Busto de la reina Nefertiti,Berlin

HITLER’S NEFERTITI (NOFRETETE) MYSTERY

Adolph Hitler’s Strange Fascination with Nefertiti

—www.shangri-la.0catch.com/press/nefertiti.htm—

Shangri-La Publications and Shangrila Gifts and Art obtained this fascinating gypsum bust from an old private estate in Berlin, Germany. It is likely a Nazi era casting of an Amarna Period portrait, perhaps of Queen Nefertiti, rescued from the World War II bombings, of a bust illustrated in Fig. 55, page 169, ‘Akhenaten and Nefertiti’, Cyril Aldred, Brooklyn Museum, 1973; where it is identified as ‘probably Smenkhkare’.

OVERVIEW

While for 90 years Egypt and Germany have been fighting for possession of one publicly known and famous bust of this stunning Egyptian queen from the Amarna period, the sculpture of Nefertiti (Nofretete), whose name means “the beautiful one has come,” made during Adolf Hitler’s control over Germany raises interesting questions for the field of Egyptology.

This brief discussion explores the questions of provenance and identity of this intriguing artifact, and its copies dating to the Nazi era. Queen Nefertiti is certainly one of the most famous women in history. She was wife of the unusual New Kingdom Pharoah, Akhnaton, and aunt of the famous boy Tutankhamum (King Tut). Is Hitler’s private Nefertiti bust a recent copy of the published Berlin sculpture of Smenkhkare / Nefertiti or an antiquity in disguise? In either case, how does this new portrait fit within the context of the other Nefertiti portraits from Tell Amarna? Was Nefertiti really Smenkhkare after the death of Akhenaton?

Why was Hitler so fascinated with ancient Egypt, and the Amarna age in particular?

ADOLPH HITLER AND NEFERTITI

It is no secret that Adolf Hitler was smitten with love for the ancient Egyptian queen Khenemet Nefertiti Hedjet. In 1933, the Egyptian government made the first of many demands over the decades for Nefertiti’s return. Among his many titles Hermann Goering was premier of Prussia (which included Berlin) and, as such, Goering suggested to King Fouad I of Egypt that Nefertiti would soon be back in Cairo in exchange for political alliances between Germany and Egypt.

But Hitler had other plans. Through the ambassador to Egypt, Eberhard von Stohrer, Hitler informed the Egyptian government that he was an ardent fan of Nefertiti:

“I know this famous bust,” the fuehrer wrote. “I have viewed it and marveled at it many times.

Nefertiti continually delights me. The bust is a unique masterpiece, an ornament, a true treasure!”

This bold cultural usurpation was part of a colonial mindset of the time.

Egypt was widely viewed as a birthplace of Western (hence German) civilization.

Hitler boldly claimed Nefertiti had a focal place in his dreams of rebuilding Berlin as Germania.

“Do you know what I’m going to do one day? I’m going to build a new Egyptian museum in Berlin,” Hitler went on. “I dream of it. Inside I will build a chamber, crowned by a large dome. In the middle, this wonder, Nefertiti, will be enthroned. I will never relinquish the head of the Queen.”

Hitler and his dreams are long dead. Nefertiti continues to smile serenely, as she has for 3,300 years. As if to say, this shall pass but I endure.

Which bust of Nefertiti was Hitler referring to remains a mystery, since there were several in

Berlin at the time. It is likely that he was writing about the public famous bust, but he controlled an entire collection of Nefertiti portraits all excavated by Ludwig Borchardt and financially sponsored by Dr. James Simon (1851-1932), a Jewish Berlin merchant, through the Deutsche Orient-Gesellschaft expedition to Amarna in Middle Egypt in 1907 and 1911 to 1914.

Borchardt was the director of the Deutsche Institut in Kairo from 1906 to 1929, after which he returned to Germany. In 1938 he moved to Paris. James Simon has recently been honored in Germany for his contributions to Egyptology and his descendants who survived the holocaust live in England and Beverly Hills, California.

