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Excerpt from Catalogue of an Extensive and Valuable Collection of Genuine Antiquities and Objects of Art of All Countries and Ages: To Be Sold at Auction in Messrs. George A. Gravitt and Co., 787 and 789 Broadway, New York City, on Wednesday, Thursday and Friday, May 2d, 3d and 4th, 1888 Ash Receiver, Gin Cup. Tin. Bremen, 1821. 2 pcs. Tea-pot, Lamp. Tin. 2 pcs. Salt and Pepper Boxes. Tin. 2 pcs. Tin Spoon, and Small Cooking Dishes. 3 p05. Snuffer stands. Rococo pattern, composition metal. Pair. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
"This volume accompanies an exhibition of the same name, which includes artefacts from nearly 2000 years before the Christian era. Objects such as coffins, tombs, masks, jewellery, papyri, sarcophagi and monumental and small-scale sculpture reveal the reverence and awe with which the Egyptians considered the mystery of death. The essays in this book explore Egyptian art history, customs and worship, with specific focus on the Amduat, a book devoted to the pharaoh's 12-hour journey to the afterlife. Additional writings detail the background of the collection and focus upon the role of art in ancient Egypt."--Amazon.
Whether antiquities should be returned to the countries where they were found is one of the most urgent and controversial issues in the art world today, and it has pitted museums, private collectors, and dealers against source countries, archaeologists, and academics. Maintaining that the acquisition of undocumented antiquities by museums encourages the looting of archaeological sites, countries such as Italy, Greece, Egypt, Turkey, and China have claimed ancient artifacts as state property, called for their return from museums around the world, and passed laws against their future export. But in Who Owns Antiquity?, one of the world's leading museum directors vigorously challenges this nationalistic position, arguing that it is damaging and often disingenuous. "Antiquities," James Cuno argues, "are the cultural property of all humankind," "evidence of the world's ancient past and not that of a particular modern nation. They comprise antiquity, and antiquity knows no borders." Cuno argues that nationalistic retention and reclamation policies impede common access to this common heritage and encourage a dubious and dangerous politicization of antiquities--and of culture itself. Antiquities need to be protected from looting but also from nationalistic identity politics. To do this, Cuno calls for measures to broaden rather than restrict international access to antiquities. He advocates restoration of the system under which source countries would share newly discovered artifacts in exchange for archaeological help, and he argues that museums should again be allowed reasonable ways to acquire undocumented antiquities. Cuno explains how partage broadened access to our ancient heritage and helped create national museums in Cairo, Baghdad, and Kabul. The first extended defense of the side of museums in the struggle over antiquities, Who Owns Antiquity? is sure to be as important as it is controversial. Some images inside the book are unavailable due to digital copyright restrictions.
Excerpt from Catalogue of a Collection of Egyptian Antiquities: The Property of Henry Abbott, M. D., Now Exhibiting at the Stuyvesant Institute, No; 659 Broadway, New York Upon exhibiting this Collection, it may be necessary to state that I do not profess to be a savan, or a decipherer of hieroglyphics, but merely an amateur collector of such objects of antiquity as appeared to me illustrative of the religious and other customs of the ancient Egyptians, in whose country I have passed the last twenty years of my life. To occupy my leisure hours was necessary, and I found it ah agreeable pastime to dive into the tombs of the ancients and rescue from the hands of the many pilferers such objects as appeared to me worthy of notice, and I think I may, without fear of contradiction, assert that every article in this collection is of undoubted antiquity. I have spared neither time nor expense in my efforts to obtain the finest and most genuine objects of antiquity, and feel assured that they will be appreciated. As regards the Catalogue, I have endeavoured, as far as the limits of such a work will allow, to give a sufficient, although not a very enlarged, description of each article, and for more minute details must refer to the works of such savans as Sir Gardner Wilkinson, S. Poole, Esq., I. Perring, Esq., J. Kenrick, Esq., Professor Lepsius, and M. E. Prisse, from all of which I have quoted when necessary. Subjoined is an Introduction by a gentleman of this city, who has visited Egypt, and who is himself an author of great merit. He has rendered it useless for me to say more than that I am indebted to him and many other American travellers for the praise they have kindly bestowed upon my exertions, and without whose advice I should never have ventured to offer this Collection of Egyptian Antiquities to the patronage of the American public. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Excerpt from A Catalogue of the Egyptian Antiquities in the Possession of F. G. Hilton Price The adoption of the Overland Route to India viâ, Egypt, and the opening of the Suez Canal in 1869, have drawn the attention of the civilized world to Egypt to a remarkable degree, and the increased facilities for travel which have been developed in that country during the last twenty-five years have induced thousands of people of all nationalities to visit the land of the Pharaohs. Following in the wake of the ordinary traveller came the philologist and the archæologist, and both have returned and proved that the "wisdom of the Egyptians" was no idle dream, and that the wise men of ancient Egypt actually gave the nations of Europe their letters. But while the philologist has been decyphering the mysteries of the hieroglyphics, the archæologist and excavator have brought to light by means of the spade inscriptions and texts, objects of art. paintings, statues, etc., the existence of which had never been thought of; and native and European alike have vied with each other in filling our national museums and private collections with ancient Egyptian antiquities of beauty and interest. The objects which are exhibited in public museums are, of course, available for inspection and examination, under certain conditions, by every person at reasonable hours; but private collections are often inaccessible, even to those who have a special interest in the subject of Egyptology. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.