Provenance, fakes, uncertainty and ethics: The problems with legally purchased antiquities.

Akhenaten
Gilded bronze statuette in the Barcelona Egyptian Museum attributed to Akhenaten by its label. Author Photograph.

The Barcelona Egyptian Museum contains many fascinating objects, some inspired presentations of Egyptian artefacts and two interesting exhibitions that further explain aspects of ancient Egyptian culture. My previous post (The Egyptian Museum of Barcelona) covers the highlights of the museum but only touched on the issues my visit raised concerning the presence of possible forgeries and the ethics of creating a modern museum from purchased antiquities. This post follows on from my previous review and another recent post about black market antiquities to consider the nature of purchased antiquities and the implications of them for reviewers and researchers of museum collections.

To post, or not to post?

In the Barcelona Egyptian Museum is a small gilded bronze statuette that is attributed to Akhenaten by its label (left). My instagram image of this particular artefact prompted a number of disbelieving comments. There are several aspects of the style of the statuette that are suspicious, such as the way the kilt drapes over the thighs. The date is also incongruous. I have yet to identify a single comparable statuette of this type from the Amarna period (so if anyone reading this can think of one, they are welcome to put a link or reference in the comments). Bronze statuettes are much more commonly associated with later periods of Egyptian history. In fact the Barcelona Museum also has a number of gilded bronze statuettes of divinities dated to the Late Period, such as a gilded bronze statuette of the goddess Neith (below right), that the object label attributes to the XXVI Dynasty (i.e. within the Late Period as expected).  All these aspects combine to raise doubts about the authenticity of the Akhenaten or, at the very least, its attribution. One alternative to an out-and-out forgery is that the statuette was originally of an unnamed Late Period pharaoh, later falsely identified as the famous Akhenaten by an unscrupulous antiquities dealer to raise its value.

Neith_mobile
Gilded bronze statuette of the goddess Neith. Identified as XXVI Dynasty. Author Photograph.

The reaction to my Instagram post about the Akhenaten statuette was my first intimation that writing a blog about the Barcelona Egyptian Museum might not be straightforward. Having read the many questioning comments I wondered whether I should continue with my intended post. Various questions bubbled up. Was it ethical to write about objects that may be forgeries? What impact might it have on my reputation? How could I be fair the museum, while writing about the possibility of forgeries being on display? And should I even consider writing about a museum when most of the objects had been purchased so recently on the antiquities market, given that I am generally of the opinion that the purchase of legal antiquities is inadvisable at best and unethical at worst?

The obvious solution would have been to leave well alone. I could not be criticised if I didn’t post anything. But that would deny me the opportunity to review the other interesting artefacts in the Barcelona Egyptian Museum. It would also be cowardly. The debate my image of the Akhenaten had provoked and my reaction to it, exemplifies the difficulties we experience in working with purchased and unprovenanced antiquities. If I simply ignored the problem I would be contributing to the silence about these issues. This post is therefore an attempt to interrogate the questions and anxieties unprovenanced antiquities raise in the minds of researchers and how these influence our reactions to and treatment of such objects.

Purchase and provenance

Falsedoor_Iny
The false door and two side panels from the VI Dynasty tomb-chapel of Iny in the Barcelona Egyptian Museum. Author Photograph.

As I mentioned in my previous post, most of the object labels in the Barcelona Egyptian Museum do not give details of the provenance or the origin of the artefacts. Research on the museum’s website and wikipedia page revealed that the collection was a recent creation, with most of the artefacts purchased on the antiquities market since 1992. Further evidence of the recent origin of the collection came from the bibliographies of the artefacts from the Barcelona Egyptian Collection that featured in the Moda y Belleza catalogue of the exhibition of the same name (D’Amicone 2011). Many of the objects currently in the museum featured in the catalogues of the major auction houses from which they had been purchased from 1992 onwards.

