- Petrie MSS 4.1.557
- Unidad documental simple
Fragment of a stone dish with boat and fish in relief, Dyn. XXII, provenance not known, now in Cairo, Egyptian Museum, CG 18682.
4091 resultados con objetos digitales Muestra los resultados con objetos digitales
Fragment of a stone dish with boat and fish in relief, Dyn. XXII, provenance not known, now in Cairo, Egyptian Museum, CG 18682.
Fragment of a shadow clock, black basalt, Ptolemaic, provenance not known, now in Turin, Museo Egizio, Cat. 7353.
Caption copied by Černý in Petrie MSS 3.2: 'Black basalt dial T / 7353. Fragment of shadow-clock dedicated to Thoth. Ptolemaic.'.
Fragment of a column showing the deceased kneeling before Hathor, temp. Haremhab, from Saqqara, Tomb of Amenemonet, position not known, now in Bologna, Museo Civico Archeologico, 1894.
Caption copied by Černý in Petrie MSS 3.2: '[Jmn-m-jnt] adoring Hathor, drum of a column, fluted on back B'.
Fragment of a bas-relief showing Nektanebos II with Ka kneeling before his own cartouches, granite, from Tell Basta, now in Cairo, Egyptian Museum.
Fourth copy of My Early Years by Sir Alan Gardiner (1968)
Fourth copy of My Early Years by Sir Alan Gardiner (1968).
Four women in black descending stairscase
Parte deJoseph Bonomi Collection
Four women in black descending stairscase:
Four women contemplating a bust
Parte deJoseph 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'.
Four tracings of Demotic Papyri in the British Museum given by Sir A. W. Franks
Parte deJoseph 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)
Parte deJoseph 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):
Parte deJoseph 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 plates: copied from Carter, H. and A. C. Mace, The Tomb of Tut-ankh-Amen
Parte deTutankhamun Archive
Four plates re-photographed from Carter and Mace, "The Tomb of Tut-Ankh-Amen".
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'.
Four letters from R. Kasser concerning Le Manuscrit Moyen-Egyptien B.M. OR. 9035
Four letters from R. Kasser concerning Le Manuscrit Moyen-Egyptien B.M. OR. 9035 (with R. Kasser, in Museon 84 (1971), pp. 295-401) [= Barns MSS 4.1.1-4].
Parte deJoseph Bonomi Collection
Four figures on a boat:
Four designs of children (crouching and fighting) and design of Britannia breaking her bonds
Parte deJoseph Bonomi Collection
Four designs of children (crouching and fighting) and design of Britannia breaking her bonds:
Parte deJoseph 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
Parte deJoseph Bonomi Collection
Four designs featuring the goddess Britannia:
Parte deJoseph Bonomi Collection
Four dancing figures (woman, man and two nude satyrs), probably from ancient Greek pottery decoration, with cut off lyre on left:
Four canopic-jars of Wehebremerneit
Four canopic-jars of Wehebremerneit formerly at Norwich Castle Museum (sold at Sotheby's in 1956). Rubbings and letters.
Parte deEdward 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'.
Foucart, George - correspondence
Parte dePercy Edward Newberry Collection
Correspondence from George Foucart including relating to an article by Keimer in the Bulletin de l'Institut Francaise d'Archeologie Orientale, and the state of the Theban necropolis.
Foucart, Ferida Galassi - correspondence
Parte dePercy Edward Newberry Collection
Letter from Ferida Galassi Foucart relating to Newberry's research on Libyans.
Forget - Synaxarium Alexandrinum
Parte deWalter Ewing Crum Collection
Notes relating to Forget, Jacques, Synaxarium Alexandrinum (Beryti, 1905-26).
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.'
Forestier, A. - correspondence
Parte dePercy Edward Newberry Collection
Letter from A. Forestier relating to Holofernes, Judith and Egyptian beds.