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World Museum, Liverpool

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Liverpool's World Museum has one of the largest collections of ancient Egyptian and Nubian antiquities in the UK, with over 16,000 objects dating from around 5,000 BC to 642 AD. The original core of the Egyptian collection was given in 1867 by Joseph Mayer, an English goldsmith, collector and antiquarian (1803-1886), and was later expanded by supporting fieldwork projects of the Egypt Exploration Society, Flinders Petrie's British School of Archaeology in Egypt and especially John Garstang's excavations at Liverpool University. During the Blitz in May 1941, more than 3,000 Egyptian objects were destroyed by the Luftwaffe, with an incendiary bomb causing structural and fire damage to the building.
 
                                                                      http://www.liverpoolmuseums.org.uk/wml/
 
The expanded and redesigned Ancient Egypt gallery at Liverpool's World Museum, refurbished at a cost of £1.8m and reopened at the end of April 2017 after a year and a half of closure, is now the largest exhibition of its kind in the UK outside of the British Museum in London. The gallery space has tripled in size to around 1000m². The expansion allowed for the display of objects that had never been shown before, or that had been in storage for decades, and although the plan promised to triple the number of objects on display, it remained at around 1300. The gallery space, themed "Ancient Egypt: A Journey through Time", is divided into 7 chronological and thematic sections:

 

  • "5,000 Years" outlines the time scale and introduces the key themes.

  • The focus of the "River Nile" zone is a late predynastic female tomb excavated by John Garstang at Kostamneh in Nubia, now submerged under Lake Nasser.

  • The People of Egypt section focuses on daily life, religion and art.

  • the "African Kingdoms" section outlines the dominance of various powers over time and includes Nubian, Meroitic and

  • Greek and Roman material.

  • The highlight of the 'Afterlife' section is a 4 metre long Ptolemaic Book of the Dead papyrus of Djedhor, son of Tapes, preserved on 5 leaves in both hieroglyphic and hieratic scripts, displayed for the first time alongside 150 shabtis, a 127 centimetre high wooden statue of Osiris, animal mummies and decorated coffins.  

  • Liverpool Discovery, a circular area, illustrates Liverpool's importance as a conduit for Egyptian artefacts to England.

  • The 'Mummy Room', flanked by a pair of Sekhmet statues, contains 9 mummies, some of which are suspended above the coffin basins on multi-level supports, with each level illuminated by LED tubes.

 

I visited the galleries in the summer of 2015 during a trip with P.A.D.E.S. - Plymouth and District Egyptology Society - with 5
other members of the Egyptian Society Taunton, on whose committee I serve as webmaster. In the Liverpool galleries I photographed 6 objects originally from Deir el-Medina which were on display at the time. The museum currently holds a further 4 objects whose provenance is now known to be Deir el-Medina - these are added to the list below. In order to make this list complete, I have also added 2 additional objects which were unfortunately destroyed during the 1941 bombing and are therefore no longer part of the museum's collection.

It is interesting to note that the majority of the objects listed below - 8 out of 12 - are from Deir el-Medina and were part of Joseph Mayer's original collection with which he opened his Egyptian Museum in 1852. This was a very early date for objects from the settlement, as no scientific excavation of the site had yet been undertaken. The objects must have been either illicitly excavated by the locals in the early 19th century and/or collected by Bernardino Drovetti, the French Consul General, or Henry Salt, the British Consul General, in the 1810s, or by John Gardner Wilkinson, the pioneering English Egyptologist, who recorded information on several tombs at Deir el-Medina in the 1820s. Mayer had acquired the collection in 1839 from Joseph Sams, a Darlington bookseller, who himself had acquired it between 1830 and 1838 as part of the Egyptian collection of Charles Bogaert, a Bruges businessman (see Sams, Joseph: 'Ancient Egypt: Objects of Antiquity forming part of the Extensive and Rich Collections from Ancient Egypt, brought to England by, and now in the possession of, J Sams", London, 1839, pl.22,2). It has also been suggested that Bogaert received his collection as repayment of a debt from Jean-Baptiste de Lescluze, a Belgian shipowner and merchant who had collected the material in Egypt between 1824 and 1825 (NML,2018).
The remaining 4 objects were part of a large donation of some 200 objects from the Trustees of the Wellcome Institute in
1973.

