It’s been a busy month for us at the Petrie Museum, not only gearing up for the start of the autumn term but also preparing object loans for upcoming exhibitions. Our vast collection offers many opportunities to contribute to varied exhibition narratives: our objects illustrate life in the Nile Valley over thousands of years, from Prehistory through the pharaonic period and right through to the Greco-Roman, Coptic and Islamic periods. We also hold a world-renowned collection of papyrus, which is the focus of our ongoing Papyrus for the People project funded by Arts Council England. We have loaned papyri to three very different exhibitions this September, which each tell fascinating stories of life and death in ancient Egypt. (more…)
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.
Human remains at the Petrie Museum. It’s time to come out of storage!
Death is part of life, and for me, death is very much a part of work since I am currently rehousing the human remains at the museum. In February, I attended a seminar at the Institute of Archaeology (IoA), PASSING ENCOUNTERS: The dead body and the public realm, the purpose of this was to stimulate discussion about death in an open and frank manner. I joined to learn more about how human remains are portrayed in social media and to gather people’s opinions on death. But, I learned much more than that; how a body decays, what different stages of decay smells like (See Fig.1.), and how death and the body have been portrayed throughout history
As a Conservator, I often think of how privileged I am to be able to handle and examine museum objects, up close and personal. Not all objects move me, but at the moment I am very pleased to be working on this one:
I’ve recently returned from holiday in Cascais, near Lisbon in Portugal, which was for the most part a fairly relaxing break. For the most part. There was the small matter of a rather lengthy complaint furiously scribbled into a comments book at one particular museum we visited and my husband being subjected to an in-depth critique of ethical museum display practice – for several hours. So what got me so agitated? The display of three mummies: two Peruvian and one Egyptian in the Museu Aqueológico do Carmo, Lisbon.
Every collection has its nooks and crannies, and it’s rare for curators to know the full scope of their domain. So every now and again we’ll take a quiet moment to sneak into our stores and explore that neglected corner or unfamiliar drawer, just to see what might be lurking.
Late last year I was looking for some material for my new conservation volunteers to work on. I’d begun training them in the mysteries of plastazote cutting – that’s making snug little foam housing to hold objects safe – and I wanted some simple starter objects. You know the sort of thing: nice and flat on the underside, so there’s no tricky shaping of the mount to match the curve of the object, and not so fragile that the students get disheartened by accidentally breaking something. We’d already done a batch of cylinder seal impressions (straight rectangular lines, flat as a tack – lovely). But now I wanted to try them on something new.
So I started to explore the stores in search of inspiration. Here’s what I found: (more…)
by guest blogger: Alice Stevenson
What are the chances? Two teams of archaeologists separated by a more than century stumbling across small fragments of the same object while working across a wide expanse of desert? Quite high as it happens.
At the turn of the 19th century Flinders Petrie’s teams were trawling through the debris of the tombs of the first rulers of Egypt at a site called Abydos.
On September 18th, UCL Museums and Collections participated in a worldwide event on Twitter: Ask a Curator day. The plan was to have a handful of curators on call to deal with questions as they flooded in from a curious public. The reality was that we didn’t have many queries sent directly to our feed, so we went out into the Twittersphere to seek out interesting questions to answer. As Keeper of the Institute of Archaeology Collections, I spent an hour manning the virtual desk, and found it an interesting experience. (more…)
Flinders Petrie began his autobiography by warning that “The affairs of a private person are seldom pertinent to the interests of others” . Fortunately for both us and his publisher this proved no impediment, and Petrie went on to write about himself, his thoughts and his life’s work at great length.
Petrie was a prolific writer, both in the public and private arena, and we are not short of material to help us learn about his life. But not everything he wrote was wordy. I’d like to introduce you today to a more unexpected side of his penmanship: his personal appointment diaries. (more…)
I’m quite partial to memorabilia, and I have a passionate interest in the life and work of Flinders Petrie, not just because he’s a an impressively beardy archaeologist and legend, but also because for some years now I’ve been responsible for looking after his collection of Palestinian antiquities at the UCL Institute of Archaeology Collections. So I was quite chuffed when I did a search on Ebay a few years ago, and came across this inspiring item. (more…)