Figurine of a sleeping woman

Figurine of a sleeping woman
Statues of naked women, stretched out on a bed, are collectively known as "concubines" of the dead. They appear in great number from the New Kingdom onwards. Their specific role is not very clear: could it be that the figurines were destined to ensure the sexual activity of the deceased in the Afterlife, and the procreation which results from it? The Brussels example represents a naked woman, wearing an imposing black wig which is surmounted by a ...perfume cone. Her body carries traces of many different colours. The bed, very simple, is provided with a geometric decoration of which the colours have practically disappeared.

http://www.globalegyptianmuseum.org/record.aspx?id=407
GOVERNORATE OF ASIUT: RIFA
NEW KINGDOM: 18TH DYNASTY
M.-P. Vanlathem, Oudegyptische lijkkisten en mummies - Cercueils et momies de l'Égypte ancienne, Bruxelles 1983, 48-49
J.-Ch. Balty, e.a., Koninklijke Musea voor Kunst en Geschiedenis, Brussel, Oudheid - Musées Royaux d'Art et d'Histoire, Bruxelles, Antiquité - The Royal Museums of Art and History, Brussels, Antiquity, Bruxelles 1988, 30-31
F. Lefebvre et B. Van Rinsveld, L'Égypte. Des Pharaons aux Coptes, Bruxelles 1990, 109
KMKG - MRAH

Fragment of relief

Fragment of relief

This fragment of relief was acquired during the sale of the P. Phillip collection at Paris in 1905. It probably comes from a Theban tomb and represents the head of a dignitary. The style and the colours indicate that the piece dates from the end of the 18th Dynasty or from the beginning of the Ramesside Period.

http://www.globalegyptianmuseum.org/record.aspx?id=275

 KMKG - MRAH

THEBES: WEST BANK

NEW KINGDOM

F. Lefebvre et B. Van Rinsveld, L'Égypte. Des Pharaons aux Coptes, Bruxelles 1990, 132

statue

Statue




diorita




GRAECO-ROMAN PERIOD




http://www.globalegyptianmuseum.org/record.aspx?id=16081




S. REINACH, Répertoire de la statuaire grecque et romaine, IV, 2e éd., Paris, 1913, p. 253, n° 5; Fr. W. VON BISSING, Denkmäler ägyptischer Skulptur, Munich, 1914, com. pl. 112-113; Fr. W. VON BISSING, «Ägyptische Kultbilder der Ptolemäer-und Römerzeit», in Der Alten Orient, 34, 1/2, Leipzig, 1936, p. 12, n. 3, pl. 3, fig. 7; Collection Raoul Warocqué. Antiquités égyptiennes, grecques et romaines, 2e éd., Bruxelles, 1916, p. 68, n° 130; Fr. CUMONT, Les religions orientales dans le paganisme romain, Paris, 1929, p. 71-72; B. VAN DE WALLE, Antiquités égyptiennes, Bruxelles, 1952 (Les antiquités égyptiennes, grecques, étrusques, romaines et gallo-romaines du Musée de Mariemont), n° E. 51, p. 32, pl. 8; B. H. STRICKER, «Graeco-egyptische private sculptuur», in OMRO, 41, 1960, p. 30; Rome, ses origines et son Empire (catalogue d’exposition. Morlanwelz, Musée de Mariemont, 7 mai - 31 octobre 1968) (Trésors inconnus du Musée de Mariemont, 1), n° 211, p. 79-80; A. ROULLET, The Egyptian and egyptianizing monuments of imperial Rome, Leyde, 1972 (EPRO, 20), n° 136, p. 95; E. J. WALTERS, «Attic grave reliefs that represent women in the dress of Isis», in Hesperia suppl. 22, 1989, p. 9, n. 24; M.-C. BRUWIER, «La collection égyptienne de Raoul Warocqué, I. De 1888 à 1911», in Cahiers de Mariemont, 18-19, 1987-1988, p. 52-54; M.-C. BRUWIER, «Souveraine ou déesse?», in L. LIMME et J. STRYBOL (éds.), Aegyptus museis rediviva. Miscellanea in honorem Hermanni De Meulenaere, Bruxelles, 1993, p. 47-62; K. LEMBKE, Das Iseum Campense in Rom. Studie über den Isiskult unter Domitian, Heidelberg, 1994 (Archaeologie und Geschichte, 3), p. 231, n° 3; L’Égypte romaine - l’autre Égypte (catalogue d’exposition. Marseille, Musée archéologique, 4 avril - 13 juillet 1997, n° 208, p. 206; M. DEWACHTER, Pour les yeux d’Isis (catalogue d’exposition. Carcassonne, Musée des Beaux-Arts, 23 janvier - 19 avril 1998, n° 38, p. 110; PM, VIII, 2, 1999, p. 1004, n° 801-805-460; S. ALBERSMEIER, Untersuchungen zu den Frauenstatuen des ptolemaïschen Ägypten, Mayence, 2002 (Aegyptiaca Treverensia, 10), n° 90, p. 338-339, pl. 48 c et d; Cl. DERRIKS et L. DELVAUX (éds.), Antiquités égyptiennes au Musée royal de Mariemont, Morlanwelz, 2009, p. 92-99.