Since most artefacts purchased on the antiquities market originate in private collections and very few come from archaeological excavations, they rarely come with detailed archaeological provenance. It is almost impossible to identify the precise house, tomb or temple context for a given object, and it may also be difficult to determine which site, region and period an artefact came from. At best the occurrence of named individuals on artefacts sometimes allows them to be associated with other objects, a known tomb, temple or site. This is the case with the VI Dynasty false door stela (image above) and reliefs of Iny in the Barcelona Museum, which were identified as part of Iny’s now lost tomb-chapel and associated with further reliefs from the same structure that are now in other museums. The multiple XII and XIII Dynasty stela now in various private collections and museums but originally from the Abydos North Offering Chapels (Simpson 1974) represent a more extensive example of the same process of archaeological detective work.

But detectival methods of assigning provenance are usually only applicable to inscribed objects and even if an object can be associated with a site or assemblage it is rarely possible to reconstruct its precise archaeological provenance to the level of a findspot or room. Even though we know that the false door and relief fragments in the Barcelona Museum come from the tomb-chapel of Iny, we do not know where that tomb-chapel was. We might suspect that it was in the Memphite region, but we cannot know precisely where. We do not know what else formed the tomb-complex or what other archaeological structures and artefacts might have been associated with it.

For most artefacts that lack archaeological provenance, the situation is even worse. Usually the only contextual information available is a rough date and perhaps the general site or region where the artefact originated, as determined by stylistic comparison with similar objects of known provenance.

Forgeries or rare artefacts?

Tetisheri
The statue of Queen Tetisheri in the British Museum, now thought by many to be a forgery. (Courtesy of David Blogg)

Artefacts that lack archaeological provenance are inevitably more likely to attract suspicions about their authenticity. Forgers have been active as long as there have been collectors, but a number of high profile recent cases indicate that forgery is increasing in ‘growth’ areas of the antiquities market including religious artefacts, biblical archaeology (Burleigh 2008) and (naturally) Egyptian objects.

Recently purchased artefacts are not the only potential forgeries. The proposition that the British Museum’s statue of Tetisheri is a forgery demonstrates how an artefact accepted as genuine for decades can later be questioned. Given the varied origins of most Egyptian collections, it is probable that every one has at least one or two forgeries. But those with a higher proportion of purchased artefacts are likely to contain more forgeries.

While scientific testing can sometimes resolve questions of authenticity, they are more often a matter of expert opinion and can therefore provoke considerable debate among experts with different views. That there is still debate about the authenticity of the statue of Tetisheri, demonstrates the problems of discerning forgeries from genuine antiquities.

NK_Coffinface_female
Gaudily painted pottery coffin mask with female face.  Dated to the New Kingdom according to it’s label. A similar mask has recently been offered at auction. Author Photograph.

An artefact is most likely to be accepted as genuine if it is typical of its period and material in style and execution. The bronzes of (supposedly) Akhenaten and Neith, which began this post exemplify this feature of archaeological research. Since a large number of Late Period statues of deities are known the Neith is much more easily accepted as genuine than the incongruous Akhenaten.  However, there is no archaeological reason why one should be more genuine than the other if both are unprovenanced. The only difference is that the Neith conforms to our art-historical expectations, while the Akhenaten doesn’t. Unfortunately if we always suspect the unusual, and accept the familiar we risk dismissing genuine artefacts because they are different, thereby losing the information they could provide about the variety of Egyptian art and consolidating cliched ideas about the conformity of Egyptian artefacts. It would be ironic indeed if further research and scientific testing revealed the Akhenaten to be genuine, while the Neith was a forgery.

Suspiciously poor quality or just not typical of ‘Egyptian art’?

Hideous_coffin
Roman pottery coffin dating from the 3rd to 4th century AD (E-620). Purchased from Christies in 2002. Author Photograph.