I would like to thank the Liverpool World Museum and its staff, in particular Dr Ashley Cooke, Head of Antiquities & Curator of Egyptology, for kindly allowing me to include the museum's finds from Deir el-Medina on my website and for providing me with high quality images of the objects, and Maureen Smith, PA to the Director of the World Museum, for her assistance.
All images © National Museums Liverpool
Photography by Lenka Peacock and National Museums Liverpool

Fragment of an offering stela
From Deir el-Medina
Ramesside, possibly 19th dynasty
Limestone
Dimensions: 15x17x4 cms
Inv. no.: 1973.2.340
Gift of the Trustees of the Wellcome Collection, 1971
Currently not on display

This fragment is the lower left part of a larger stela carved in fine sunken relief. The right side shows a man kneeling with his arms raised in worship, looking to the left. On the basis of similar votive stelae from Deir el-Medina, it can be assumed that the upper register, which is now missing, bore the image of a deity, royal person or high official (vizier) whom the man is worshipping. He is clean-shaven or bald and wears an ankle-length kilt. Traces of brownish pigment remain on his head and arms.
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On the left, the kneeling man faces 3 vertical columns with hieroglyphic inscriptions.

Translation:
Line 1: <for> the Ka of the Servant of the Place of Truth
Line 2: Pa-hy-Hat, the justified,
Line 3: and his son, the Servant...

Transliteration:
Line 1: <n> kA n sDm-<aS> m st-mAat
Line 2: pA-xy-HAt mAa-Xrw tr
Line 3: i sA.f sDm-<aS>

The name is not easy to read and the identity of the person mentioned is not yet certain. The available corpus of Deir el-Medina texts does not mention a Pahyhat with the title "sDm m st mAat" - the "Servant in the Place of Truth".
of the Truth". We do know of a Pahyhat with the title of "Water Carrier" - "pA-xy-HA.t in-mw" - in lines 4-5 of the hieratic text of an ostrakon now in the Ashmolean Museum, Oxford O.Ashmolean 56, who is known from this particular text dated to year 3 of Ramesses IV (c. 1152 BC) - 20th Dynasty - where Pahyhat delivers grain and vegetables with his well-known contemporary, Pentaweret. Richard Mandeville lists him in his master's thesis on the water carriers of Deir el-Medina written at the University of Liverpool (Mandeville, 16). Pahyhat in the text on this stela gives his title as "Servant of the Place of Truth" and not as "Water-carrier", so although this gives us evidence that individuals with this name existed at Deir el-Medina, this must be a different Pahyhat, one about whom we have not yet found any additional information. Some Egyptologists suggest that his identity is that of PAy, the Servant of the Place of Truth, who was active at Deir el-Medina from the reign of Horemheb until early in the reign of Ramesses II (c. 1319-1280 BC).
The date of the stela, as suggested on stylistic grounds, coincides with the 19th dynasty (c. 1290-1270 BC).

Gina Criscenzo-Laycock points out the way the man's raised arms are depicted. Unlike most contemporary votive stelae from Deir el-Medina, where the arms of the worshipper are raised with a gap between them, this stele shows them almost overlapping. In her article (Criscenzo-Laycock,2011,123) the author lists 2 other stelae with the same feature, both in the British Museum (BM EA278 and BM EA374). The author mentions the lack of space as a possible reason for the missing gap between the raised arms, or it is possible that the listed stelae are all the work of the same craftsman.
The author dates this stela on stylistic grounds to the reign of Ramesses II, comparing it with 5 stelae from the Turin collection (50030, 50034, 50036, 50037, 50066), where she finds certain specific stylistic elements common to all 6 stelae.

