A headdress in the form of a vulture crowns this female figure, indicating her status as a queen or goddess. Although of Greek descent, pharaohs and queens of this era used traditional Egyptian markers of royalty and divinity, including crowns, to represent themselves. Her beaded necklace is embellished with lotus blossoms and flowering papyrus umbels—plants indigenous to the Nile River valley—further indicating her close affinity with Egypt.
Date
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Thomas George Allen, A Handbook of The Egyptian Collection (Chicago: The Art Institute of Chicago, 1923), pp. 44 (ill.), 45.
Emily Teeter, “Egyptian Art,” in Museum Studies: Ancient Art at The Art Institute of Chicago 20, no. 1 (1994), pp. 28-9 (ill.), no. 13.
Karen B. Alexander, “From Plaster to Stone: Ancient Art at the Art Institute of Chicago,” in Karen Manchester, Recasting the Past: Collecting and Presenting Antiquities at the Art Institute of Chicago (Chicago: Art Institute of Chicago; New Haven: Yale University Press, 2012), p. 28.
Roberta Casagrande-Kim, ed., When the Greeks Ruled Egypt: From Alexander the Great to Cleopatra. Exh. cat. (New York: Institute for the Study of the Ancient World; Princeton: Princeton University Press, 2014), p. 66, fig. 4-10, p. 97, cat. 75.
Art Institute of Chicago, Ancient Art Galleries, Rubloff 154A, April 20, 1994 - February 6, 2012.
Art Institute of Chicago, When the Greeks Ruled: Egypt After Alexander the Great, October 31, 2013 - July 27, 2014; traveled to New York, NY, the Institute for the Study of the Ancient World, October 8, 2014 - January 4, 2015.
Art Institute of Chicago, Life and Afterlife in Ancient Egypt, Feb. 11, 2022 - present.
Nicolas George Tano (1866-1924), Cairo; sold to the Art Institute of Chicago through James Henry Breasted as agent, 1919.
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