Nefertiti was the daughter of Ay (who would become pharaoh after the death of her husband) and Tiye II. She had one sister, Mutnodjmet (who would marry Pharaoh Horemheb). We have recently pieced together another facet in Adolph Hitler’s obsession with the ancient Egyptian Queen Nefertiti.

THE FAMOUS BERLIN BUST OF NEFERTITI

When most people think of “Nefertiti” they recall the famous wayward beauty who recently moved again, not back to Egypt, but across town from a converted guard house in what used to be West Berlin to more royal surroundings in the heart of the reunited Berlin.

The painted limestone and plaster bust, depicting the elegantly chiseled life-sized features of a stunningly beautiful woman wearing a unique blue headdress of the goddess Tefnut, whose identity/duties she took on in the fourth year of her husbands reign, has formed the cornerstone of Berlin’s Egyptian collection since German archaeologists discovered it in the ruins of Djhutmose’s art studio on the Nile banks in 1912.

The sculptor Djhutmose (Thutmosis) has achieved world-wide fame for this bust of Queen Nefertiti, the wife of the “Heretic Pharaoh” Akhenaton (Ekhnaton).

But what many do not know is that this 3,300-year-old bust of 18th Dynasty Nefertiti was only one of many great masterpieces of ancient Egyptian art depicting the same person and from that same artist’s workshop. According to archaeological field records, she was found in Building P. 47, Room 19 of the atelier of the sculptor Thutmosis. In his studio were found 30 additional realistic busts and plaster models, showing the queen in slightly different ways.

An alluring mystery surrounded the famed bust since its discovery on 7 December 1912, incredibly intact and sporting vibrant colors, after lying in forgotten in the sands since the tumultuous days at the close of the reign of Pharaoh Akhenaton, one of the most enigmatic rulers of all time.

Nefertiti, having rested for 3,200 years in the desert, was awoken to a new world full of passions and struggles.

In 1913, the Ottoman Empire supposedly allowed its finder, part-time German-Jewish archaeologist and full-time entrepreneur, James Simon, to retain possession of the bust.

But some have claimed that he and Borchardt hid the bust from official view.

In either case, Simon carted it off to Europe and displayed Nefertiti prominently in his Berlin home, then he lent it to the Berlin museum and finally donating it in 1920 to the Berlin collection.

The Nefertiti collection initially was housed at the Neues Museum (New Museum) just a few meters from the Hohenzollern Palace in the heart of Berlin. Reflecting the fashion of the times, the museum itself was decorated to resemble an ancient Egyptian temple, complete with hieroglyphic inscriptions.

But as bombs rained down on Berlin during World War II, curators hastily stashed art treasures at warehouses outside the city. After the war, some of those warehouses turned out to be in East Germany, others in West Germany.

The famous Nefertiti portrait ended up in the west and took up residency in West Berlin’s makeshift Egyptian museum in a converted guard house across the street from Charlottenburg Palace. But the bulk of the Berlin Egyptian collection remained in east Berlin, and was on view at the Bode Museum until the Berlin Wall came down. Since then, the city has been working to renovate and even rebuild the 19th Century museum complex.

But what did Nefertiti really look like in real life? To what extend was she really the ideal image of beauty as depicted in the famous bust? How much had the artist Thutmosis deviated from her actual appearance to render his concept of artistic perfection? New analysis of the various portraits may answer these questions.

NEWLY REDISCOVERED HITLER NEFERTITI

The portrait bust currently in the Shangri-La collection and formerly from a private collection in Berlin is dated with an official Nazi era stamp on its base of the plaster museum, in Berlin.

The numbers 537 appears to indicate that is a plaster copy of this bust made by the Gipsformerei der Staatlichen Museen PreuBischer Kulturbesitz, Berlin. The Berlin State Museum Plaster Shop has offered plaster copies of objects in German Museums for many years, as well as objects they have been allowed to copy from other museums. All copies have the catalog number of the plaster shop mold on the bottom along with the seal, now updated to that of the German Republic. That would make this item appear to be simply the Hitler era seal of the plaster shop with catalog number of the copy of the bust that may still be purchased from them.