Another facet of this problem is the tendency to assume that poor-quality or ‘unEgyptian’ artefacts are fake. Amongst the coffins in the Barcelona Museum are two painted faces from pottery coffins, one male and one female (image above left). These are exactly the kind of artefacts that might be written off as fakes, but an almost identical female mask was recently offered for sale at auction. There is still the possibility that all three masks are forgeries, but it would be unwise to write them off without further research just because they are a little outside the norm or do not match our expectations of Egyptian art.

An astonishingly hideous 3rd to 4th century AD Roman pottery coffin (E-620) raises similar questions and doubts (right). There is no doubt it is a truly ugly object to our eyes, but just because it doesn’t conform to our expectations does not necessarily make it a fake. It is entirely possible that the owner was satisfied that the coffin would perform its function, and utterly uninterested in its (to our minds) aesthetic deficiencies. The scientific discovery of poorly formed, badly decorated or illiterately inscribed artefacts demonstrates that the requirements of ancient Egyptian purchasers were not necessarily the same as ours. The pseudo-hieroglyphs on the Late Period coffins excavated from Iurudef’s tomb at Memphis were presumably thought sufficient by their owners, but could easily have been thought a modern forgery if they had not been scientifically excavated (Martin 1991, 144).

Genuine components, modern design?

Beaddress
Bead dress in the Barcelona Egyptian Museum described as IV Dynasty (E-843) by its label. Note the winged-scarab motif on the bodice. Author Photograph.

In the Barcelona Egyptian Museum is an artefact (E-843) described as ‘Dress composed of beads. Faience and turquoise. Old Kingdom’. There are several curious aspects of this artefact that could lead to the assumption that it is a forgery. Firstly, unlike the excavated Old Kingdom bead-net dresses in the Petrie Museum and the Boston Museum of Fine Arts the Barcelona dress only appears to cover the front of the person. Given the structure of the shoulder straps and bodice there is insufficient bead netting to cover the sides and back of a human. The design of the dress, combining broad shoulder straps with a long skirt, is generally consistent  with the excavated Old Kingdom dresses, but the inclusion of a winged-scarab motif in the bodice (see feature image above the title of this post) strikes a discordant note, both because it is a funerary motif and because such beaded images are more generally associated with the Late, Ptolemaic or Roman periods of Egyptian history, rather than the Old Kingdom.

Given these discrepancies it would be very easy to write this off as a forgery, but it is much more likely to be a recreation of a dress using ancient beads, probably from several different periods, made by some antiquities dealer to increase the value of his merchandise. Indeed the Moda y Belleza catalogue (D’Amicone 2011, 195) comes to this exact conclusion, but because this is not reflected on the object label it would be easy to draw the wrong conclusions. Unfortunately the uncertainty that is provoked by the dissonance between the nature of the object and the information on the label does not just affect this one artefact, but could potentially cause the viewer to question the authenticity of others as well.

The problem of uncertainty

None of the artefacts in the Barcelona Egyptian Museum which have provoked concern have been demonstrated to be forgeries, and indeed many (if not all) of them may yet prove to be genuine. However, the uncertainty that is provoked by objects like E-843 or the incongruous Akhenaten does not just affect the reception of those artefacts. By extension it can lead the suspicious researcher to question other objects in the same collection or similar artefacts elsewhere. As I experienced when considering how to write about the artefacts in Barcelona, even the possibility of reviewing fakes can lead to anxiety on the part of a researcher about the ethics of their actions, the reactions of their peers and the impact of their research on their academic reputation.

This anxiety is not without cause. There is a general sense that the presence of forgeries in a collection should be a source of shame. This might be justified if artefacts are envisioned as primarily economic assets, where the sale of a forgery is tantamount to fraud. But it seems a bizarre position to take when in almost every other aspect of archaeological discourse we emphasise the scientific and historical value of artefacts and rail against their treatment and sale as economic assets. If we truly believe an artefact is of purely scientific value, then finding a forgery is like locating an erroneous reading in a set of scientific data. It is useful to identify and exclude it from our research, but should otherwise cause minimal anxiety. This is not to minimise the risk of forgeries skewing archaeological discourse, but it does seem that our reactions to them can be out of all proportion to the risk they pose to scientific enquiry.  Perhaps more importantly the treatment of forgeries and potential forgeries as a source of embarrassment and shame precludes honest discussion of this problem amongst both museum and archaeological professionals and prevents us from exploring the impact of forgeries upon our research.

