18 10 420 https://digitalprojects.carlos.emory.edu/files/original/7fd01b4dbcd238b246d1c0080100d101.tif 6e7d03ae1a214c631a489d95c4a85980 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Ex coll. William S. Arnett Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Benin, Africa Fon Date A point or period of time associated with an event in the lifecycle of the resource late 19th-early 20th Century Description An account of the resource Bocio, meaning "empowered cadaver," are power objects (bo) that represent deceased human beings (cio) though the figure may appear to be alive. A bocio is not a spirit, but a kind of decoy meant to trick death by substituting for a real person. Formerly, the Fon people of Dahomey (now Benin) placed bocio figures in tombs along with the deceased so that the dead person could not then claim another person's life. Essentially bocios are commissioned as a safeguard against misfortune, witchcraft, and death. This highly unusual bocio consists of two kneeling female figures, the lower one carved from wood, holding her breasts in an attitude of supplication, and the upper one cast in brass and proffering a large calabash-like bowl. They are bound together (both physically and psychologically) by a cloth strap wrapped over the legs of the top figure and under the chin of the lower one. The process of binding objects together is an important component of empowering the bocio figure. To further "energize" it, offerings -- which may include corn meal, blood, saliva, and urine -- are poured over it. Not only does the addition of these materials make the object more powerful, but this augmentation continually transforms the bocio's appearance as a work of art. The lower figure's face is obscured by sacrificial matter, and her mouth is sealed by a long iron chain, thereby blocking the ability to speak. Considered to be a potentially serious weapon, the act of speech is silenced, controlled by another. Iron attachments are often associated with Gu, the deity of iron and war, and are meant to drive away evil associated with physical force. There are several types of bocio figures, including those associated with divination (Fa), and other types with royalty, with sorcery and anti-sorcery, and with the gods (vodun). All but the royal bocio retained their importance in the lives of Fon and Ewe people from Dahomey and present-day Togo whose dispersion due to the slave trade created a creolized version of bo in Haiti and later among Haitian ex-slaves in the United States. There cloth dolls performed protective and "attack" functions similar to carved bocio figures, and like them, were closely associated with the dead and with cemeteries. In Haiti it was the manbo (mother of bo) priestess and the bokor (knowledgeable in bo) priest who along with the hungan priest were responsible for their manufacture and for activating them ritually. Format The file format, physical medium, or dimensions of the resource Wood, iron, brass, cloth, sacrificial material 9 x 2 1/2 x 2 1/4 in. (22.9 x 6.4 x 5.7 cm) Identifier An unambiguous reference to the resource within a given context 1994.004.469 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Relation A related resource Divine Intervention: African Art and Religion, Michael C. Carlos Museum, February 5 - December 4, 2011 Michael C. Carlos Museum Handbook (Atlanta: Michael C. Carlos Museum, 1996), 108. Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2008. This image is provided by the Michael C. Carlos Museum of Emory University, who retains all rights in it. This image is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties. The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder. Source A related resource from which the described resource is derived 17404 Subject The topic of the resource Sculpture Title A name given to the resource Power Figure, Bocio Type The nature or genre of the resource No https://digitalprojects.carlos.emory.edu/files/original/c12d410614fdaa1ea32f6057b51ba3e8.tif 08f6bb4639659a59aaf8aff72072f867 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Ex coll. William S. Arnett Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant West Africa, Benin, Africa Fon Date A point or period of time associated with an event in the lifecycle of the resource late 19th-early 20th Century Description An account of the resource Bocio are power objects (bo) that represent deceased human beings (chio). A bocio is not a spirit, but a kind of decoy meant to trick death by acting as a substitute for a real person. Formerly, the Fon people of Dahomey (now Benin) placed bocio figures in tombs along with the deceased so that the dead person could not then claim another person's life. Essentially bocios are commissioned as a safeguard against misfortune, witchcraft, and death. The core of this bocio is a standing female figure carved in wood, but several other objects have been affixed to it. Bottles are fastened to the front and the back of the figure, a metal disk is nailed into