There is however a slight possibility that this was an original ancient artwork disguised as a reproduction so that it could pass undetected into a private collection. We realize that the posting of this discussion on our website is currently being passed along by email between my fellow Egyptolgists as the latest example of “websites that don’t do their research” but as a disclaimer I restate that we are making no particular claims for this piece as being an original artifact and present it only as a topic for discussion (… lighten up guys and have a little fun).

It was first thought that this piece was an excellently crafted early 20th century reproduction produced under the auspices of Adolf Hitler, perhaps as one of many used as gifts for close friends.

However, the bust is made of soft calcite, covered in gypsum plaster and several layers of pigment and constructed in a manner consistent with ancient Egyptian technologies. As to the image itself, it compares closely to those portrait busts identified as Nefertiti Most strikingly, this work is more life like than others and has features that appear to have been used in different ways in the other

renderings. Finally, the left ear lobe appears to have some type of ear plug, while the right ear has a hole. As a result of these observations, we are now speculating that this piece (or rather its original) is a rendering from a life mask of Queen Nefertiti, instead of an artistic rendering.

The copy in our possession is either an original first generation sculpture based on a life mask made in ancient Egypt or an expertly crafted copy of such a piece that was lost in WWII and made in Nazi Germany. In the second possibility, it would appear that we are fortunate to possess this expertly crafted copy. Finally, the plaster in the base which has the Nazi impression is chipping loose from the rest of the sculpture and is composed of a different type of material from the sculpture itself.

It therefore seems that the Nazi era impression was added subsequent to the sculpture’s production.

To the left and right, are images of a granite bust also from the workshop of Amarna sculptor Thutmosis. It resembles the new realistic bust in that the face is rather elongated and the features are delicate. However this granite face is far more balanced and the features are considerably more defined. In part, these were factors of the medium used, a hard stone, but it is clear that the artist has also idealized and standardized features. The chin is not as pronounced as the newly discovered sculpture, the eyes are too similar to each other, and the neck has been elongated.

Below, another granite rendering of Nefertiti, now in the Cairo Museum, Egypt, depicts this queen with a much broader face and wider mouth, however the eyes closely resemble the newly discovered sculpture from Hitler’s private collection. The nose and proportions of the upper face are also very similar.

Taken together, these two very different granite carvings both reveal features found in the naturalistic bust. They also depart in radically different directions of idealized artistic convention.

Here we see a comparison of a famous granite bust of Nefertiti from the Egyptian Museum in Cairo. Note especially the differences in the eyes and mouth. Our cast of Nefertiti is a far more life-like rendering in all aspects.

Yet another sculpture from the workshop of sculptor Thutmosis is a terracotta now in Berlin. Like the Cairo Granite, this work has a broader jaw line, fuller cheeks and shorter chin than the newly found Hitler Nefertiti.

Perhaps the closest comparison to the recently found Hitler Nefertiti is yet another bust from Berlin, which appears to be unpainted limestone. The two depictions have such a close resemblance that we first believed one to be a copy of the other. However, after close inspection, there are clearly subtle differences. Note for instance the shape of the chin and nose. Most strikingly, the bust in the Berlin Museum has a fuller face, especially in the area of the jaw.

Finally, note the left ear. In both there appears to be something protruding below the ear lobe. In the case of the recently discovered bust, this is clearly an earring. Also note that the details of the ears are different.

It is therefore quite clear that even in the case of such close pieces, neither is the copy of the other, but rather they are different artistic renderings or variations of the same source.

We have been able to find one example of a Nefertiti bust, from the private M. A. Mansoor Amarna collection, that exhibits a similarly elongated chin, but otherwise the Mansoor depiction is considerably more abstract than Hitler’s Nefertiti. It is much closer to the famous bust in Berlin and shows the artistic preparation for inlaid eyes and eye brows.