Part of this impact is the effect uncertainty has upon research. As I have demonstrated above it is incredibly easy to doubt the authenticity of unprovenanced and purchased artefacts, particularly when they do not have many obvious parallels or do not fit with our preconceived ideas about Egyptian artefacts. This has a significant impact upon our understanding of Egyptian culture and our ability to study unprovenanced artefacts. Almost any artefact that has been purchased (whether recently or many decades ago) without clear archaeological provenance might be suspected. But since the more typical an object is the more likely it is to be accepted, genuine but atypical or unusual artefacts run a greater risk of being dismissed as forgeries. On the other hand fake but typical objects might well be included in catalogues and typologies because they fit our preconceptions. Inevitably this risks skewing our research towards the ‘typical’ and prejudicing us against the unusual. At the same time anxiety about publishing or displaying an artefact that later turns out to be fake can inhibit the research and display of genuine but unusual artefacts.

Dealing with legally purchased antiquities

Silver_diadem
Silver diadem, probably of 17th Dynasty date and likely recovered from Dra Abu el-Naga, West Bank, Luxor. This artefact has an established history in a series of private collections and is currently on loan to the British Museum from the al-Sabrah collection. (Author Photograph)

One obvious way to eliminate the anxieties associated with unprovenanced antiquities is to avoid them altogether individually and corporately. This is an admirably ethical position, but like many noble ideals it also raises some practical questions. Should we just ignore collections like the Barcelona Egyptian Museum, either from anxiety that it may include forgeries or ethical objections to the recent purchase of the artefacts? If the ethical objection is foremost, then how long must an artefact have been in a museum before we can legitimately engage with it? There are many thousands of purchased antiquities that reside in museum collections around the world, including many important artefacts held by major museums. Can we arbitrarily decide that research into the Barcelona Egyptian Museum artefacts is unethical, while working with museum collections that include artefacts purchased during an earlier era?  Is it ethical to ignore artefacts that may provide important archaeological evidence to confirm or challenge our research just because they were purchased? As I discovered when visiting the Barcelona Egyptian Museum if we decide to ignore purchased artefacts then we potentially lose important evidence and ignore interesting artefacts, but when we engage with them we must wrestle with ethical concerns and fears about accidentally including forgeries in our research. I cannot provide definitive answers to these questions but perhaps it is time we began discussing these ethical and professional concerns more openly?

As we do so we should remember that all museums include purchased antiquities, that any museum or expert can be deceived by fakes and it is highly probable that every museum has at least a few forgeries hiding away in the stores (and sometimes even on display). While no-one would argue that we should accept the casual display of known fakes, we should recognise that forgeries occur and can be difficult, time-consuming and contentious to identify. The only way to manage unprovenanced artefacts and suspected fakes is to open an honest discussion about forgeries within Egyptian collections, the difficulties inherent in identifying them and the impact of forgeries and unprovenanced antiquities upon our research. Negotiating the ethical and professional questions raised  is never going to be easy, but if we can be honest about these issues we can develop productive debates and advance our research.

References

Burleigh, N. 2008. Unholy Business: A True Tale of Faith, Greed and Forgery in the Holy Land. Smithsonian.

D’Amicone, E. (ed.) 2011 Moda y Belleza en el Antiguo Egipto. Exposición presentada en el Museu Egipci de Barcelona 20 de Octubre de 2011 – 20 de Julio de 2012. Museu Egipci de Barcelona: Fundació Arqueològica Clos.

Martin. G. T. 1991. The Hidden Tombs of Memphis. London: Thames and Hudson.