the head, and skulls of a reptile, a bird, and a small mammal are bound to it. The bottles are plugged and may have once contained potent substances prescribed by a diviner. The process of binding objects together is an important component of empowering the bocio figure. To further "energize" it, offerings -- which may include corn meal, blood, saliva, and urine -- are poured over it. Not only do the addition of these materials make the object more powerful, but this augmentation continually transforms the bocio's appearance as a work of art. There are several types of bocio figures, including those associated with divination (Fa), and other types with royalty, with sorcery and anti-sorcery, and with the gods (vodun). All but the royal bocio retained their importance in the lives of Fon and Ewe people from Dahomey and present-day Togo. The dispersion of these peoples during the slave trade created a creolized version of bo in Haiti and later among Haitian ex-slaves in the United States. Their cloth dolls performed protective and "attack" functions similar to carved bocio figures, and like them, were closely associated with the dead and with cemeteries. In Haiti it was the manbo (mother of bo) priestess and the bokor (knowledgeable in bo) sorcerer who, along with the hungan, were responsible for their manufacture and for activating them ritually. Format The file format, physical medium, or dimensions of the resource Wood, glass, bone, iron, fiber 22 5/8 x 6 5/16 x 6 3/8 in. (57.5 x 16 x 16.2 cm) Identifier An unambiguous reference to the resource within a given context 1994.004.102 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Relation A related resource The Art of Collecting: Recent Acquisitions at the Michael C. Carlos Museum, Michael C. Carlos Museum, November 8, 1997 - January 4, 1998| Divine Intervention: African Art and Religion, Michael C. Carlos Museum, February 5 - December 4, 2011 Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2008. This image is provided by the Michael C. Carlos Museum of Emory University, who retains all rights in it. This image is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties. The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder. Source A related resource from which the described resource is derived 17388 Subject The topic of the resource Effigy, fetish, mixed media, sculpture Title A name given to the resource Power Figure, Bocio Type The nature or genre of the resource No https://digitalprojects.carlos.emory.edu/files/original/fe0ef3b89b22e6efcfe10329e39301de.tif a91184f1b033faff0c0983b5f7d8e88a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Ex coll. William S. Arnett Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant West Africa, Benin, Africa Fon Date A point or period of time associated with an event in the lifecycle of the resource late 19th-early 20th Century Description An account of the resource Bocio are power objects (bo) that represent deceased human beings (chio). A bocio is not a spirit, but a kind of decoy meant to trick death by acting as a substitute for a real person. Formerly, the Fon people of Dahomey (now Benin) placed bocio figures in tombs along with the deceased so that the dead person could not then claim another person's life. Essentially bocios are commissioned as a safeguard against misfortune, witchcraft, and death. The core of this bocio is a standing female figure carved in wood, but several other objects have been affixed to it. Bottles are fastened to the front and the back of the figure, a metal disk is nailed into the head, and skulls of a reptile, a bird, and a small mammal are bound to it. The bottles are plugged and may have once contained potent substances prescribed by a diviner. The process of binding objects together is an important component of empowering the bocio figure. To further "energize" it, offerings -- which may include corn meal, blood, saliva, and urine -- are poured over it. Not only do the addition of these materials make the object more powerful, but this augmentation continually transforms the bocio's appearance as a work of art. There are several types of bocio figures, including those associated with divination (Fa), and other types with royalty, with sorcery and anti-sorcery, and with the gods (vodun). All but the royal bocio retained their importance in the lives of Fon and Ewe people from Dahomey and present-day Togo. The dispersion of these peoples during the slave trade created a creolized version of bo in Haiti and later among Haitian ex-slaves in the United States. Their cloth dolls performed protective and "attack" functions similar to carved bocio figures, and like them, were closely associated with the dead and with cemeteries. In Haiti it was the manbo (mother of bo) priestess and the bokor (knowledgeable in bo) sorcerer who, along with the hungan, were responsible for their manufacture and for activating them ritually. Format The file format, physical medium, or dimensions of the resource Wood, glass, bone, iron, fiber 