Mansoor was a well-established Cairo dealer. By 1938, his Amarna collection began to attract wide attention. Mansoor was antique dealer for the late King Farouk. As word about the collection spread, other pieces were purchased by well-to-do Egyptian and foreign collectors. Mansoor thus continued to finance the acquisition of additional objects. Some jealous dealers began spreading rumors of forgery on the grounds that they were too good to be authentic. There is still much doubt concerning the Mansoor portrait. I refer to it here to point out how our bust does not resemble it.

Yet another depiction of Nefertiti from Berlin has the artistic preparation for inlaid eyes and eye brows, but in this case the face shape has been completely changed to a much more boxy traditional Egyptian appearance as found in non-Amarna period works. In some angles it compares rather closely to Hitler’s Nefertiti.

Below are two additional comparisons, in black and red granite respectively, which again show how naturalistic our Nefertiti statue is compared with the other known portraits.

Finally, here is a detail comparison with a full figure statuette of Nefertiti. Note the over-sized ears on the full statuette. We have superimposed the crown from the famous Berlin portrait for comparison.

In this image overlay progression we can see how the artist carved down the face proportions until he reached the final abstract artistic composition that now adorns the Berlin Museum. By contrast, our Nefertiti is at the early phase, and probably is a much closer representation of what this famous queen would have looked like in real life.

To test this theory, here are comparisons with the two female Egyptian mummies that are currently vying for the name “Nefertiti” … both from tomb KV35. First is a superimposed image of Mummy 61072, first proposed by Marianne Luban to be Akhnaton’s Queen back in 1999, on our sculpture from Adolf Hitler’s museum. In June of 2002, Joann Fletcher, caused a great sensation when she announced having discovered the long-lost queen… this same long forgotten mummy from KV35 called the younger woman (Mummy 61072). Though heavily damaged, it had a similar swan-like neck and remarkably elegant bone structure. The suggestion was not well received and caused considerable trouble.

The overlay with our portrait reveals interesting facts. To achieve this overlay we first aligned the eye and ear sockets of the skull, then rotated the jaw up and forward to a natural position, aligned the shoulder with the sculpture, rotated the neck to the correct angle to join the head to the torso to match the sculpture, and finally shifted the upper part of the neck forward to realign the neck vertebrae. The result is similar enough to suggest a familial relationship, but the shape of the brow and nose are quite different. If Hitler’s Nefertiti portrait is an accurate depiction of how she actually looked than Mummy 61072 is an unlikely contender.

Another Egyptologist, Susan James, proposed an alternate theory, identifying the older woman from the same tomb of Amenhotep II (KV35) as Nefertiti (Mummy 61070). This female mummy who had managed to retain a “severe beauty”, has, until recent years, been identified as Queen Tiye, Chief Wife of Pharaoh Amenhotep III. Indeed, using the same method of image overlay, without having to realign the jaw, the older woman from KV35 has a profile that much more closely resembles Adolf Hitler’s portrait bust of Nefertiti. What do you think?

Hitler’s Nefertiti portrait supports the case for Mummy 61070 as being the physical remains of Egypt’s most famous queen, “the beautiful one has come”.

The location of Nefertiti’s mummy has baffled archaeologists for centuries, but this discussion sheds some light on this ongoing debate.

I look forward to your comments. Thank you!

“When that ‘little black dress’ is not enough … SHANGRILA!”

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So who might be the younger woman from KV35? Perhaps it is one of the royal princesses from Amarna. The skull is the wrong shape, the jaw is too long, and the chin too pronounced for it to be Meritaten, but there were five other young women in the Amarna royal family. During her marriage Nefertiti bore Akhenaten six daughters: Meritaten, Meketaten, Ankhesenpaaten, Nefernefruaten-tesherit, Nefernefrure, and Stepenreare.

What did Queen Nefertiti really look like? We have created this composit image of the famous idealized Berlin bust and the Shangri-La naturalistic bust collected by Adolph Hitler to offer a possible answer.

Now you can look like Queen Nefertiti on your wedding day!

Please share with us your comments and ideas about this ongoing research. This is a link to a blog site we have established for just that purpose!