Simpson, W. K. 1974. The Terrace of the Great God at Abydos: Offering Chapels of Dynasties 12 and 13. New Haven.

Acknowledgements

I am indebted for Manon Schutz of Oxford University for information about several of the artefacts, to David Blogg for the photo of Tetisheri when she was still on display and to Roland Enmarch for the reference to the tomb of Iurudef.

I am also grateful to all of those who commented about these artefacts online and especially to Luca Miatello, Dario Nannini, Carlo Rindi Nuzzolo, the online members of the Facebook groups Sussex Egyptology Society Unofficial Page and the Coffin Club for their suggestions regarding possible parallels and dates for some of these artefacts.

I am also grateful to all the friends, colleagues and museum professionals who have engaged with me on this subject thorough constructive discussions about forgeries and the ethics of studying purchased antiquities. Long may these debates continue to inform professional discourse.

The Egyptian Museum of Barcelona

Khufu_mobile
Serpentine stone head, attributed to the IV Dynasty Pharaoh Khufu, builder of the Great Pyramid of Giza. Author Photograph.

In July 2017 I was able to visit the Egyptian Museum Barcelona. The museum opened in 1994 to display the Egyptian collection of Jordi Clos and introduce the public to 1,100 Egyptian artefacts and various temporary exhibitions. It forms part of the Clos Archaeological Foundation, which also funds archaeological expeditions and training.

The museum is served by the efficient Barcelona metro and easily found between Gaudi’s Sagrada Familia masterpiece and the Passeig De Catalunya, where many other modernist buildings are located. The museum is clean, tidy and well lit and the exhibits are displayed across three floors.

Most of the objects in the museum are typical of this type of small Egyptian collection. The dates range from black-topped Naqada pots to Roman coffins, and the artefacts on display include bronze statues of gods, stone statues of pharaohs and courtiers, shabtis, scarabs, amulets, coffins and cartonnages, stone vessels, jewellery and tomb models. Many of these objects are typical, but there are also a number of particularly interesting pieces worthy of further study.

Highlights

P1070804
Large wooden statue of a VI Dynasty nobleman carrying a Sekhem scepter and (restored) staff (E-422). Author Photograph.

Upon entering the museum the first group of exhibits explain the nature and role of the Pharaoh in Egyptian culture through a series of artefacts covering all dynasties of Egyptian history. Amongst the usual royal statuary is an interesting serpentine stone head attributed to the IV Dynasty Pharaoh Khufu (image top left), the builder of the Great Pyramid of Giza. If correct this attribution would add an important new portrait to the relatively few known images of this Pharaoh.

There is also an interesting granite shabti of the XXV Dynasty Nubian Pharaoh Taharqa (E-643) and a serpentine shabti of the slightly later Napatan ruler Senkamanisken from their burials at Nuri in the Sudan.

In addition to the royal statuary are a number of private statues of courtiers, individuals and offering bearers in stone and wood. The highlight of these objects is a large wooden statue of a VI Dynasty nobleman carrying a sekhem scepter and a partially restored staff (E-422, image right).

There are several attractive painted scenes including the two priestesses in image at the top of this post (E-652).

Man_writing_tomb
XIX Dynasty relief of a man writing on a tomb (E-644). Author Photograph.

For those that prefer literary and literate objects, there are several inscribed statues and stelae, including a fine New Kingdom false door of Sebekemheb from the reign of Amenhotep III (E-261) and an unusual limestone relief fragment of a XIX Dynasty man writing on a tomb wall (E-644, left). The two VI Dynasty execration texts are less artistic or monumental but just as important as evidence of magical assault upon the enemies of the Egyptian state (in this case the enemies are Nubians).

Other highlights include a lovely wooden bed (E-434) with bovine feet and reconstructed leather strapping, dated to the Early Dynastic period according to it’s label.

MK_apron
XII Dynasty Middle Kingdom ceremonial apron of faience beads, including a decorative device in the shape of an animal tail (E-844). Author Photograph.

