| Fitzwilliam Museum, Cambridge |
Ostrakon of an unshaven stone mason
Fitzwilliam Museum, Cambridge
E.GA.4324a.1943.
Limestone
13.5x15 cm.
Red and black line drawing
Ramesside period, 1200-1153 BC
The stone mason's beard is stippled and his
mouth open. Possibly, he is meant to be
singing, while at work. He is endowed with an
overly large ear and bulbous nose. He is
gripping the tools of his trade, the chisel and
mallet. The subject of this ostrakon is
unique, unparalleled in the official art of
Egypt.
Fitzwilliam Museum, Cambridge
E.GA.4324a.1943.
Limestone
13.5x15 cm.
Red and black line drawing
Ramesside period, 1200-1153 BC
The stone mason's beard is stippled and his
mouth open. Possibly, he is meant to be
singing, while at work. He is endowed with an
overly large ear and bulbous nose. He is
gripping the tools of his trade, the chisel and
mallet. The subject of this ostrakon is
unique, unparalleled in the official art of
Egypt.
The page was last modified on June 9th 2009
Sources:
1.The museum's own labels
2. Brunner, Emma : Egyptian artists' sketches : figured ostraka from the
Gayer-Anderson collection in the Fitzwilliam Museum, Cambridge.
Leiden : Netherlands Historisch-Archaeologisch Instituut le Istanbul, 1979.
3.Images of Fitzwilliam Museum objects and any text by the Fitzwilliam
Museum reproduced on this site are ©The Fitzwilliam Museum and are subject
to The Fitzwilliam Museum's Website Copyright Terms and Conditions which can
be read athttp://www.fitzmuseum.cam.ac.uk/terms.html.
1.The museum's own labels
2. Brunner, Emma : Egyptian artists' sketches : figured ostraka from the
Gayer-Anderson collection in the Fitzwilliam Museum, Cambridge.
Leiden : Netherlands Historisch-Archaeologisch Instituut le Istanbul, 1979.
3.Images of Fitzwilliam Museum objects and any text by the Fitzwilliam
Museum reproduced on this site are ©The Fitzwilliam Museum and are subject
to The Fitzwilliam Museum's Website Copyright Terms and Conditions which can
be read athttp://www.fitzmuseum.cam.ac.uk/terms.html.
Ostrakon of a man driving a bull
Fitzwilliam Museum, Cambridge
E.GA.4288.1943.
Limestone
15x12 cm.
New Kingdom
Possibly from Deir el-Medina
The body of the man is painted red, the
wig and stick black, the bull red with
black markings - composed of patterns
of dots, stripes and solid patches of
colour. The scene is beautifully drawn,
and one of the finest examples of its
kind.
Fitzwilliam Museum, Cambridge
E.GA.4288.1943.
Limestone
15x12 cm.
New Kingdom
Possibly from Deir el-Medina
The body of the man is painted red, the
wig and stick black, the bull red with
black markings - composed of patterns
of dots, stripes and solid patches of
colour. The scene is beautifully drawn,
and one of the finest examples of its
kind.
Ostrakon of a bull
Fitzwilliam Museum, Cambridge E.GA.4297.1943.
Limestone
8x7 cm.
Black line drawing
New Kingdom
Simple yet skilled drawing of a bull, walking to the
right. The motif is common in Egyptian art and this
example is the product of a stylistic tradition
already hundreds of years old. Such bulls are to be
found among the wall reliefs of paintings in almost
every tomb, in scenes of agriculture, cattle
breeding, among processions of offering bearers, or
in funerals. This particular drawing is an artist's
study, and shows faint correction lines in a few
places, along the shoulder, the back and the croup.
Fitzwilliam Museum, Cambridge E.GA.4297.1943.
Limestone
8x7 cm.
Black line drawing
New Kingdom
Simple yet skilled drawing of a bull, walking to the
right. The motif is common in Egyptian art and this
example is the product of a stylistic tradition
already hundreds of years old. Such bulls are to be
found among the wall reliefs of paintings in almost
every tomb, in scenes of agriculture, cattle
breeding, among processions of offering bearers, or
in funerals. This particular drawing is an artist's
study, and shows faint correction lines in a few
places, along the shoulder, the back and the croup.
Ostraka of monkeys
Fitzwilliam Museum, Cambridge
E.GA.4292.1943. E.GA.4293.1943.
11x9.75 cm (left), 8.5x13 cm (right)
Late dynasty XVIII - early dynasty XIX, 1350-1250 BC
Black line drawing, with red, yellow and grey paint
Two pet monkeys wearing belts are shown on these flakes. It is not clear whether specific stories
are illustrated here or whether the artisan merely chose to represent a beloved pet. In one scene
the monkey looks over his shoulder as he scampers up a dom palm tree to pick fruit. He is
sketchily painted, his face is human and he wears a tiered male wig. His human aspect might refer
to the mischievous behaviour of a child. In the other scene, a monkey drawn in considerably more
detail is being chivvied along by a partially preserved figure wielding a long reed. The monkey looks
back over his shoulder.