MUSÉE ROYAL DE MARIEMONT

Harwa

Block statue of the chief steward Harwa / Harua

XXVI dynasty

Neues Museum

Berlin

Nursing woman

Period:

Old Kingdom

Dynasty:

Dynasty 5

Reign:

reign of Niuserre or later

Date:

ca. 2420–2389 B.C. or later

Geography:

From Egypt; Probably from Memphite Region, Giza, Tomb of Nikauinpu

Medium:

Limestone, paint traces

Dimensions:

h. 10.5 cm (4 1/8 in)

 

 

 

 http://www.metmuseum.org/art/collection/search/543905

 

 

 

 This woman sits on the ground with one knee raised. Against the hammock of cloth formed by her skirt stretched over her knee she holds a child whose yellow skin indicates she is a girl. With one hand the woman holds the child's head, while with the other she offers her breast to the child. The child's head is tilted back, either to gaze at the woman as nursing children may do, or perhaps in frustration as she cannot reach the breast. Behind the woman a red-painted and therefore male child kneels and pulls her second breast beneath her arm so that he can nurse, too.

Among Old Kingdom serving statuettes, women with chldren are a non-standard subject; indeed this is the only example depicting nursing. Serving women with children are seen more often in reliefs: in one tomb a child clings to his mother's back while she grinds grain, and nearby another woman nurses a chlld while she tends baking bread. The fact that the woman in the statuette here wears a white kerchief as do so many of the women in food preparation tasks, presumably to keep flour and such from their hair, may imply that this woman was involved in such tasks when she takes a moment to care for the children.

Statuette of nursing woman.

Statuette of nursing woman.

 XII Dynasty. Ancient Egypt. Brooklyn Museum

Brooklynmuseum.org 

The pose of the nursing woman—a standard one in Egyptian art—was also the hieroglyph meaning “nurse.” Because its subjects are not identified, this little figure probably did not represent real individuals but rather served as a votive gift requesting a goddess’s protection.

MEDIUM Limestone, paint

Place Made: Egypt

DATES ca. 1938-after 1630 B.C.E.

DYNASTY XII Dynasty-XIII Dynasty

The Tomb of Prince Montuherkhepeshef - KV19

the prince in front of Duamutef
This represents the fourth and final son of Horus, recognisable by his black canine head which is a reminder of that of Anubis. Unlike the other three, who wear golden knee-length tunics, this one is sheathed in a gilt shroud. From the front of the shroud emerge two black hands with a gold bracelet on each wrist, clutching a was-sceptre. Despite having the canine head, he still wears human hair on his head, trimmed with gold.
Again, Montuherkhepeshef has empty hands raised in homage in front of the image of the divinity.

The Tomb of Prince Montuherkhepeshef - KV19

osirisnet.net