In addition to several wesekh and menat collars (at least some of which have been re-strung from ancient beads) the jewellery section contains a New Kingdom beaded skullcap decorated with gold flower motifs and a faience apron with a decorative feature mimicking a bull’s tail (right, E-844). This apron has been dated to the XII Dynasty by comparison with the similar belt and apron of Senebtisi in the Metropolitan Museum of Art, New York.

The XII Dynasty coffin of Khnumhotep from Meir is a great example of a Middle Kingdom rectangular-coffin with a beautifully clear offering formula on it. It is also cleverly displayed to inform the visitor about Middle Kingdom funerary assemblages. On top of the coffin are a series of objects typical of Middle Kingdom burials, including wood and stucco model sandals (E-988 and E-999), two stone vessels – including one alabaster example still sealed with cloth, a mirror in copper-alloy and wood, and a wooden headrest. The texts on the coffin and the context for Middle Kingdom funerary assemblages are covered in detail on an adjacent panel, illustrated with images from intact Middle Kingdom Egyptian tombs.

Meir_mobile
Typical Middle Kingdom burial assemblage, based around the coffin of Khnumhotep from Meir (E-188). Author photograph.

Informative display

Several of the artefacts have been cleverly displayed to enhance understanding of their archaeological context and Egyptian culture.  While Middle Kingdom burial customs are introduced by the coffin of Khnumhotep (above), tombs of the Old Kingdom are represented by a clever reconstruction of the VI Dynasty tomb chapel of Iny. An information panel introduces the sources for the reconstruction and the content of the reliefs. Iny’s false door stela and three other relief fragments from the tomb are displayed in the reconstruction, which places them in context using information from other fragments from the same tomb that are in other collections. This is an informative way to display multiple fragments from the same tomb, and reconstituting the tomb environment in this way undoubtedly improves visitor understanding of the archaeological and cultural context of the reliefs.

Iny_tomb
Part of the reconstruction of the tomb-chapel of Iny, showing the false door stela (centre left) and further fragments of relief in the context of a small VI Dynasty offering chapel. Author Photograph.

The funerary papyrus of the Lady Bary is equally well presented. Although this XIX Dynasty papyrus is extremely fragmentary, the display shows how the surviving papyrus relates to the original vignettes (where these can be reconstructed) and also includes an information panel detailing the conservation and investigation of the papyrus. This format makes best use of an artefact that might otherwise have languished in stores as too damaged for display, and ensures visitors gain an appreciation of what can be learned from even the most fragmentary of objects.

However there are also some missed opportunities in terms of display. While Third Intermediate Period coffins and cartonnage are relatively common, the XXII Dynasty cartonnage (E-345.4) of the Lady of the House Djed-Montu-iues-ani, wife of Pamiu is a good example of the type. This empty cartonnage is displayed above a mirror to show the empty internal space where the mummy was located, emphasising the difference between a mummy cartonnage and anthropoid wooden coffin. The substantial pedestal allowed the cartonnage-covered mummy to stand up in front of the tomb during the funerary rituals. This display would be an ideal opportunity to explain the differences between cartonnage and wooden coffins and/or discuss how such objects were used in funerary rituals. Providing museum visitors with information about how artefacts were used enables them to engage with objects as elements of ancient lives, and contextualise what they see. Unfortunately in this case the information panel is limited to the name and titles of the owner, and an interesting opportunity to contextualise funerary artefacts has been missed.

TIP_cartonnage
XXII Dynasty mummy cartonnage of the Lady of the House Djed-Montu-iues-ani, displayed to show the inside of the cartonnage reflected on the underlying mirror and the large pedestal which contained the feet and allowed the cartonnage to stand up (E-345.4). Author Photograph.

Subsidiary exhibitions

Blue_painted_pottery
XVIII Dynasty blue painted pot typical of the period around the reign of Tutankhamun. Author Photograph.