22 5/8 x 6 5/16 x 6 3/8 in. (57.5 x 16 x 16.2 cm) Identifier An unambiguous reference to the resource within a given context 1994.004.102 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Relation A related resource The Art of Collecting: Recent Acquisitions at the Michael C. Carlos Museum, Michael C. Carlos Museum, November 8, 1997 - January 4, 1998| Divine Intervention: African Art and Religion, Michael C. Carlos Museum, February 5 - December 4, 2011 Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2008. This image is provided by the Michael C. Carlos Museum of Emory University, who retains all rights in it. This image is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties. The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder. Source A related resource from which the described resource is derived 17388 Subject The topic of the resource Effigy, fetish, mixed media, sculpture Title A name given to the resource Power Figure, Bocio Type The nature or genre of the resource No https://digitalprojects.carlos.emory.edu/files/original/d151fbbd9a13a8c4a7657067581b6399.tif 3e9701f23a9e58f9f3594791870973eb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Ex coll. William S. Arnett Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant West Africa, Benin, Africa Fon Date A point or period of time associated with an event in the lifecycle of the resource late 19th-early 20th Century Description An account of the resource Bocio are power objects (bo) that represent deceased human beings (chio). A bocio is not a spirit, but a kind of decoy meant to trick death by acting as a substitute for a real person. Formerly, the Fon people of Dahomey (now Benin) placed bocio figures in tombs along with the deceased so that the dead person could not then claim another person's life. Essentially bocios are commissioned as a safeguard against misfortune, witchcraft, and death. The core of this bocio is a standing female figure carved in wood, but several other objects have been affixed to it. Bottles are fastened to the front and the back of the figure, a metal disk is nailed into the head, and skulls of a reptile, a bird, and a small mammal are bound to it. The bottles are plugged and may have once contained potent substances prescribed by a diviner. The process of binding objects together is an important component of empowering the bocio figure. To further "energize" it, offerings -- which may include corn meal, blood, saliva, and urine -- are poured over it. Not only do the addition of these materials make the object more powerful, but this augmentation continually transforms the bocio's appearance as a work of art. There are several types of bocio figures, including those associated with divination (Fa), and other types with royalty, with sorcery and anti-sorcery, and with the gods (vodun). All but the royal bocio retained their importance in the lives of Fon and Ewe people from Dahomey and present-day Togo. The dispersion of these peoples during the slave trade created a creolized version of bo in Haiti and later among Haitian ex-slaves in the United States. Their cloth dolls performed protective and "attack" functions similar to carved bocio figures, and like them, were closely associated with the dead and with cemeteries. In Haiti it was the manbo (mother of bo) priestess and the bokor (knowledgeable in bo) sorcerer who, along with the hungan, were responsible for their manufacture and for activating them ritually. Format The file format, physical medium, or dimensions of the resource Wood, glass, bone, iron, fiber 22 5/8 x 6 5/16 x 6 3/8 in. (57.5 x 16 x 16.2 cm) Identifier An unambiguous reference to the resource within a given context 1994.004.102 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Relation A related resource The Art of Collecting: Recent Acquisitions at the Michael C. Carlos Museum, Michael C. Carlos Museum, November 8, 1997 - January 4, 1998| Divine Intervention: African Art and Religion, Michael C. Carlos Museum, February 5 - December 4, 2011 Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2008. This image is provided by the Michael C. Carlos Museum of Emory University, who retains all rights in it. This image is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties. The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder. Source A related resource from which the described resource is derived 17388 Subject The topic of the resource Effigy, fetish, mixed media, sculpture Title A name given to the resource Power Figure, Bocio Type The nature or genre of the resource No https://digitalprojects.carlos.emory.edu/files/original/380727d431a915590cbb86eeebcf730c.jpg 1e6f08d9a6349228bbad7a2b16cf6522 https://digitalprojects.carlos.emory.edu/files/original/ddb38531cced312071c1f43374eeafc6.jpg 860db99b655603956851eed27c959f51 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Georges Ricard Foundation Senusret Collection Subject The topic of the resource Objects of ancient Egyptian, Near-Eastern, Greek, Etruscan, and