The stele was bought by Henry Wellcome at an auction at the turn of the 20th century. A small piece of the auction label remains on the back of the object. No details of its exact provenance or date of discovery are known today (Criscenzo-Laycock,2011,123).
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Walking stick
19th dynasty (around 1295-1186 BC)
Inscribed and polished wood
Remains of blue pigment
Length: 46.5 cms
Diameter: 2.1 cms
Inv. no: M13821
Gift of Joseph Mayer, 1867
Currently on display in Ancient Egypt Gallery, Level 3

A distinction should be made between the owner of TT217, the well-known sculptor Ipuy(i), who lived at Deir el-Medina during the reign of Ramesses II (c. 1279-1213 B.C.) in the 19th dynasty, and the family of the sculptor Piay(ii), who served under Horemheb, Ramesses I and Seti I (c.1319-1279) and a workman Ipuy(vii) who is attested between year 1 of Amenmesses (c.1203-1200 B.C.) and at least year 1 of Siptah (c.1194-1188 B.C.) (Davies, 1996, 214) and to whom this object may have belonged. However, the name, even when accompanied by the title, is too general to allow for precise identification.
Although the lower part of the object is lost, the complete inscription survives in the form of a carefully carved single vertical column of hieroglyphs, read from top to bottom. Much of the original blue pigment used to fill in the characters remains on the wood. The wood was originally polished and is now split where the staff was broken in half.
In ancient Egypt, sticks and staffs were always regarded as insignia of status, authority and rank. This fact is supported by tomb paintings of the elite as well as by archaeological finds. (Wiese,2004,326) There is another example of a New Kingdom walking stick in the Liverpool Museum, but it is not inscribed -59.32.189
Translation of the inscription:
The one greatly favoured by his god, Amun-Re, [who
is] in Ipet-sut (= the temples of Karnak), the august
god within the Ennead (?) Ipuy


Transliteration of the inscription:
Hsy aA n nTr.f Jmn-Ra m Jpt-swt nTr Sps m-Xnw
psDt jn TAty tp m st J-pw-y Spss
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Hieratic ostrakon
From Deir el-Medina
20th dynasty
Limestone
Dimensions: 20 x 19 cm
Inv. no.: M13624
Gift of Joseph Mayer, 1867
Item is not currently on display

The ostrakon is inscribed on both sides. The recto consists of 9 horizontal lines of hieratic inscription in black ink and contains the opening lines of the Prophecy of Neferty from Papyrus Petersburg 1116B recto. The verse consists of 9 lines of hieratic inscription written in black ink and contains a list of the household, giving the name of the householder with his title, followed by the name of his wife and their children, but without affiliations. It is impossible to tell from its format whether this household list is a draft declaration or notes for a local, domestic purpose. The list illustrated the relationship of the individual to the demands of authority (Eyre,2013,217-218).
Hieratic ostrakon
From Deir el-Medina
19th dynasty, reign of Merenptah
(around 1213–1203 BC)
Limestone
Dimensions: 16.5 x 11.5 cm
Inv. no.: M13625
Gift of Joseph Mayer, 1867
Currently on display in Ancient Egypt
Gallery, Level 3
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This limestone ostrakon is inscribed on both sides. There are 10 horizontal lines of hieratic inscription on the obverse and 9 horizontal lines of hieratic inscription on the reverse. Both black and red ink is used. Professor Jaroslav Černý suggested that both sides were inscribed by the same hand (Černý, Gardiner, "Hieratic Ostraca" (1957), plates 63 and 63a). It has been noted that the contents are various accounts of supplies and work done, i.e. in connection with a coffin and several feasts. Professor Mark Collier of the University of Liverpool gave a brief account of the inscription in 2013: “The recto opens with four lines specifying items given to an unnamed individual at a series of festivals (festivals of Taweret, Hathor and Meretseger). Lines 5 onwards are repeated instances of giving (but without specified occasion), all probably as recompense for some activity. The verso starts with a section (verso lines 1–5) of memorandum of items connected to work of 'my three lads', possibly people within a workshop. Verso line 6 end is a memorandum concerning a bed which ends up with Anupemheb, who saws off some wood for use in a coffin”.
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Hieratic ostrakon
From Deir el-Medina
19th-20th dynasty (about 1295-1069 BC)
Limestone
Black ink
14.5 x 10 cms
Inv. no: M13626
Gift of Joseph Mayer, 1867
Currently on display in Ancient Egypt
Gallery, Level 3
M13626view2-9.jpg
This limestone ostrakon is inscribed on both sides: the obverse (pictured) contains 9 horizontal lines of hieratic script in black ink, the reverse contains a further 7 lines of the script, mostly in black ink, except for the beginning of line 4, which is written in red. The account contains a list of wooden items produced by a carpenter for a customer. The receipt shows the value of the items in copper deben. Most of the items are of a funerary nature - 2 outer anthropoid coffins, 1 inner anthropoid coffin, 1 shabti box, blue pigment and another coffin. The total value of the goods is 112 deben.
Wooden cubit rod
From Deir el-Medina
Late 18th dynasty
Length: 52 cms
Width: 3.5 cms
Inv. no: M13825
Gift of Joseph Mayer, 1867
Currently on display in Ancient
Egypt Gallery, Level 3
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The royal cubit was the main unit of measurement used in ancient Egypt to determine the length of objects or short distances.
It measures 52.4 cm, which is approximately the length of an adult man's forearm from the elbow to the fingertips.
It was made up of 7 palm widths of 4 thumb widths each (28 digits to the cubit) (Shaw,1995,174). 