When I visited there were two subsidiary exhibitions within the museum, which made use of artefacts from the collection to explore further specific aspects of Egyptian culture. These subsidiary exhibitions make clever use of artefacts that might otherwise be considered unremarkable or languish in storage.

Most of the lowest floor of the museum is occupied by a fascinating exhibition dealing with the discovery of the tomb of Tutankhamun. Using excavation photographs, artefacts from the Barcelona collection (such as the typical Amarna period blue painted pot shown in the image left) and a facsimile of the burial chamber of Tutankhamun, the exhibition demonstrates how the artefacts that accompanied Tutankhamun were luxurious versions of types in use in other funerary, domestic and ritual contexts. It was a pleasure to see the famous tomb dealt with as a part of a continuum of Egyptian culture rather than as an exotic treasure and the exhibition provided a new angle on an commonly-covered subject.

Beds_mobile
Partly reconstructed painted wood Ptolemaic drum (rear) and Middle Kingdom (XII Dynasty) model bed (front) both with leonine legs. Author Photograph.

The Animals Sagrats de l’Antic Egipte exhibition deals with the role of animals in the religion of ancient Egypt, including their deification and dedication as votive offerings. It contained the expected animal manifestations of various deities, appropriate animal mummies, zoomorphic cosmetic palettes and two tomb models including animal figures. As such it’s remit was somewhat wider than the recent Manchester Museum animal mummies exhibition, although it was a smaller exhibition. For me a highlight was a partly reconstructed drum with leonine legs in painted wood dated to the Ptolemaic period (304-30 BC) and a painted wooden model bed dated to the XII Dynasty (right).

Documentation

Although several innovative displays and highly informative panels explain the archaeological and cultural context of certain artefacts, the labels on many of the objects in the Egyptian museum are a little deficient in information. In particular there are no accession numbers on any of the labels and very few give details of the object’s provenance. Unfortunately unlike the Cuban Egyptian Collection there is no single catalogue containing details of the displayed artefacts or highlights of the collection.

The shop sells several catalogues associated with individual exhibitions and themes but none of these contains all the significant objects in the collection and some do not provide accession numbers, provenance and bibliographic information. I purchased a copy of the most informative of these catalogues, Moda y Belleza en el Antiguo Egipto (D’Amicone 2011), which includes many artefacts from the Barcelona Museum as well as other objects borrowed mainly from Turin and Florence for the 2011-2012 exhibition of the same name. Additional information on ancient Egyptian culture and certain objects is also available online on the museum’s website, but although this includes accession numbers it only covers a few of the many objects in the collection. All the accession numbers provided in this post have been gleaned from the Moda y Belleza catalogue or the museum website. Further information could undoubtedly be obtained by active research in the collection and communication with the museum and associated Egyptologists, but these methods would not be available to the casual visitor and are unlikely to be pursued by anyone but an Egyptologist actively researching the collection.

Provenance

There was also very little information on the origins of the artefacts or how they entered the museum. A review of the Barcelona artefacts present in the Moda y Belleza catalogue revealed that they had all been purchased, mostly within the last 30 years, with many documented in auction catalogues since 1992. This is consistent with the history of the collection, which grew rapidly after the foundation of the museum in 1994. A lack of archaeological provenance is a chronic problem with purchased antiquities irrespective of when they were bought, but it might be appropriate to include information on when the artefacts entered the museum and from where (auction, private collection etc) to provide a little additional context on the object labels.

Gneiss
Possible anorthosite-gneiss bowl, perhaps discoloured by post-depositional processes or fire. Note the darker bluish patches and streaks that are typical of anorthosite-gneiss. Author Photograph.

Further research

Several of the artefacts in the collection would benefit from more research than I have been able to undertake for this review. Among the stone vessels is a discoloured example (right), described as ‘alabaster’, which exhibits the blue-black striations and spots of anorthosite-gneiss from the Gebel el-Asr quarries. Since gneiss is often confused with other stones (typically diorite) and this example is both broken and discoloured some confusion might be expected, but it would certainly benefit from additional research. The discolouration might be product of post-depositional processes, but gneiss stone vessels are a feature of Early Dynastic tombs and at least two of the I Dynasty tombs (tombs S3471 and S3504) excavated by Emery (1949, 1954) at Saqqara were badly damaged by fire. It is possible that this vessel came from a similar context.