Fitzwilliam Museum, Cambridge
E.GA.4292.1943. E.GA.4293.1943.
11x9.75 cm (left), 8.5x13 cm (right)
Late dynasty XVIII - early dynasty XIX, 1350-1250 BC
Black line drawing, with red, yellow and grey paint
Two pet monkeys wearing belts are shown on these flakes. It is not clear whether specific stories
are illustrated here or whether the artisan merely chose to represent a beloved pet. In one scene
the monkey looks over his shoulder as he scampers up a dom palm tree to pick fruit. He is
sketchily painted, his face is human and he wears a tiered male wig. His human aspect might refer
to the mischievous behaviour of a child. In the other scene, a monkey drawn in considerably more
detail is being chivvied along by a partially preserved figure wielding a long reed. The monkey looks
back over his shoulder.
Ostrakon showing a war chariot
speeding over rocky ground
Fitzwilliam Museum, Cambridge
E.GA.4287.1943.
Limestone
15x8.5 cm.
Black and red outlines with black
and red paint
New Kingdom
speeding over rocky ground
Fitzwilliam Museum, Cambridge
E.GA.4287.1943.
Limestone
15x8.5 cm.
Black and red outlines with black
and red paint
New Kingdom
Ostrakon of a woman riding on a stallion
E.GA.4290.1943.
Limestone
11.3x7.5 cm.
Black and red line drawing with red paint.
19th dynasty
The drawing shows a nude woman riding towards
right on a stallion. The ground-line slopes
upwards. The horse has a short upright mane,
and wears a bridle. The woman holds a stick or
staff in her left hand. She wears an amulet on a
long string around her neck.
The black outline has been laid over preliminary
red lines. Both bodies have been painted red.
Figures on horseback are not common but do occur
in ancient Egyptian art. A similar scene on an
ostrakon in Berlin was identified as Astarte, the
Syrian goddess of love and war. It is possible
this ostrakon depicts the same topic.
E.GA.4290.1943.
Limestone
11.3x7.5 cm.
Black and red line drawing with red paint.
19th dynasty
The drawing shows a nude woman riding towards
right on a stallion. The ground-line slopes
upwards. The horse has a short upright mane,
and wears a bridle. The woman holds a stick or
staff in her left hand. She wears an amulet on a
long string around her neck.
The black outline has been laid over preliminary
red lines. Both bodies have been painted red.
Figures on horseback are not common but do occur
in ancient Egyptian art. A similar scene on an
ostrakon in Berlin was identified as Astarte, the
Syrian goddess of love and war. It is possible
this ostrakon depicts the same topic.
Ostrakon of a cat
Fitzwilliam Museum, Cambridge
E.GA.3859.1943.
9x11 cm
Limestone
Red line drawing
New Kingdom
This piece carries the drawing of a
seated cat facing towards the right.
The 1st sketch as well as the final
drawing were both made in red paint.
This simple portrait was probably a
practice piece.
Fitzwilliam Museum, Cambridge
E.GA.3859.1943.
9x11 cm
Limestone
Red line drawing
New Kingdom
This piece carries the drawing of a
seated cat facing towards the right.
The 1st sketch as well as the final
drawing were both made in red paint.
This simple portrait was probably a
practice piece.
Drawing of an unkept man carrying bags on
a stick, possibly a yoke
Fitzwilliam Museum, Cambridge E.106.1949.
Terracotta
13.9x9.8 cm.
Late dynasty XIX - 3rd Intermediate
Period, 1295-1069 BC
On this pot-sherd a field worker is
depicted with baskets or bags yoked over
his far shoulder. The man is shown balding,
with hunched shoulders, thin limbs and a
walking stick in his free hand.
a stick, possibly a yoke
Fitzwilliam Museum, Cambridge E.106.1949.
Terracotta
13.9x9.8 cm.
Late dynasty XIX - 3rd Intermediate
Period, 1295-1069 BC
On this pot-sherd a field worker is
depicted with baskets or bags yoked over
his far shoulder. The man is shown balding,
with hunched shoulders, thin limbs and a
walking stick in his free hand.
Drawing of a lion's head
Fitzwilliam Museum, Cambridge
E.GA.4289.1943.
13.5x10 cm.
Pink pottery
Red and black line drawing
Ramesside Period
This motif of a lion's head looking to the
left occurs 3 times on the inner and outer
surfaces of this fragment from a flat
pottery plate. On the inside (pictured) is a
large scale study of the head of a lion with
a closed mouth, executed in black paint with
quick, broad strokes. Underneath this
drawing, in red, is the vigorous sketch of
the rearing head of a lion about to charge,
with open jaws and outstretched tongue as
of an attacking animal. The drawings are
work of a master artist.