On this particular rod the divisions of the cubit are marked on average at 1.9, 3.8 and 7.6 cm. One edge of the rod has a sloping surface. One side of the object is carved with a hieroglyphic inscription, written from right to left, containing a funerary offering formula to Amun-Re, Ptah and Thoth on behalf of Nakhy, a tomb builder from Deir el-Medina.


Translation: An offering which the King gives to Amun-Re and to Ptah, Lord of the Two Lands, and to Thoth, Lord of Divine
Words, great god who dwells in Hermopolis, so that they may give life, prosperity and health, and a good lifespan, following
their Ka's, for the Ka of the Servant in the Place of Thruth, Any.

This workman Nakhy should not be confused with the workman Nakhy, son of Bukentef, who lived at the end of the 19th
dynasty or with the latter's grandfather, the chief craftsman Nakhy, who came from another family.

The workman Nakhy and his wife are known from following objects now in other European museums:
- stela no. 50010 in the Turin Museum (M .Tosi and A. Roccati, "Stele e altre epigrafi di Deir el Medina. (n.
50001-50262) : Pubblicate con il contributo del Consiglio nazionale delle ricerche" (Turin, 1972), 43-4)
- a limestone tomb-relief in the British Museum no. 281 (Bierbrier, M L, "Hieroglyphic Texts from Egyptian Stelae etc.",
Part 10, London, BMP, 1982)
- funerary cones discovered in pit 1138 at Deir el-Medina (B. Bruyère, "Rapport sur les fouilles de Deir el Médineh;
(1928)" (Cairo, 1929), 12-16).

More information:
https://www.liverpoolmuseums.org.uk/artifact/inscribed-cubit-rod

http://www.globalegyptianmuseum.org/record.aspx?id=4424
Shabti_of_Pay._Liverpool-1-11.jpg
Shabti of Pay
From Deir el-Medina
New Kingdom (Ramesside Period, around 1295-1186 BC)
Wood
Length: 20.5 cms
Inv. no: M13603
Gift of Joseph Mayer, 1867
Currently on display in Ancient Egypt Gallery, Level 3

This is a painted wooden shabti of Pay. The arms of the shabti crossed over the chest and the bandaged lower body indicate that the figure is mummified, identifying it with the god Osiris, who is also depicted in this manner. The heavy, tripartite wig is plain, painted black with gold bands at the ends. The wig rests on an elaborate and colourful wesekh collar with four rows of black and red ornaments. The protruding hands are painted red, indicating that the figure is male. In its present state there is no trace of tools. A pair of square woven baskets are carried behind each shoulder. The shabti's beautifully carved face is painted red with large eyes outlined in black. The body is painted yellow over a white ground, with eight horizontal lines of hieroglyphic inscription written in black ink within a red frame around the figure's body. Pay's name and title are given within the text, which is the usual Chapter 6 of the Book of the Dead.
Translation:
"The illuminated one, the Osiris, the Draughtsman, Pay, the justified, he speaks: O, these shabtis, if one counts, if one reckons the Osiris, the Draughtsman, Pay, the justified, to do all works that are to be done there in the underworld – now indeed obstacles are implanted therewith – as a man at his duties, to cultivate the marsh, to irrigate the riverbank fields, to ferry by boat sand of the east to the west, ?, if one counts, if one reckons ... ‘here I am’ … Pay".

