It is our pleasure to honor those who have lent their talents, expertise, and support to the preparation of Ancient Egyptian Art at the Art Institute of Chicago. First and foremost, we thank James Rondeau, President and Eloise W. Martin Director of the Art Institute, and Sarah Guernsey, Deputy Director and Senior Vice President for Curatorial Affairs, whose extraordinary support has reestablished the prominence of pharaonic art at the museum, as seen in the creation of a position for a curator of Egyptian art, the 2022 gallery display Life and Afterlife in Ancient Egypt, and this catalogue—the first major publication of the collection in more than a century.

This manuscript went through several changes from the time it was commissioned to its release, necessitating an unusually long list of acknowledgments. When the project was initiated in early 2017 under the auspices of the Ancient and Byzantine Art department, it was envisioned as a print publication, and the text was finalized and edited for that format in 2018. In 2017, Ashley F. Arico was appointed assistant curator, and the project was later reconfigured as a digital resource, with Arico as contributor and editor. We thank Karen Manchester, then Chair and Curator, Ancient and Byzantine Art, for conceptualizing and then making the catalogue project a reality. Members of her department played important roles, especially the late Mary C. Greuel, who made the initial selection of artworks to be featured in this volume, and Lorien Yonker, who responded to object-based queries.

Colleagues in the Arts of Africa department, which assumed responsibility for the collection of ancient Egyptian art in the midst of this catalogue’s preparation, were instrumental in bringing this publication to fruition. We are particularly grateful for the unwavering support and encouragement of Constantine Petridis, Rita Knox Chair and Curator, Arts of Africa. Eric Warner, Acassia Ferreira da Cunha, and Raymond Ramirez facilitated access to the objects that appear in this catalogue for study, photography, and display. Elizabeth Hahn Benge ensured that the objects were consistently documented, and interns Hannah Fuller and Luiza Osorio G. da Silva assisted with research, formatting, and fact checking.

Caring for ancient objects is a great responsibility, and we are indebted to colleagues in Conservation who have worked tirelessly to ensure that the objects presented here are shown in their best light and will continue to be available to study for generations to come: Haddon Dine, Isaac Facio, Emily Heye, Suzie Schnepp, Katharine Shulman, Cybele Tom, and especially Rachel Sabino. Laura D’Alessandro of the Institute for the Study of Ancient Cultures Museum (ISAC Museum) and Andrzej Dajnowski and Rossana Ioppolo of Conservation of Sculpture and Objects Studio, Inc. contributed their expertise to treatments of select works. Andrew Tally crafted mounts so that each object could be beautifully photographed and displayed. Headed by Francesca Casadio in Conservation Science at the Art Institute, Clara Granzotto, Ken Sutherland, and Giovanni Verri greatly expanded our understanding of many objects in this catalogue. Their additions to select entries provide important new insights into the materials and practices utilized by ancient Egyptian artists to produce works now in the collection.

In Imaging, Bonnie Rosenberg and Elyse M. Allen ensured that each object would be fully illustrated through the photographs of Aidan Fitzpatrick, Nathan Keay, Robert Lifson, Jonathan Mathias, Juan Molina Hernández, and Joe Tallarico, with post-production by Owen Conway, Kaitlyn Fultz-Campion, and Hayley Hinsberger. In the archives, Bart Ryckbosch provided crucial support in reconstructing the early Chicago histories of several artworks featured in this catalogue, and Shelby Silvernell identified historical images of the collection. Hannah Perry and Amanda Block assisted with provenance research and documentation. At the ISAC Museum, Helen McDonald, Susan Allison, and Anne Flannery assisted with archival research, helping to shed light on the collection’s history, including its time in the care of the former Oriental Institute.

It has been a pleasure working with the Publishing team, under the guidance of Katie Reilly and Greg Nosan, to realize this publication in the new digital platform. Nora McGreevy managed the final editorial stages. Armando Román executed the design and obtained images and image rights. Kenny Guay proofread the text. Lauren Makholm and Lisa Meyerowitz have been instrumental in guiding the catalogue to completion. Ben Bertin and Isella Sandoval provided invaluable production and administrative support. Robin Roslak’s expert editorial eye resulted in thoughtful improvements to the text, and Laura Lesswing’s thorough editing transformed the manuscript for its new digital format. Led by Josh Andrews and nikhil trivedi in Experience Design, Trevin Alonzo, Zach Garwood, and Alexis Vogel built a beautiful, user-friendly platform that will serve this digital publication and ensure its longevity and accessibility to readers around the world.

The authors wish to extend thanks to the many colleagues who graciously answered questions about specific objects, provided special expertise on topics as diverse as bird anatomy and Demotic texts, and reviewed entries. First, Gerry Scott read and commented on the entire catalogue in its early stages and provided welcome suggestions, corrections, and encouragement. Denise M. Doxey reviewed a later version of the manuscript. Karen B. Alexander read and commented on the history of the collection. We also thank François Gaudard, Peter F. Dorman, Foy Scalf, and the late Robert Ritner of ISAC at the University of Chicago; Christopher Faraone, University of Chicago; Peter Der Manuelian, Harvard University and Harvard Museum of the Ancient Near East; Richard Fazzini and Yekaterina Barbash, Brooklyn Museum; Jonathan Elias, Akhmim Mummy Studies Consortium; Katherine Davis, University of Michigan; Taco Terpstra, Northwestern University; Robert S. Bianchi; William H. Peck; Sid Goldstein; and Rozenn Bailleul-LeSuer. We appreciate the work of Bailleul-LeSuer and Kierra Foley, who assisted Teeter in reviewing and revising object records in preparation for this project. We also thank Fatma Ismail, whose preface reflecting on the study and reach of ancient Egyptian culture from a contemporary Egyptian perspective is vital and timely.

In the more than 130 years since the first Egyptian antiquity arrived at the Art Institute of Chicago, countless people have studied and cared for the artworks in this historic collection. Of special importance was Mary Greuel, a research associate in the Ancient and Byzantine department, and later the Elizabeth McIlvaine Assistant Curator of Ancient Art, who acted as a tireless advocate for the collection. Backed by museum trustees Karen B. Alexander and Karen Manchester, Mary ensured that Egyptian objects were published and presented alongside classical art. It was she who made the initial selection of objects for this catalogue. At the time, Mary knew the collection better than anyone; and she had an innate sense for which objects should be represented. The authors deeply regret that she did not live to see this book, which in its revised digital format will make ancient Egyptian art at the Art Institute available to all. We dedicate this publication to the memory of Mary Carol Greuel, and to all those who have contributed to the study of ancient Egyptian art at the Art Institute of Chicago.

Emily Teeter
Egyptologist

Ashley F. Arico
Associate Curator of Ancient Egyptian Art
The Art Institute of Chicago