Roman art acquired in 2018 by the Michael C. Carlos Museum from the Georges Ricard Foundation Identifier An unambiguous reference to the resource within a given context 2018.010 Contributor An entity responsible for making contributions to the resource Georges Ricard Foundation California Institute of World Archaeology (CIWA) Michael C. Carlos Museum Emory University Rights Information about rights held in and over the resource This image is provided by the Michael C. Carlos Museum of Emory University, courtesy of the Georges Ricard Foundation and the California Institute of World Archaeology. This image is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties. The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Statue of Horus Date A point or period of time associated with an event in the lifecycle of the resource Late Period - Ptolemaic Period, 722-30 BC Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Egypt Format The file format, physical medium, or dimensions of the resource Bronze 22.1 cm High x 5.9 cm x 11.2 cm Identifier An unambiguous reference to the resource within a given context 2018.010.107 Description An account of the resource This large bronze of the falcon god Horus wears a uraeus and the double-crown of Upper and Lower Egypt. The distinctive eye markings of the falcon are carefully incised as are the individual feathers on the falcon’s back and wings. A portion of the tail has broken off. The figure would have likely been perched atop a base or perhaps a small coffin. The statuette once part of the collection of Lord George Talbot (1763-1850) and was purchased by Georges Ricard for the Senusret Collection on 3 March 1975 from Roger F. Galliano, a member of the Conciliation Commission at Central Customs in Paris, certified expert of the Chamber of Auctioneers of France and Judicial Officer of Geneva. [See additional images below] Relation A related resource Parallels and References: New York, Brooklyn Museum, 05.394 Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The statuette once part of the collection of Lord George Talbot (1763-1850) and was purchased by Georges Ricard for the Senusret Collection on 3 March 1975 from Roger F. Galliano, a member of the Conciliation Commission at Central Customs in Paris, certified expert of the Chamber of Auctioneers of France and Judicial Officer of Geneva. Rights Information about rights held in and over the resource <h5><em><span style="text-decoration:underline;"><a href="https://digitalprojects.carlos.emory.edu/senusretrights">Senusret Collection: Usage and Reproduction Rights</a></span></em></h5> https://digitalprojects.carlos.emory.edu/files/original/d26f5a49455df46ee7b48fbe8951b339.jpg 897f7805cb86ea08c0eb099c29b01497 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Georges Ricard Foundation Senusret Collection Subject The topic of the resource Objects of ancient Egyptian, Near-Eastern, Greek, Etruscan, and Roman art acquired in 2018 by the Michael C. Carlos Museum from the Georges Ricard Foundation Identifier An unambiguous reference to the resource within a given context 2018.010 Contributor An entity responsible for making contributions to the resource Georges Ricard Foundation California Institute of World Archaeology (CIWA) Michael C. Carlos Museum Emory University Rights Information about rights held in and over the resource This image is provided by the Michael C. Carlos Museum of Emory University, courtesy of the Georges Ricard Foundation and the California Institute of World Archaeology. This image is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties. The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Statuette of Osiris Date A point or period of time associated with an event in the lifecycle of the resource Late Period, 722-332 BC Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Egypt Format The file format, physical medium, or dimensions of the resource Bronze 19.3 cm High x 4.6 cm x 3.4 cm Identifier An unambiguous reference to the resource within a given context 2018.010.531 Description An account of the resource This bronze statuette depicts the mummiform god of the underworld Osiris. The body of the god is wrapped in a close-fitting shroud with his hands poking out of vertical slits. In his right hand he holds a flail, and in his left, a crook. On his head, Osiris wears the atef-crown, which combines the white crown of Upper Egypt with a central uraeus and ostrich feathers to either side of the crown. His beard and broad collar are delicately incised, as are the feathers on his crown, his flail and crook. The bronze stands on a rectangular base. The statuette was once part of the collection of Lord George Talbot (1763-1850) and was purchased by Georges Ricard for the Senusret Collection on 3 March 1975 from Roger F. Galliano, a member of the Conciliation Commission at Central Customs in Paris, certified expert of the Chamber of Auctioneers of France and Judicial Officer of Geneva. Contributor An entity responsible for making contributions