Transliteration:
sHD Wsir sS qd PAy mAa-xrw Dd.f i.Swbty ipn ir ip.tw ir Hsb.tw Wsir sS qd PAy mAa-xrw m kAt nbt irrt im Xrt-nTr ist
Hw sdbw im [m] s r Xrt.f srwd sxt r smHt wdbw r Xnt Sa [r] iAbt r imnt iry ip.tw iry Hsb.tw ... m.k ... PAy


There are 2 men with the name Pay and the title "draftsman" known from Deir el-Medina. Pay(i), son of Ipuy(v), and his grandson, also a draughtsman, Pay(ii), son of Prehotep (Davies,1996,180). This shabti figure could belong to either of them.
Mummy mask
From Deir el-Medina
New Kingdom, 1550-1069 BC
Cartonnage
Dimensions: 20 cmx28 cm
Inv. no: 1973.2.423
Gift of the Trustees of the Wellcome Collection, 1971
Currently on display in Ancient Egypt Gallery, Level 3

This striking cartonnage mask, which was used to cover the head of a
mummy, is very similar in style to the New Kingdom masks found in the tombs of Deir el-Medina.
The mask was glued to the mount when it was part of the Wellcome Collection. After becoming part of the Liverpool Museums collection, the object was conserved in 1993-1994, when the flaking paint was consolidated, but it is currently impossible to remove the mount without damaging the mask.
Mummy_mask._Liverpool-12.jpg
Cartonnage appeared during the Old Kingdom. It consisted of layers of linen or papyrus glued together with resin and then covered with plaster. It was moulded to the shape of the body to make mummy cases or masks. When the material was dry, it was painted.
In September 2020, I saw one of the oldest known examples of this practice at the Kings of the Sun exhibition at the National Museum in Prague, Czech Republic. The object came from the 5th dynasty mastaba of the Central Abusir of Mernefu. It was found in its burial chamber, placed over the face of the deceased's mummy. It is kept in the Náprstek Museum of Asian, African and American Cultures in Prague, Inv. no. P 5704.
The materials used to make cartonnage changed over time. In the Middle Kingdom it was common to use plastered linen, in the Third Intermediate Period linen and stucco, in the Ptolemaic period old papyrus scrolls and in the Roman period thicker fibrous materials.

For further information: https://www.liverpoolmuseums.org.uk/artifact/mummy-mask-1
Bowl_sherds._Liverpool-13.jpg
Fragments of a pottery bowl
From Deir el-Medina
18th dynasty, 1550-1295 BC
Pottery
Black and red pigment
Dimensions: 5.2 cm x 7.7 cm x 1 cm
Inv. no.: 1973.1.698a - top image
Inv. no.: 1973.1.698b - bottom image
Gift of the Trustees of the Wellcome Collection, 1971
Ex Wellcome collection inv. W34/22(3)
Currently on display in Ancient Egypt Gallery, Level 3

The fragment shown above forms the rim and part of the base of a
of a shallow bowl of polished terracotta. Black and red
borders run horizontally across the top and bottom of the fragment.
A jumping horse, held by a fragmentary arm on a rope, is painted in red and black pigments.  
The lower object consists of 4 fragments glued together and depicts a similar scene with a horse without an arm. To the right of the horse is a partial depiction of an ankh.
There are 3 very similar fragments in the Louvre collection that appear to be from the same vessel. Two of these are on display in gallery 5, in display case 1, alongside other figured ostraca from Deir el-Medina.
E12968A and E12968B+C - excavated by Bernard Bruyère during his first season at Deir el-Medina from an undecorated tomb of 1095 in the 18th dynasty cemetery.
All the fragments seem to show Greek influence. Could the vessel be of Minoan or Mycenaean origin? Could it have come to Thebes and later to Deir el-Medina as part of an import? Or was it Minoan influence, as now suggested by a
modern comprehensive comparative study of murals at several New Kingdom sites that reflect Egyptian artistic production? Perhaps chemical analysis of the fragments will answer some of these intriguing questions.