Beaddress
Bead dress described as Old Kingdom (E-843). Note the winged-scarab motif on the bodice. Author Photograph.

Another rather curiously labelled artefact (E-843) is described as an Old Kingdom bead dress (left). Both label and catalogue note that only two genuine bead-net dresses are known, and the Moda y Belleza catalogue (D’Amicone 2011, 195) entry suggests that this artefact is a modern confection created from ancient beads (potentially including beads from multiple periods). This is not explicitly stated on the object label but it would account for the juxtaposition of the funerary imagery of the winged scarab on the bodice (which is typical of much later periods of Egyptian history), and the much earlier style of the rest of the object which is reminiscent of Old Kingdom bead-net dresses like the example in the Petrie Museum.

There are other unusual artefacts in the collection, where the style, stated date or attribution is outside of what might normally be expected. During my online research and discussion immediately after visiting the collection several individuals raised concerns that the collection includes forgeries. Others have questioned whether it is appropriate that a modern museum was created in the late 20th century through the purchase of artefacts on the antiquities market. Further archaeological and scientific research might confirm the presence of absence of forgeries, but the other concerns are more difficult to address. For me writing this post has raised a number of issues relating to the nature and ethical implications of purchased antiquities in museum collections.  These problems cannot be properly discussed in this short museum review, but there is undoubtedly a need for further consideration of our attitudes to forgeries, unprovenanced artefacts and recently purchased antiquities in museum collections.

Conclusion

The Barcelona Egyptian Museum is a very interesting collection with many opportunities for further research. There are a number of very attractive and interesting artefacts, that will undoubtedly please both archaeologists and the public. Artefacts like the coffin of Khnumhotep and the reliefs from the chapel of Iny are treasures in their own right, and have been displayed to enhance their inherent importance by introducing the visitor to their archaeological and cultural context. The subsidiary exhibitions and informative presentation of artefacts like the papyrus of the Lady Bary make good use of artefacts that might otherwise languish in storage to contextualise and explain aspects of Egyptian culture.

It is unfortunate that the museum accession numbers and origins of individual objects (whether archaeological provenance or information about purchase) are not presented on the majority of the object labels. Some labels would also benefit from additional information and in some cases the objects could be used to expound further on ancient Egyptian culture. The cartonnage of Djed-Montu-iues-ani is well displayed but could be used to explain Egyptian funerary rituals in more detail. The museum would also benefit from a comprehensive published guide or guides to the displayed collection. Such publications could incorporate additional research into the origins and parallels for the artefacts in the collection and hopefully resolve some of the unanswered questions about a minority of the artefacts.

References

D’Amicone, E. (ed.) 2011 Moda y Belleza en el Antiguo Egipto. Exposición presentada en el Museu Egipci de Barcelona 20 de Octubre de 2011 – 20 de Julio de 2012. Museu Egipci de Barcelona: Fundació Arqueològica Clos.

Emery, W. B. 1949. Great Tombs of the First Dynasty I. Cairo

Emery, W. B. 1954.  Great Tombs of the First Dynasty II, London

Acknowledgements

I am indebted for Manon Schutz of Oxford University for information about several of the artefacts, including the Early Dynastic bed and to various individuals who have commented on the collection online or privately.

I am also grateful to Lucia Miatello, Dario Nannini, Carlo Rindi Nuzzolo, Campbell Price, Ashley Cooke, the online members of the Facebook groups Sussex Egyptology Society Unofficial Page and the Coffin Club and all the other commentators on various Facebook and Instagram posts, for their comments and suggestions regarding these artefacts and their interest in the museum.