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From Egypt to Malet Place: the Wissa Wassef Tapestry in Context

Anna E Garnett13 July 2021

The Petrie Museum curatorial team is delighted to have hosted two UCL students, Naomi Allman and Max Chesnokov, as virtual curatorial volunteers during this academic year. Here, Naomi and Max describe the display project they worked on during their placement and reflect upon the experience and the skills they’ve gained during the process.

Introduction to the Project

Max and Naomi: Sayed Mahmoud’s beautiful tapestry, ‘Dahshur Lake’, was the focal point of our exhibition design project for the Petrie Museum. Woven in 2003 at the Ramses Wissa Wassef Art Centre in Saqqara, Egypt, our task was to design a new display around this important object, placing it firmly in its historical and geographical context.

‘Dahshur Lake’ tapestry by Sayed Mahmoud (UC80605)

A key part of this project was to link the tapestry with other objects from the Petrie Museum collection that reflect the ‘image world’ of the tapestry, particularly the vividly coloured faience objects in the collection from the royal city of Amarna in Middle Egypt. The result of this project is a comprehensive display package, ready for the Petrie Museum to use at a future date when the Wissa Wassef tapestry (currently in temporary storage) is redisplayed.

Sayed Mahmoud at work in 2007 (image: Ivor Pridden)

The two main themes we chose for this future display are ‘Heritage in the Landscape’ and ‘Manufacturing Art’, joined together by the vibrancy of colour in a modern tapestry and in fragments of ancient faience (a glazed artificial ceramic).

The first theme, ‘Heritage in the Landscape’, presents an image of a relatively unchanged landscape from Late Dynasty 18 in pharaoh Akhenaten’s capital of Amarna (around 1350BC) to now. The beautiful floral and faunal motifs, represented in both the tapestry and in the rich faience assemblage from Amarna in the Petrie Museum, represent some of the most important elements of ancient Egyptian art. Faience is known for its vibrant colour, and it is here that we have another link between past and present.

The second theme, ‘Manufacturing Art’, takes a closer look at the production processes behind these objects. Here we explored the development of colour itself, from its mineral origins through to pigment processing and application, as well as the continuity between ancient and modern production. Most striking is the first known representation of a loom (UC9547) and an ancient limestone palette (UC2484) placed alongside a modern plastic watercolour palette and a photograph of loom types still in use today.

Faience collar from Amarna (UC1957)

The object we’ve chosen as a ‘spotlight object’ for the future display is a stunning faience beaded collar from Amarna, made up of 335 beads featuring vibrant floral motifs from grapes to petals and palm-leaves (UC1957). One bead in the collar even preserves the royal cartouche of Tutankhamun! This collar presents a unique link between Amarna faience and Sayed Mahmoud’s tapestry: a chance to bring together themes of colour, motif, and aspects of the Egyptian landscape both ancient and modern.

Reflecting on our Experience

Max: Working with the Petrie Museum’s collections has been incredible. Selecting only a handful of objects from its rich and representative tapestry (pardon the pun!) was a challenging yet rewarding experience as I got to know and understand these objects on a more intimate level. I enjoyed the process of selection based on not only the comparative links that they could evoke with Sayed Mahmoud’s art but also on their actual condition and viability for display. As a conservator-in-training I have a renewed desire to care for archaeological objects such as these as best I can in my future career so that they remain in place for future generations to learn from.

Max and Naomi in the Petrie Museum, June 2021

Naomi: As a child, I always loved seeing how the past is in many ways extraordinarily similar to the present, while still feeling like a whole different world. As an adult, it is my dream to work in museums and heritage, perhaps undertaking a similar role as this project. Working with the Petrie Museum’s collection has been an amazing experience, and one I will never forget. This museum is so unique, and I have loved working with it. I will take from this project a renewed love in Ancient Egypt (though my heart still belongs to Classical Archaeology!) and the joys the Petrie Museum holds.

Curating the Petrie Museum: Three Object Stories

Anna E Garnett26 July 2017

I’ve just come to the end of my first month as Curator of the Petrie Museum. While my feet are getting closer to the ground with every day that passes, I am truly struck by this incredible collection every time I walk into the galleries and I’m sure this will continue to be the case for a long time to come!

For my first blog post as Curator, I wanted to present my ‘favourite object’ from the Petrie Museum collection. However, it’s such a challenge to pinpoint only one object so I’ve chosen three! Each of these objects looks somewhat unassuming amongst the vast collection, but have their own unique stories to tell about how ancient Egyptians and Sudanese people made, used and re-used objects.

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Glass delusions from the ancient Egyptian world

uczcast4 November 2015

This post is part of a series exploring the exhibition Glass Delusions at the Grant Museum of  Zoology.

We often visualize ancient Egypt in sandy hues against the backdrop of a clear blue sky, or the watery Nile framed by green vegetation. Yet there was a much wider palette of colours used in the adornment of palaces, temples and decorative objects. The Egypt world was brightly, sometime garishly, vibrant with colour. Glass was one of the luxury materials that came to be used for decoration during the period Egyptologists call the New Kingdom, around 1500 BC.

Armana glass rods on display in Glass Delusions at the Grant Museum of Zoology. 18th Dynasty, Amarna, UC22911 - UC22920

Armana glass rods on display in Glass Delusions at the Grant Museum of Zoology.
18th Dynasty, Amarna, From the Petrie Museum collection (UC22911 – UC22920)

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Back to Ancients/Basics

Edmund Connolly13 December 2013

by guest blogger: Helen Pike

Feeling the stress of Christmas, blitzed out on overpriced gaudy baubles, one too many festive drinks on the calendar, need a restorative notion …. then take a tour round the Petrie museum this December time and contemplate a more ancient approach to soothe your furrowed brows…

Why not deck the halls with thoughts of the Amarna temple wall tiles

A colourful array of Amarna tiles. Petrie Museum of Egyptian Archaeology

A colourful array of Amarna tiles. Petrie Museum of Egyptian Archaeology

These tiles were found at Amarna capital of the heretic Pharaoh Akenaten with his missus the renowned beauty Nefertiti -who both knew a thing or two about decoration preferring to chuck out the chintz if you like and gods of previous dynasties and bring in a revolution in terms of artistic production and new idols – the sprit of Aten. The tiles in the Petrie collection are exquisite in terms colour and pattern and conjure up what must have been a spectacular wall covering in the temple. Take a leaf out of the master of sun worship and reinvent your home your own way this Christmas with a new take on décor and not be swayed by the gaudy baubles out there… (more…)

Who is ‘the Man from Mitanni’?

Debbie J Challis1 February 2011

Museum research can be like detective work – like Sherlock Holmes in a filing cabinet. (If there are any Benedict Cumberbatch fans reading this, don’t get distracted by that image). A vital part of clue finding is not to trust what you are told by museum databases.

At the moment I am working on an exhibition and events programme around a series of photographs that the archaeologist Flinders Petrie took for ‘The Committee appointed for the purposes of procuring, with the help of Mr Flinders Petrie, Racial Photographs from the ancient Egyptian Pictures and Sculptures’. In actual fact, Petrie only received £20 from them. The scientist Sir Francis Galton gave almost £300 from ‘his own pocket’ towards the expedition in 1886-87. (More on Galton in future posts. . .). (more…)