Visit SHANGRI-LA in Ithaca or Cortland NY, your source for the finest quality vintage LOUIS VUITTON Items!

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Click HERE to see a wide selection of products featuring images of Hitler’s Nefertiti bust. “Mein Muse” is how the art loving German fascist fuhrer Adolf Hitler thought of this portrait of ancient Egyptian Amarna Period Queen Nefertiti, wife of Akhnaton, and aunt of King Tutankhamun (Tut).

ABSTRACTS

C’était la première pensée par les propriétaires courants que ce morceau était une début du 20ème reproduction excellemment ouvrée de siècle produite sous les auspices d’Adolf Hitler, peut-être en tant qu’un de beaucoup utilisés comme cadeaux pour les amis étroits. Cependant, le buste est fait de calcite molle, couvert dans le plâtre de gypse et plusieurs couches de colorant et en quelque sorte de consistant construit de technologies égyptiennes antiques. En outre, nous avons ne pu pas identifier n’importe quelle sculpture originale connue de Nefertiti qui a l’exact les mêmes dispositifs que ce buste de portrait. Le plus de façon saisissante, en comparaison avec d’autres bustes connus de portrait, ce travail est plus de vie comme que d’autres et a les dispositifs qui semblent avoir été employés dans différentes manières dans les autres renderings. En conclusion, le lobe gauche d’oreille semble avoir un certain type de prise d’oreille, alors que l’oreille droite a un trou. En raison de ces observations, nous speculons maintenant que ce morceau est rendu d’un masque de la vie de la Reine Nefertiti, au lieu d’un rendu artistique. Le morceau dans notre posession est une sculpture originale en génération basée sur un masque de la vie fabriqué en Egypte antique ou une copie expert ouvrée d’un tel morceau qui a été perdu dans WWII et fait dans Nazi Allemagne. Dans la deuxième possibilité, il s’avérerait que l’original a été perdu ou détruit et nous sommes chanceux pour posséder ceci copie expert ouvrée. En conclusion, le plâtre dans la base qui a l’impression de Nazi ébrèche lâchement du reste de la sculpture et se compose de type différent de matériel de la sculpture lui-même. Il semble donc que l’impression de Nazi était suivante supplémentaire à la production de la sculpture et que la sculpture pourrait raisonnablement être un trésor précédemment perdu d’art de nouveau royaume Egypte.

Es war erster Gedanke durch die gegenwärtigen Inhaber, daß dieses Stück eine ausgezeichnet in Handarbeit gemachte früh 20. Jahrhundertwiedergabe war, die unter den Auspizienn von Adolf Hitler produziert wurde, möglicherweise als eins von vielen, die als Geschenke für nahe Freunde verwendet wurden. Jedoch wird die Büste vom weichen Calcit gebildet, bedeckt im Gipspflaster und in einigen Schichten Pigment und konstruiertem in gewissem Sinne consistant mit alten ägyptischen Technologien. Ausserdem sind wir nicht imstande gewesen, jede bekannte ursprüngliche Skulptur von Nefertiti zu kennzeichnen, das das genaue die gleichen Eigenschaften wie diese Portraitbüste hat. Am auffallendsten, im Vergleich zu anderen bekannten Portraitbüsten, ist diese Arbeit mehr Leben wie als andere und hat Eigenschaften, die scheinen, in den unterschiedlichen Weisen in den anderen renderings benutzt worden zu sein. Schließlich scheint der linke Ohrvorsprung, etwas Art Ohrstecker zu haben, während das rechte Ohr eine Bohrung hat. Resultierend aus diesen Beobachtungen spekulieren wir jetzt, daß dieses Stück Übertragung einer Lebenschablone der Königin Nefertiti ist, anstatt künstlerischen zu übertragen. Das Stück in unserem posession ist entweder eine ursprüngliche Skulptur des ersten Erzeugung, die auf einer Lebenschablone basieren, die in altem Ägypten hergestellt wird oder eine sachverständig in Handarbeit gemachte Kopie solch eines Stückes, das in WWII verloren war und in Nazi Deutschland gebildet. In der zweiten Möglichkeit würde es scheinen, daß die Vorlage verloren worden oder zerstört worden ist und wir glücklich sind, dieses zu besitzen sachverständig in Handarbeit gemachte Kopie. Schließlich bricht das Pflaster in der Unterseite, die den Eindruck Nazi hat, lose vom Rest der Skulptur ab und besteht aus einer anderen Art Material von der Skulptur selbst. Es scheint folglich, daß der Eindruck Nazi der Produktion der Skulptur zusätzliches folgendes war und daß die Skulptur ein vorher verlorener kunstschatz vom neuen Königreich Ägypten angemessen sein könnte.