to the resource Gift of the Georges Ricard Foundation Relation A related resource Parallels and References: London, The British Museum, EA29409 Rights Information about rights held in and over the resource <h5><em><span style="text-decoration:underline;"><a href="https://digitalprojects.carlos.emory.edu/senusretrights">Senusret Collection: Usage and Reproduction Rights</a></span></em></h5> Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Ex collection Lord George Talbot (1763-1850), acquired by Georges Ricard in 3/3/1975 from Roger Galliano, who was a collector and an expert for French customs. https://digitalprojects.carlos.emory.edu/files/original/ad74cea28de6cb84b7df796bd331ff82.jpg 719642213f56ca58666db990f0dae900 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Georges Ricard Foundation Senusret Collection Subject The topic of the resource Objects of ancient Egyptian, Near-Eastern, Greek, Etruscan, and Roman art acquired in 2018 by the Michael C. Carlos Museum from the Georges Ricard Foundation Identifier An unambiguous reference to the resource within a given context 2018.010 Contributor An entity responsible for making contributions to the resource Georges Ricard Foundation California Institute of World Archaeology (CIWA) Michael C. Carlos Museum Emory University Rights Information about rights held in and over the resource This image is provided by the Michael C. Carlos Museum of Emory University, courtesy of the Georges Ricard Foundation and the California Institute of World Archaeology. This image is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties. The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Statuette of a Seated Cat Date A point or period of time associated with an event in the lifecycle of the resource Late Period, 722-332 BC Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Egypt Format The file format, physical medium, or dimensions of the resource Bronze 13.5 cm High x 5.8 cm x 8.4 cm Identifier An unambiguous reference to the resource within a given context 2018.010.736 Description An account of the resource Cats, in ancient Egypt, were not just pets but symbols of Bastet, the goddess of fertility and protection. The popularity of Bastet’s cult from the Late Period to the Ptolemaic Period led to the creation of a large number of seated cat statuettes. This cat is seated with head held erect and tail curled to the right. Her expression is attentive with ears slightly back. These features express the essence of a cat being dignified and aware. The left ear of the cat was pierced and wears a modern gold earring. The statuette was once part of the Capitant collection and was purchased by Georges Ricard for the Senusret Collection on 21-22 May 1977 in Avignon, France at the Hotel des Ventes d’Avignon: Exceptionnelle grande vente aux enchères publique: Meubles, objets d’art, lot number 47.  Contributor An entity responsible for making contributions to the resource Gift of the Georges Ricard Foundation Relation A related resource Parallels and References: Museum of Fine Arts Boston 53.2385 Leiden, Rijksmuseum van Oudheden AB 166 Rights Information about rights held in and over the resource <h5><em><span style="text-decoration:underline;"><a href="https://digitalprojects.carlos.emory.edu/senusretrights">Senusret Collection: Usage and Reproduction Rights</a></span></em></h5> Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The statuette was once part of the Capitant collection and was purchased by Georges Ricard for the Senusret Collection at the Hotel des Ventes d’Avignon Exceptionnelle grande vente aux enchères publique: Meubles, objets d’art on 21-22 May 1977. https://digitalprojects.carlos.emory.edu/files/original/3dc769e8a2e00fd8b1aae13a708a8100.jpg 0cfb69bf02bb15f2917599274f36a758 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Georges Ricard Foundation Senusret Collection Subject The topic of the resource Objects of ancient Egyptian, Near-Eastern, Greek, Etruscan, and Roman art acquired in 2018 by the Michael C. Carlos Museum from the Georges Ricard Foundation Identifier An unambiguous reference to the resource within a given context 2018.010 Contributor An entity responsible for making contributions to the resource Georges Ricard Foundation California Institute of World Archaeology (CIWA) Michael C. Carlos Museum Emory University Rights Information about rights held in and over the resource This image is provided by the Michael C. Carlos Museum of Emory University, courtesy of the Georges Ricard Foundation and the California Institute of World Archaeology. This image is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties. The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Votive Statuette of Neith Date A point or period of time associated with an event in the lifecycle of the resource Late Period, 722-332 BC Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Egypt Format The file format, physical medium, or dimensions of the resource Bronze 20.7 cm High x 4.3 cm x 6.9 cm Identifier