The Carl Otto von Kienbusch, Jr. Memorial Collection (Princeton: Princeton University Art Museum, 1956)
","citation":"The Carl Otto von Kienbusch, Jr. Memorial Collection (Princeton: Princeton University Art Museum, 1956)
, no. 9","date":1956,"id":1824,"uri":"https://search.worldcat.org/title/3809022"},{"boilertext":"\"Recent acquisitions,\" Record of the Art Museum, Princeton University 15, no. 1 (1956): p. 26-27.","citation":"\"Recent acquisitions,\" Record of the Art Museum, Princeton University 15, no. 1 (1956): p. 26-27., p. 26","date":1956,"id":1832,"uri":"https://www.jstor.org/stable/i291443"},{"boilertext":"Alisée Devillers, "Displaying Tools. On the Named Artists Depicted with a Palette," Journal of Egyptian History, no. 17.2 (2024): pp. 155-202.","citation":"Alisée Devillers, "Displaying Tools. On the Named Artists Depicted with a Palette," Journal of Egyptian History, no. 17.2 (2024): pp. 155-202., pp. 170-172; p. 171 (illus.)","date":2024,"id":9946,"uri":"https://search.worldcat.org/en/title/228239734"},{"boilertext":"Norman de Garis Davies, The tomb of two sculptors at Thebes, (New York: Metropolitan Museum of Art, 1925). ","citation":"Norman de Garis Davies, The tomb of two sculptors at Thebes, (New York: Metropolitan Museum of Art, 1925). , p. 61-2, pls. XI-XIII","date":1925,"id":2509,"uri":"https://search.worldcat.org/title/18074770"},{"boilertext":"William Kelly Simpson, \"Reviewed work: Ancient art: The Norbert Schimmel Collection by Oscar White Muscarella \", American journal of archaeology 80, no. 3 (Summer, 1976).","citation":"William Kelly Simpson, \"Reviewed work: Ancient art: The Norbert Schimmel Collection by Oscar White Muscarella \", American journal of archaeology 80, no. 3 (Summer, 1976)., p. 318","date":1976,"id":2510,"uri":"https://www.jstor.org/stable/503055"}],"nowebuse":"False","periods":[{"id":12858,"period":"New Kingdom","alphasort":"New Kingdom","begindate":-1550,"enddate":-1070,"displayperiod":"New Kingdom, ca. 1550–1070 BCE","displaydate":"ca. 1550–1070 BCE"}],"department":"Ancient, Byzantine, and Islamic Art","attribute_groups":[{"id":2199315,"term":"African Art","termtype":"Collecting Area"},{"id":2199316,"term":"Ancient Mediterranean Art","termtype":"Collecting Area"}],"daterange":"2000-1000 B.C.","dateend":-1370,"depicted":[],"titles":[{"title":"Fresco of metalworkers from the Tomb of Nebamun at Thebes","titletype":"Primary Title","displayorder":1}],"hasimage":"true","creditlinerepro":null,"objectnumber":"y1955-3253","inscribed":"y","texts":[{"texttype":"Online","textpurpose":"Provenance","textentryhtml":"Excavated from Tomb 181 of Metropolitan Museum's expedition at Thebes; purchased from Mathias Komor in 1955.","remarks":"From accession card. "},{"texttype":"Online","textpurpose":"Gallery Label","textentryhtml":"\n\tThe survival of objects associated with the creation of art offers important information on ancient modes of representation and production that were employed by Egyptian artisans, whose identities and methods have not otherwise survived in the historical record. Molds could be used to make multiple iterations of the same object, as seen with the mold for a fish amulet, while small models offered a physical example of an individual, object, or animal that could be replicated by numerous craftsmen at once. Some of these are more schematic, offering only a rough approximation of a form, while others are more precise, such as the model for the head of a pharaoh, which features the proper proportions, marked out on a grid, on the back of the head. There also survive examples of practice, where similar animals or bodies were repeatedly carved into stone as their makers perfected their technique.\n
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