Era primo pensiero dai proprietari correnti che questa parte era un’inizio del 20esimo riproduzione eccellentemente messa di secolo prodotta sotto gli auspici di Adolf Hitler, forse come uno di molti usati come regali per gli amici vicini. Tuttavia, il busto è fatto di calcite molle, è coperto nell’intonaco del gesso ed in parecchi strati del pigmento ed è costruito in un modo consistant con le tecnologie egiziane antiche. Ancora, abbiamo non potuti identificare tutta la scultura originale conosciuta di Nefertiti che ha l’esatto le stesse caratteristiche di questo busto del portrait. Il più in maniera sconvolgente, in paragone ad altri busti conosciuti del portrait, questo lavoro è più vita come che altri ed ha caratteristiche che sembrano essere usate nei sensi differenti negli altri renderings. Per concludere, il lobo di sinistra dell’orecchio sembra avere certo tipo di spina dell’orecchio, mentre l’orecchio di destra ha un foro. Come conseguenza di queste osservazioni, ora stiamo speculando che questa parte è rappresentazione di una mascherina di vita della regina Nefertiti, invece di rappresentazione artistica. La parte nel nostro posession è una scultura originale della prima generazione basata su una mascherina di vita fatta nell’Egitto antico o una copia esperto messa di una tal parte che è stata persa in WWII ed è stata fatta in Nazi Germania. Nella seconda possibilità , sembrerebbe che l’originale fosse stato perso o distrutto stato e siamo fortunati possedere questo copia esperto messa. Per concludere, l’intonaco nella base che ha l’impressione di Nazi sta scheggiando liberamente dal resto della scultura e si compone di tipo differente di materiale dalla scultura in se. Quindi sembra che l’impressione di Nazi era successivo aggiunto alla produzione della scultura e che la scultura potrebbe ragionevolmente essere un tesoro precedentemente perso di arte dal nuovo regno Egitto.

Era primeiro pensamento pelos propriet¡rios atuais que esta parte era uma 20a reprodu cedo excelente crafted do século produzida sob os auspices de Adolf Hitler, talvez como um de muitos usados como presentes para amigos próximos. Entretanto, o busto feito da calcite macia, coberto no emplastro do gypsum e nas diversas camadas de pigment e construi­do em uma maneira consistant com tecnologias egyptian antigas. Alem disso, noa fomos incapazes de identificar todo o sculpture original sabido de Nefertiti que tem o exato mesmas caracteri­sticas que este busto do retrato. O mais impressionante, quando comparado com outros bustos sabidos do retrato, este trabalho hay mais vida como do que outros e tem as caracteri­sticas que parecem ter sido usadas em maneiras diferentes nos outros renderings. Finalmente, o lóbulo esquerdo da orelha parece ter algum tipo de plugue da orelha, quando a orelha direita tiver um furo. Em conseqüência destas observações, nós speculating agora que esta parte é render de uma máscara da vida da rainha Nefertiti, em vez de render artístico. A parte em nosso posession é um sculpture original da primeira geração baseado em uma máscara da vida feita em Egipto antigo ou uma cópia perita crafted de tal parte que foi perdida em WWII e feita em Nazi Germany. Na segunda possibilidade, pareceria que o original estêve perdido ou destruído e nós somos afortunados possuir este cópia perita crafted. Finalmente, o emplastro na base que tem a impressão de Nazi está lascando-se frouxamente do descanso do sculpture e é composto de um tipo diferente de material do sculpture próprio. Parece conseqüentemente que a impressão de Nazi era subseqüente adicionado à produção do sculpture e que o sculpture poderia razoavelmente ser um tesouro previamente perdido da arte do reino novo Egipto.

