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.
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).
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.
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.
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.
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.
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.
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).
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.
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.
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.
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.
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.
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
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.