An unambiguous reference to the resource within a given context 2018.010.785 Description An account of the resource The worship of the goddess Neith began as early as the third millennium BC and continued until the end of the pharaonic era. She was a complex deity who was a warrior goddess, a creator goddess, a mother goddess. As a funerary goddess, she is mentioned in the Old Kingdom Pyramid Texts. Neith was also the goddess of Lower Egypt whose principal site of worship was Sais, in the eastern Nile Delta. The goddess wears the Red Crown associated with lower Egypt, and strides forward with her left leg advanced on an integral rectangular plinth. She holds one arm at her side and the other stretched out before her. Each fist is pierced and once carried insignia. She wears an ankle-length dress and a delicately incised broad collar around her neck. The tip of the Red Crown and spiral wire are destroyed. The statuette was once part of the Romanov collection and was purchased by Georges Ricard for the Senusret Collection from Roger F. Galliano, a member of the Conciliation Commission at Central Customs in Paris, certified expert of the Chamber of Auctioneers of France and Judicial Officer of Geneva. Contributor An entity responsible for making contributions to the resource Gift of the Georges Ricard Foundation Relation A related resource Parallels and References: Boston, Museum of Fine Arts, 05.94 Rights Information about rights held in and over the resource <h5><em><span style="text-decoration:underline;"><a href="https://digitalprojects.carlos.emory.edu/senusretrights">Senusret Collection: Usage and Reproduction Rights</a></span></em></h5> Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The statuette was once part of the Romanov collection and was purchased by Georges Ricard for the Senusret Collection from Roger F. Galliano, a member of the Conciliation Commission at Central Customs in Paris, certified expert of the Chamber of Auctioneers of France and Judicial Officer of Geneva. https://digitalprojects.carlos.emory.edu/files/original/02f6253cfacc4c9ec49a0212c279b93b.jpg 5c36b514ef6615a79854c1e6714b7372 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Georges Ricard Foundation Senusret Collection Subject The topic of the resource Objects of ancient Egyptian, Near-Eastern, Greek, Etruscan, and Roman art acquired in 2018 by the Michael C. Carlos Museum from the Georges Ricard Foundation Identifier An unambiguous reference to the resource within a given context 2018.010 Contributor An entity responsible for making contributions to the resource Georges Ricard Foundation California Institute of World Archaeology (CIWA) Michael C. Carlos Museum Emory University Rights Information about rights held in and over the resource This image is provided by the Michael C. Carlos Museum of Emory University, courtesy of the Georges Ricard Foundation and the California Institute of World Archaeology. This image is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties. The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Face from a Coffin Lid Date A point or period of time associated with an event in the lifecycle of the resource Late Period, Dynasty 25, 722-655 BC Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Egypt, Faiyum Format The file format, physical medium, or dimensions of the resource Wood, gesso, pigment, bronze, resin (?) 45.7 cm High x 31 cm x 12 cm Identifier An unambiguous reference to the resource within a given context 2018.010.420 Description An account of the resource The deceased is shown wearing a blue tripartite wig with yellow stripes and a false beard. His eyes are inlaid and rimmed. Only three upper rows of the broad collar remain and a portion of drop-shaped beads in red, green, blue and yellow at the figure’s bottom left. The gesso remaining portion of the upper torso is painted white. Resin was painted over the pigment, which has yellowed over time. This upper part of a coffin lid is typical of cemeteries in and around the Faiyum in Egypt. Coffins are typified by the deceased wearing a flat-topped wig with broad stripes, a long beard, and a white coffin body decorated only with a collar. The coffin face was purchased by Georges Ricard for the Senusret Collection on 31 March 1973 in Marseille, France at the Ventes aux enchères publiques en l’Hotel des ventes du Prado, lot number 193. Contributor An entity responsible for making contributions to the resource Gift of the Georges Ricard Foundation Relation A related resource Parallels and References: Boston, Museum of Fine Arts, no. 1995.94 Rights Information about rights held in and over the resource <h5><em><span style="text-decoration:underline;"><a href="https://digitalprojects.carlos.emory.edu/senusretrights">Senusret Collection: Usage and Reproduction Rights</a></span></em></h5> Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The coffin face was purchased by Georges Ricard for the Senusret Collection on 31 March 1973 at the Ventes aux enchères publiques en