Era primer pensamiento de los dueños actuales que este pedazo era excelente temprano hecha a mano una vigésima reproducción del siglo producida bajo auspicios de Adolf Hitler, quizás como uno de muchos usados como regalos para los amigos cercanos. Sin embargo, el busto se hace de la calcita suave, se cubre en yeso del yeso y varias capas del pigmento y se construye de una manera consistant con tecnologías egipcias antiguas. Además, hemos no podido identificar cualquier escultura original sabida de Nefertiti que tiene el exacto las mismas características que este busto del retrato. Lo más llamativo posible, en comparación con otros bustos sabidos del retrato, este trabajo es más vida como que otros y tiene características que aparezcan haber sido utilizadas en diversas maneras en los otros renderings. Finalmente, el lóbulo izquierdo del oído aparece tener cierto tipo de enchufe del oído, mientras que el oído derecho tiene un agujero. Como resultado de estas observaciones, ahora estamos especulando que este pedazo es representación de una máscara de la vida de la reina Nefertiti, en vez de una representación artística. El pedazo en nuestro posession es una escultura original de la primera generación basada en una máscara de la vida hecha en Egipto antiguo o una copia experto hecha a mano de tal pedazo que fue perdido en WWII y hecho en Nazi Alemania. En la segunda posibilidad, aparecería que se ha perdido o se ha destruido la original y somos afortunados poseer esto copia experto hecha a mano. Finalmente, el yeso en la base que tiene la impresión de Nazi está saltando flojamente del resto de la escultura y se compone de un diverso tipo de material de la escultura sí mismo. Por lo tanto se parece que la impresión de Nazi era subsecuente agregado a la producción de la escultura y que la escultura podría razonablemente ser un tesoro previamente perdido del arte del nuevo reino Egipto.

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-El historiador suizo Henri Stierlin ha causado un gran revuelo en Berlín al cuestionar en su último libro la autenticidad del busto de Nefertiti. Según él, este busto datado oficialmente en 3.349 años, sólo tendría 100.
Su tesis es la siguiente: el arqueólogo alemán Ludwig Borchardt (1863-1938) encontró durante unas excavaciones en Amarna un precioso collar para el que pidió a sus colaboradores que elaborasen un busto para exhibirlo. Lo curioso es que un príncipe alemán relacionó ese busto con la imagen de Nefertiti y su descubridor por temor a contradecirle, asintió que era cierto, así que el ojo que le falta se debería a la falta de tiempo.
El Director del Museo Egipcio de Berlín desmintió estas declaraciones, y aclaró que en 1982 ya se demostró la autenticidad de la pieza.

http://landeskunde-deutschland.blogspot.com/2009/05/es-falso-el-busto-de-nefertiti.html

Egipto reclama el busto de Nefertiti

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El primer arqueólogo de Egipto y jefe del Consejo Supremo para las Antigüedades, Zahi Hawas, informó a la prensa que en el país se instituyó un “comité especial para Nefertiti”, encargado de reunir y estudiar todos los documentos relacionados con la entrega a la parte alemana de los artefactos descubiertos a comienzos del siglo XX, incluido el busto de la reina.

Hawas dijo estar seguro de que el busto fue sacado ilegalmente de Egipto.

El primer arqueólogo de Egipto propone organizar cooperación entre todas las naciones a las que fueron sustraídos valores culturales inapreciables.

Hace unos días, Egipto logró que Francia le devolviese cinco artefactos que se guardaban en el Museo de Louvre.

Hawas había afirmado que al adquirirlos, los expertos de Louvre estaban al tanto de su procedencia ilegal.

En relación con eso, Egipto amenazó con privar a los científicos franceses de la posibilidad de realizar excavaciones y celebrar conferencias en territorio egipcio.

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