh, near Ghazir (Lebanon), copy of a Greek inscription from a village nearby and copy of Latin inscription from Deir el-Kalaa (Lebanon):
Four sketches of bronze statuettes (Naples, Museo Archeologico Nazionale)
Part of Joseph Bonomi Collection
Four sketches:
1) [upper left] bronze statuette of Zeus (Jupiter) standing naked with cloak on shoulder, holding lightning bolt with left hand and sceptre with raised right hand (Naples, Museo Archeologico Nazionale, no inv. number (id. 13121) or inv. 5053, date not known);
2) [upper right] bronze statuette of little bacchic winged genie with rabit and grapes (Naples, Museo Archeologico Nazionale, inv. 5242, date not known);
3) [lower left] bronze statuette of young dancing satyr holding thyrsus (Naples, Museo Archeologico Nazionale, inv. 5292, late 1st century BC - early 1st century AD);
4) [lower right]bronze statuette of Venus (Aphrodite) with golden arm and leg bracelets and dolphin beside (Naples, Museo Archeologico Nazionale, inv. 5133, 1st century BC - 1st century AD):
Part of Joseph Bonomi Collection
Portraits of Jacomo de Cachiopin (1575-1642) [upper left], Justus Sustermans (1597-1681) [lower left], Jacques du Broeucq (c. 1505-1584) [upper right], and Paulus Pontius (1603-1658) [lower right] originally by Antoon van Dyck (1599-1641), copied from engravings in Icones Principum Virorum / The Iconography:
Four painted vases of Amennakht, limestone, Ramesside, from Deir el-Medina, now in Turin, Museo Egizio, Cat. 3323-3326.
See Petrie 3.1.360 [upper right] for lid.
Caption copied by Černý in Petrie MSS 3.2: 'Painted limestone vases. [Jmn-nḫtw]. See 360 T'.
Part of Joseph Bonomi Collection
Four figures on a boat:
Four designs of children (crouching and fighting) and design of Britannia breaking her bonds
Part of Joseph Bonomi Collection
Four designs of children (crouching and fighting) and design of Britannia breaking her bonds:
Part of Joseph Bonomi Collection
Four designs of Britannia, including breaking her bonds and fastening dress at shoulder with shield with triskele, and design of children fighting:
Four designs featuring the goddess Britannia
Part of Joseph Bonomi Collection
Four designs featuring the goddess Britannia:
Part of Joseph Bonomi Collection
Four dancing figures (woman, man and two nude satyrs), probably from ancient Greek pottery decoration, with cut off lyre on left:
Part of Edward William Lane Collection
A scene with four women inside a room within a dwelling or perhaps a coffee shop(?), probably in Cairo or elsewhere in Egypt.
The woman on the left wears a white and red striped garment and white turban with her back to the artist and holds a small teacup in her right hand, offering it to one of the other women.
Background right, a woman wearing a blue, red and red checked jilbab with a black veil over a blue garment, greeted at the door by a servant girl wearing a blue garment and head covering with her back to the artist
Foreground right, a woman wearing a green garment and white scarf is seated on a red floor cushion
Foundation deposit of Hatshepsut, including two vases, adze, etc., from Thebes, Royal Tomb 20, Hapshepsut, now in Florence, Museo Archeologico, 2279-2283, 2274-2278.
Caption copied by Černý in Petrie MSS 3.2: 'Model tools and vases, Hatshepsu F'.
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.'
Flutes, not identified, now in Turin, Museo Egizio
Flutes, not identified, now in Turin, Museo Egizio.
Caption copied by Černý in Petrie MSS 3.2: 'Reed pipes (& footrule) (one has part of stone mouth piece in it) T'.
Floral design and object with floral motifs
Part of Joseph Bonomi Collection
Floral design and object with floral motifs:
Part of Joseph Bonomi Collection
Floral design:
Part of Joseph Bonomi Collection
Five ornamental/commemorative column designs from ancient Greek pottery decoration, traced from publications. Upper left: column shaft with decoration on top; upper middle: Ionic column; upper right: Doric column on altar; lower left: column or pillar with palmette [detail from Tischbein, W., Collection of engravings from ancient vases of Greek workmanship discovered in sepulchres in the Kingdom of the Two Sicilies but chiefly in the neighbourhood of Naples during the course of the years MDCCLXXXIX and MDCCLXXXX, now in the possession of Sir W. Hamilton..., vol. III (1795), pl. 51]; lower right: herm and part of altar.
Part of Joseph Bonomi Collection
Five figures on a boat:
Fireplace design; profile view of child caryatid, with measurements
Part of Joseph Bonomi Collection
Fireplace design; profile view of child caryatid, with measurements:
Fireplace design; notes and sketch of angle
Part of Joseph Bonomi Collection
Fireplace design; notes and sketch of angle:
Fireplace design; frontal view, with measurements
Part of Joseph Bonomi Collection
Fireplace design; frontal view, with measurements:
Fireplace design; frontal view of child caryatid with quiver, with measurements
Part of Joseph Bonomi Collection
Fireplace design; frontal view of child caryatid with quiver, with measurements:
Part of Joseph Bonomi Collection
Filigree design:
Figurine, stone, not identified, now in Bologna, Museo Civico Archeologico
Figurine, stone, not identified, now in Bologna, Museo Civico Archeologico.
Caption copied by Černý in Petrie MSS 3.2: 'White marble, Canopic Osiris B'.
Figures, bronze, not identified, now in Florence, Museo Archeologico
Figures, bronze, not identified, now in Florence, Museo Archeologico.
Caption copied by Černý in Petrie MSS 3.2: 'Bronze composite figure, Shu & Tefnut F'.
Figures, bronze, not identified, now in Florence, Museo Archeologico
Figures, bronze, not identified, now in Florence, Museo Archeologico.
Caption copied by Černý in Petrie MSS 3.2: 'Bronze composite figure, Shu & Tefnut F'.