l’Hotel des Ventes du Prado, lot 193. https://digitalprojects.carlos.emory.edu/files/original/7a96e76c4b16a0ed84f76dbbb3b6abe7.jpg 29a8b7fa80d15566b0beb0080a3f1167 https://digitalprojects.carlos.emory.edu/files/original/d6e90b34fd337514f8c6429e8d5c210e.jpg 59263f0337a7ec38ede2bf7691ef715c https://digitalprojects.carlos.emory.edu/files/original/86e914e087ee8d629df217ea5111a1b8.jpg ae102ff553fa685bd013ef6e1b8e00d4 https://digitalprojects.carlos.emory.edu/files/original/3c31957c2040e49dd9040bfed52d58ea.jpg 655c60eb9f31d213393a850ee98467fd https://digitalprojects.carlos.emory.edu/files/original/3d86f01358193f27ffeeb936b74a133f.jpg 02dd05352795a03bc6f8474927bd38db Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Georges Ricard Foundation Senusret Collection Subject The topic of the resource Objects of ancient Egyptian, Near-Eastern, Greek, Etruscan, and Roman art acquired in 2018 by the Michael C. Carlos Museum from the Georges Ricard Foundation Identifier An unambiguous reference to the resource within a given context 2018.010 Contributor An entity responsible for making contributions to the resource Georges Ricard Foundation California Institute of World Archaeology (CIWA) Michael C. Carlos Museum Emory University Rights Information about rights held in and over the resource This image is provided by the Michael C. Carlos Museum of Emory University, courtesy of the Georges Ricard Foundation and the California Institute of World Archaeology. This image is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties. The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Falcon Sarcophagus with Corn Osiris Mummy and Four Magic Balls Date A point or period of time associated with an event in the lifecycle of the resource Late Period, Dynasty 26, 664-525 BC Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Egypt Format The file format, physical medium, or dimensions of the resource Coffin: wood, pigment; 14 cm High x 49.7 cm x 19.5 cm Mummy: grain, sand, clay and/or soil, resin, linen bandages; 11.9 cm High x 40 cm x 6 cm Mask: wax, gold; 4.8 cm High x 17.4 cm x 7.7 cm Identifier An unambiguous reference to the resource within a given context 2018.010.001A (coffin lid), 2018.010.001B (coffin base), 2018.010.001C (mummy), 2018.010.001D (mummy mask), 2018.010.001E-H (magic balls) Description An account of the resource The falcon-headed coffin and the hieroglyphic text is associated with the funerary deity Ptah-Sokar-Osiris. Inside the coffin is a corn mummy composed of grain and earth wrapped in linen that is covered with resin. The head of the mummy is fitted with an Osiris mask of gilded beeswax with the eyebrows, eyes and beard painted in black pigment. The four clay magic balls have white markings and once accompanied the corn Osiris as magical protection. The lower part of the lid has two columns of inscription. The text is Utterance 368 of the Pyramid Texts, reading: “words spoken by Osiris…. Your (mother) Nut (spreads herself) over you in her name….For you are the greatest of her children. Geb is gracious to you….He has given you your head….He has caused Thoth to reassemble you. . . " 
 Corn-mummies embody the forces of rebirth under the control of the god Osiris. The process of assembling grain and earth in the form of Osiris symbolizes the cosmic cycle of death and rebirth and its preservation. The object was once part of the collection of Viscountess Elizabeth Dow Dalton from the early 20th century and was purchased by Georges Ricard for the Senusret Collection on 24 July 1974 from Roger F. Galliano, a member of the Conciliation Commission at Central Customs in Paris, certified expert of the Chamber of Auctioneers of France and Judicial Officer of Geneva. [See additional images below] Contributor An entity responsible for making contributions to the resource Gift of the Georges Ricard Foundation Relation A related resource Publication: Centrone, Maria 2009. Egyptian Corn-mummies: A class of religious artefacts catalogued and systematically analysed (Saarbrücken: VDM), pp. 70-73, pl. XXXVII. Parallels and References: Cairo, Grand Egyptian Museum, 32685. Originally from Ashmunein. Boston, Museum of Fine Arts, 2001.547.1-2
 Berlin, Ägyptisches Museum, Inv. No. 6/66
 New York, Metropolitan Museum of Art, 58.98 A-D New York, Metropolitan Museum of Art, 58.106 A-C
 London, British Museum, EA 41552 Rights Information about rights held in and over the resource <h5><em><span style="text-decoration:underline;"><a href="https://digitalprojects.carlos.emory.edu/senusretrights">Senusret Collection: Usage and Reproduction Rights</a></span></em></h5> Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The object was once part of the collection of Viscountess Elizabeth Dow Dalton from the early 20th century and was purchased by Georges Ricard for the Senusret Collection on 24 July 1974 from Roger F. Galliano, a member of the Conciliation Commission at Central Customs in Paris, certified expert of the Chamber of Auctioneers of France and Judicial Officer of Geneva.