Fitzwilliam Museum, Cambridge
E.GA.4289.1943.
13.5x10 cm.
Pink pottery
Red and black line drawing
Ramesside Period
This motif of a lion's head looking to the
left occurs 3 times on the inner and outer
surfaces of this fragment from a flat
pottery plate. On the inside (pictured) is a
large scale study of the head of a lion with
a closed mouth, executed in black paint with
quick, broad strokes. Underneath this
drawing, in red, is the vigorous sketch of
the rearing head of a lion about to charge,
with open jaws and outstretched tongue as
of an attacking animal. The drawings are
work of a master artist.
Drawing of a seated Seth-animal
Fitzwilliam Museum, Cambridge E.GA.4300.1943.
Limestone
9.5x8 cm.
Black line drawing over red outline
New Kingdom
Possibly from Deir el-Medina.
This small ostracon shows a hieroglyph in the
form of the seated Seth-animal, looking towards
right. The species of the animal is not clear.
Along the right broken edge, part of the outline
of a cartouche is visible, which may once have
contained the name of one of the ramesside
kings. On the upper broken edge are traces of
some vertical red lines.
Fitzwilliam Museum, Cambridge E.GA.4300.1943.
Limestone
9.5x8 cm.
Black line drawing over red outline
New Kingdom
Possibly from Deir el-Medina.
This small ostracon shows a hieroglyph in the
form of the seated Seth-animal, looking towards
right. The species of the animal is not clear.
Along the right broken edge, part of the outline
of a cartouche is visible, which may once have
contained the name of one of the ramesside
kings. On the upper broken edge are traces of
some vertical red lines.
Drawing of a jackal
Fitzwilliam Museum, Cambridge
E.GA.4291.1943.
10x11 cm.
Red and black line drawing, with black paint
Ramesside Period
On this fragment there is a scene showing
a jackal wearing a robe and carrying a
sceptre. Below is a captive calf/goat.
Fitzwilliam Museum, Cambridge
E.GA.4291.1943.
10x11 cm.
Red and black line drawing, with black paint
Ramesside Period
On this fragment there is a scene showing
a jackal wearing a robe and carrying a
sceptre. Below is a captive calf/goat.
Drawing of an owl
Fitzwilliam Museum, Cambridge.
E.GA.3858.1943.
Limestone
9.5x14.5 cm.
Red and black line drawing
Ramesside Period, about 1305-1080 B.C.
This well preserved ostrakon bears a detailed
drawing of the upper half of the hieroglyphic
sign "m", an owl.
The initial outline was made in red, and
overlaid in black. The arrangement and form
of the different feathers has been skilfully
and precisely reproduced. Although the head is
turned full face, the neck, right wing, and
left leg (which is just hinted at) are shown in
a side view. The drawing may be classified as
a study of a model hieroglyph.
Fitzwilliam Museum, Cambridge.
E.GA.3858.1943.
Limestone
9.5x14.5 cm.
Red and black line drawing
Ramesside Period, about 1305-1080 B.C.
This well preserved ostrakon bears a detailed
drawing of the upper half of the hieroglyphic
sign "m", an owl.
The initial outline was made in red, and
overlaid in black. The arrangement and form
of the different feathers has been skilfully
and precisely reproduced. Although the head is
turned full face, the neck, right wing, and
left leg (which is just hinted at) are shown in
a side view. The drawing may be classified as
a study of a model hieroglyph.
Large ostrakon
Fitzwilliam Museum, Cambridge.E.GA.4298.1943.
42x27 cm.
Limestone
Black line drawing recto and verso
From Thebes, possibly from Deir el-Medina
According to inscription, 19th dynasty
A number of themes seem to have been used to explore by the artist of this ostrakon. The most
prominent design is of a shrine doorway represented in the centre. To the left of the door, the
figure of the standing donor is represented. He is an official, which is denoted by the staff of
office he holds in his left hand. Above him there is a drawing of a head of the god Ptah with a
cap and beard. On the right side of the door there is a line of hieroglyphic text, which reads
"Conquer the people of the Nine Bows" (a symbolic designation of enemies of Egypt). The whole
drawing is an example of the finest workmanship, and must have been produced as a design for a
door which the owner had commissioned with this sketch.
Fitzwilliam Museum, Cambridge.E.GA.4298.1943.
42x27 cm.
