In: Ancient Egyptian Animal Fables
Jennifer Miyuki Babcock
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This book would not have been possible without the help of many friends, family members, colleagues, and institutions. People from every facet of my adult life have seen me through the research, writing, and editing of this manuscript. I am thankful for everyone who continues to inspire and support me.

This book and catalogue are based on my dissertation, which I wrote at the Institute of Fine Arts at New York University. David O’Connor was an immeasurably patient and compassionate adviser, and I am also grateful to Ogden Goelet and Ann Macy Roth for their advice and guidance. I am greatly indebted to all of my professors at NYU for their contributions in transforming me into a thoughtful and critical scholar.

The research for this study required many trips to museums in the U.S. and abroad, which were funded by fellowships and scholarships provided by the Metropolitan Museum of Art and the Institute of Fine Arts. Numerous curators, collections managers, and librarians graciously assisted me in person and through e-mail. Guillemette Andreu-Lanoë and Sophie Labbé-Toutée facilitated my research and welcomed me warmly at the Louvre; this trip, which included a visit to the exhibition, L’art du contour: le dessin dans l’Égypte ancienne, was foundational in my initial research. Nevine Mounir at the Institut Français d’Archéologie Orientale provided me with study photographs that helped me understand the draftsmanship of the ostraca on a level that is impossible from studying Vandier d’Abbadie’s illustrations. Also at the IFAO, I would like to thank Mazen Essam for her patience in providing me with numerous photograph permissions and high resolution images that are included in this book’s catalogue.

Laurent Gorgerat at the Antikenmuseum Basel und Sammlung Ludwig kindly provided me with a beautiful color image of their papyrus, which was a piece that I was not aware of when I wrote my dissertation. With his help, I am able to include this object in this current publication. Christian Loeben was generous in sending me information and a beautiful image of the ostracon in the Museum August Kestner. I would also like to thank Joyce Faust, Meghan Brown, and Robert Dunkin at ArtRes, Emma Darbyshire at the Fitzwilliam Museum, Marwa Aton at the Egyptian Museum in Cairo, Susanne Toepfer at the Museo Egizio in Turin, Roxane Bicker, Carsten Gerhard, and Sylvia Schoske at the Staatliches Museum Ägyptischer Kunst, München, Sibyl Searle at the Ashmolean Picture Library, and Greet Van Duren at the Photographic Library for the Musées royaux d’Art et d’Historie for helping me acquire the rest of the photography included in this book.

I am greatly indebted to Brooke Norton, for being my liaison with the Egyptian Museum in Cairo. Without her, I may not have some of the images that I needed for my catalogue. Thank you, Tara Prakash and Lisa Saladino Haney, for your friendship, your insight, and for helping me through the sometimes confusing publication process.

I would like to thank my colleague Alex Nagel at The Fashion Institute of Technology, SUNY for offering to put me in contact with many of his colleagues in Germany. He has been a tremendous support at FIT and is a model of how full-time professors can mentor and advocate for adjunct faculty. I would also like to thank FIT for providing me grants that allowed me to travel and present at conferences so that I would be able to present some of the research that went into this book and future publications. The Pratt Institute Faculty Development Fund also provided me with a generous grant that paid for some of the final publishing costs of this book.

Considerable thanks and gratitude go out to Leah Schnelbach, my copy editor, who read through numerous drafts of this book and provided helpful suggestions.

Finally, I would like to thank my parents and my maternal grandmother. Without their support, I wouldn’t have been able to pursue Egyptology.

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