More information:
https://www.liverpoolmuseums.org.uk/artifact/bowl-sherd
http://egyptomusee.over-blog.com/article-salle-5-vitrine-1-les-ostraca-figures-avec-bovides-37046325.html
Stele dedicated to Meretseger
From Deir el-Medina
19th dynasty
Limestone
Height: 20.9 cms
Width: 16 cms
Inv. no: M13830
Gift of Joseph Mayer, 1867

In the upper half of this round stele there are six serpents, all facing to the right and painted in yellow and black.
The lower half of the stela is divided into 2 registers: in the right register there is the figure of a kneeling woman, facing left, with her arms raised in worship. She was named Henut by Newberry and Peet. She wears a long, finely pleated white linen dress and a perfumed cone on top of her long, elaborately curled black wig. In the left register of the lower half of the stela there are four vertical lines of hieroglyphic text written in dark colour and read from left to right, top to bottom.

Translation of the text: Giving adoration to the Ka of Meretseger, Lady of the Western Desert, Mistress of Heaven, Lady of all the gods, that she might give life, health and prosperity to the Ka of the servant ...
The rest of the text is very unclear.
M13830-14.jpg
According to Peet the stele was "almost perfectly preserved", was well-executed and finely coloured.
Meretseger, the "One who loves silence", was worshipped as the protective goddess of the Theban necropolis, often depicted
in the form of a snake or as the Theban peak itself.
This stele was on display in the 1930's and was almost certainly destroyed in 1941. Peet examined it while preparing his
guide to the Gallery and his notes of the inscription are used here (Newberry-Peet,1932,53,11).
M13832-15.jpg
Stele dedicated to Meretseger
From Deir el-Medina
19th-20th dynasty
Limestone
Height: 12 cms
Width: 14.5 cms
Inv. no: M13832
Gift of Joseph Mayer, 1867
This limestone votive stele was also dedicated to the goddess Meretseger. The single scene is framed by a line border that follows the curve of this short, wide stela (possibly only the upper half). Meretseger is depicted with a female body and a serpent's head, seated on a throne facing right in front of a table piled with offerings. In her right hand she holds the Ankh-sign and in her left hand the Was-sceptre. She wears a high double-feathered crown. Around the scene there are 5 columns of vertical hieroglyphic inscriptions giving Meretseger's epithets.

Translation of the text: Meretseger, the Peak of the West, Lady of the Sky, Mistress of all the gods.

The technique of the stele execution was described as good - the lines were clearly carved and the scene was well
proportioned (Newbery-Peet,1932,53,9).
Sources:
1. Bienkowski, Piotr : Gifts of the Nile : Ancient Egyptian arts and crafts in Liverpool Museum
London : HMSO, 1995
2. Criscenzo-Laycock, G.: A New Ramesside Stela from Deir el-Medina, IN: Ramesside Studies in Honour of K.A. Kitchen / edited by M. Collier and S. Snape, Bolton, 2011, pp. 123-126.
3. Mandeville, Richard: The water-carriers of Deir el-Medina
Study written for his M.A. thesis at the Liverpool University, the text supplied through private e-mail correspondence
4. Eyre, Christopher: The use of documents in Pharaonic Egypt
Oxford : Oxford University Press, 2013.
5. Newberry-Peet: Handbook and Guide to the Egyptian Collection on Exhibition in the Public Museums, Liverpool, 1932
6. Oakey, Michael : Liverpool World Museum’s Ancient Egypt Gallery reopens after major expansion
IN: KMT a Modern Journal of Ancient Egypt, Vol. 28, Nu. 4, Winter 2017-18, pp. 43-57
7. Shaw, Ian, Nicholson, Paul: British Museum dictionary of ancient Egypt
London: British Museum Press, 1995.
8. Tutankhamun - The Golden Beyond : Tomb Treasures from the Valley of the Kings / edited by André Wiese and Andreas Brodbeck
Basel : Antikenmuseum Basel und Sammlung Ludwig, 2004.
9. Davis, Benedict G.: Genealogies and personality characteristics of the workmen in the Deir el-Medina community during the Ramesside period. Thesis submitted in accordance with the requirements of the University of Liverpool for the degree of Doctor of Philosophy
Liverpool : University of Liverpool, February 1996.
On-line resources:
https://www.liverpoolmuseums.org.uk/whatson/world-museum/exhibition/ancient-egypt
http://www.globalegyptianmuseum.org/record.aspx?id=4423
http://www.globalegyptianmuseum.org/record.aspx?id=4424
http://egyptomusee.over-blog.com/article-salle-5-vitrine-1-les-ostraca-figures-avec-bovides-37046325.html
https://dl.tufts.edu/catalog/tufts:22393
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