Limestone
Black line drawing recto and verso
From Thebes, possibly from Deir el-Medina
According to inscription, 19th dynasty
A number of themes seem to have been used to explore by the artist of this ostrakon. The most
prominent design is of a shrine doorway represented in the centre. To the left of the door, the
figure of the standing donor is represented. He is an official, which is denoted by the staff of
office he holds in his left hand. Above him there is a drawing of a head of the god Ptah with a
cap and beard. On the right side of the door there is a line of hieroglyphic text, which reads
"Conquer the people of the Nine Bows" (a symbolic designation of enemies of Egypt). The whole
drawing is an example of the finest workmanship, and must have been produced as a design for a
door which the owner had commissioned with this sketch.
Shabti of Sennedjem
Fitzwilliam Museum, Cambridge E.9.1887.
Limestone with pigment
Height 21.5 cm.
From Deir el-Medina, Tomb 1 of Sennedjem
New Kingdom, 19th dynasty, reign of Seti I,
1294-1279 BC
The shabti holds a broad bladed hoe against his
right shoulder and a hoe with pointed blade against
his left shoulder. A basket for seeds is depicted on
his back, slung by a rope over his right shoulder.
The text invokes the shabti as a servant, literally
"hearer of the call", to act on behalf of Sennedjem
if required at any of the works which are done in
the necropolis.
Fitzwilliam Museum, Cambridge E.9.1887.
Limestone with pigment
Height 21.5 cm.
From Deir el-Medina, Tomb 1 of Sennedjem
New Kingdom, 19th dynasty, reign of Seti I,
1294-1279 BC
The shabti holds a broad bladed hoe against his
right shoulder and a hoe with pointed blade against
his left shoulder. A basket for seeds is depicted on
his back, slung by a rope over his right shoulder.
The text invokes the shabti as a servant, literally
"hearer of the call", to act on behalf of Sennedjem
if required at any of the works which are done in
the necropolis.
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BM
Petrie
Ashmolean
Náprstek
| All the ostraka described below come from the collection formed by R.G. Gayer-Anderson (1881-1945). He lived in Egypt between 1906 and 1942 as an army medical officer, a senior civil servant and a private collector. In 1942 he left his Cairo house called Beit el-Kreatlia, to the Egyptian Government as a museum of Islamic art. He moved to Lavenham, England, to one of the best preserved of the Suffolk wool towns. Together with his twin brother, he restored Little Hall, a 14th century house built by a family of clothiers. They filled the house with a variety of art and artefacts collected during their extensive travels. |
Little Hall, the Tudor house of
Gayer-Andersons' at Lavenham
Gayer-Andersons' at Lavenham
| The material is mostly limestone, there are 2 terracotta shreds and 1 grey stone. The ostraka below are all painted, but the museum collection contains also examples of figures carved in relief - rather products of sculpture than of drawing. The ostraka are drawn in black and/or red ink, but yellow and grey pigments also appear. The exact provenance of the collection is not known. They are dated on the evidence of stylistic criteria or names present in inscriptions. They can be assigned to the 18th-20th dynasties. Most pieces are considered to come from Deir el-Medina. Images of Fitzwilliam Museum objects and any text by the Fitzwilliam Museum reproduced on this site are ©The Fitzwilliam Museum and are subject to The Fitzwilliam Museum's Website Copyright Terms and Conditions which can be read at http://www.fitzmuseum.cam.ac.uk/terms.html. |
The British Museum also received
some artefacts form the collection.
The Gayer-Anderson' cat
British Museum
Bronze
Late Period, about 664-332 BC.
some artefacts form the collection.
The Gayer-Anderson' cat
British Museum
Bronze
Late Period, about 664-332 BC.
| Gayer-Anderson donated part of the collection of Egyptian antiquities to Fitzwilliam Museum in Cambridge. The artefacts arrived between 1943 and 1949. Altogether the Fitzwilliam Museum obtained 46 pieces of ostraka. 15 of these have sketches on both verso and recto, so the number of representations is 61. Majority - 54 - are images of figures, only 4 carry text. |
Turin
| The Nine Bows This is an ancient term that collectively referred to the enemies of Ancient Egypt. The name could originate from their use of bows and arrows in warfare or because of their ritual of physically "breaking the bows" of defeated foes as a metaphor for military defeat - but the original reason is not known. The actual enemies that this refers to were a matter of choice that reflected the current contact with neighbours and their relations with them - but the selection generally included Asiatics, Sand Dwellers and Nubians. The Nine Bows were often represented as a number of arrows (not always nine) and this design was used to decorate some royal furniture and thrones. On monuments the Nine Bows could also be represented as rows of bound captives. The Nine Bows, surmounted with a Jackal, was also the 'seal' of the Valley of the Kings. |
| Back to collections |
| Photography by Lenka Peacock, all images reproduced with the permission of the Fitzwilliam Museum, www.fitzmuseum.cam.ac.uk |
Nicholson
KhM
Bristol
NG