This wall includes the entry to the rear chamber, which is slightly offset to the left and has the approximate width of 0.8m and height of 1.7m. As can be seen from the image above, the ceiling height of this wall, like the one opposite, is unlevel.
It appears that the image areas of the both sides of this wall were divided into two registers, although most the the upper one of the left has been lost through damage. Based on the still complete right-hand side, the total height of the scene area is approximately 1.4m, with a width of just over 2.0m. The width of the left-hand side would have been slightly less. These dimensions do not include the border zones nor the variable height of the kheker frieze. The two registers of the each side are approximately the same height.
The bottom dado area of the wall was separated from the main scenes by a broad red and yellow stripe edged in black (see ) ;
This section of wall is in the worst condition of all the artwork of Nakht's tomb. It originally consisted of two registers illustrating the "Beautiful Festival of the Valley". They were both contained seated images of Nakht and Tawy seated on the right, although their upper image has been lost and only their legs (and Nakht's hands) remain in the lower register. The major part of the two registers, although being similar in content, is different in actual detail.
Since the time of Davies' original work, further damage has occurred to this side of the west wall. At the right-hand side of the upper register could be seen the legs of two offering bearers, actually only the rear leg of the one in front, this leg has now disappeared. Together with this, the upper area of two of the columns of text, at the top of the register immediately below, have also been lost.
• Starting on the right, Nakht and Tawy are seated on a bench seat resting on a reed mat, identified as such by the fact that no front leg of a second chair appears immediately behind Tawy's legs. From what has survived, they were obviously in their usual attire, with bare feet. Any original descriptive text for Nakht and his wife was lost even before the production of the line drawings, the part which remains is for Tawy's son.
Under the chair is what has become one of the famous scenes from the tomb, that of the striped cat eating a fish. In Davies' time, this image was in very good condition. However, today part of the underside of the animal and the fish are distorted by damage (see ).
• In front of the couple is a large pile of provisions for their enjoyment as they participate in the "Beautiful Festival of the Valley". These provisions (due to ancient Egyptian perspective) appears to float in the air on a table top, above two tall vessels around which are wound lotus blossoms. It is possible that any central pillar-leg may be hidden by one of the two vessels below it.
Facing the offerings and the couple is, according to the text above him, Tawy's son, Amenemapet. The is the only remaining instance of any of the children being named and is especially interesting in the fact that he is not acknowledged as Nakht's son, but as
"her son" (). It could possibly signify that Nakht, not having a son at the time of his death, chose his stepson, descended of a previous marriage of Tawy, to act as if he was his own eldest son. He is dressed in a short white kilt (which doesn't even reach to his knees) over which is a semi-transparent longer garment extending to the middle of his shins. The normal black colour of his short hair has either vanished or had not been completed by the artist. His white finger nails are very easily seen. In his left hand he holds a small but elaborate bouquet, from which hangs a dozen wild-fowl. Whilst, very strangely, the long bouquet in his right hand passes behind his left arm. Could this have been done deliberately by the artist or was it a mistake?
The text above his head, which as already mentioned is now less complete than in the time of Davies, states:
"[Presenting] a bouquet after doing his duty, by her son [Amen]emapet, justified.".
• Following the son are the musicians and guests of the celebration. The graphic representation of the three musicians is quite outstanding, in the fact that they are not portrayed just standing one behind the other (as in the tomb of Djeserkasemeb TT38, in ). Instead, they form a rather special complex group with their figures and instruments overlapping each other, enhanced even more by the fact that the middle girl turns her head towards the one at the rear. At the front stands the harpist playing a large instrument with more than a dozen strings and a rather elaborate sound box. Behind her is a lute player, and at the rear the girl who plays the double flute.
The images of the three girls are distinctly different, although at first glance the two outer ones appear the same. These two are dressed in long tight-fitting dresses, whilst the one in the middle wears only a narrow beaded belt. Each wears a different hairstyle and broad necklace. Detail can be easily seen in the . The dexterity of the fingers is in stark contrast with that of all the guests.
Compared with the other female figures of this wall their skin tone is much darker, almost as dark as that of the male figures. This may be partly due to the fact that the artist applied a layer of varnish to these three, which, over time, has probably darkened, it has certainly started to show signs of flaking (see ). From the fact that the feet of the two outer girls are pale (the same colour as the other females), it can be assumed that no varnish was applied to them. The artist was obviously very proud of what he produced here, hence the fact that he wanted to ensure the protection of his art-work against deterioration.
The height of the three musicians has been reduced in order to provide space for for the musicians and guests (or perhaps they are further offerings for Nakht and his wife). These consist of four totally different vessels, both in colour and shape, resting on a reed mat. Three of these are supported by small wooden frames and each have lotus blossoms laid across the top. The taller vessel, which rests directly on the mat, just has a lotus bloom at its top. Between each vessel is a very large bunch of grapes.
The upper sub-register contains three men, the figures of which are almost identical, in stark contrast with musical trio in front of them. They each sit on the same style stool, which rest on a reed mat. They have the same white kilt with semi-transparent overlay, the same design broad necklace and each hold the same style lotus blossom with a long thin curved stem to their nose. These long blossoms should by rights collapse under the weight of the bloom. Their heads all have the same short ginger (or unpainted) hairstyle, with an ointment cone on top.
The lower sub-register, which probably contained four richly dressed seated women, is badly damaged, with only part of the rear-most one on the right and a portion of the leading one still remaining. From what has survived, the guests wore the usual long dress (through which could be seen their breasts), broad necklace, large round gold earrings and had a hairstyle which extended below the shoulders. They also had an ointment cone on their head. The ladies all held a lotus bloom similar to those held by the men above. The chair on which the rear one sits was of a common form with a large curved back and legs in animal form with the claws resting on a small support, the whole thing being black in colour. Again the chairs rest on a reed mat.
This register can be considered to be part of the lower one, even though it would originally have had its own image of the seated Nakht and Tawy, with a pile of provisions in front of them. From what still exists of the right-most part of the register, to the left of couple and the pile of provisions, were two porters, of which now only the legs of the left-most has survived. These two carried gifts of food, of which only the hanging vine of the rear one has survived. The design of his white kilt is however still apparent, with no sign of an overlaying semi-transparent garment. There is no surviving descriptive text.
The area behind the two porters was divided into two sub-registers, the upper-most one having been almost lost.
The lower (complete) sub-register contains at its front edge a blind male harpist. His blindness is expressed by a curved line instead an actual eye. His mouth is open, which for an Egyptian image is exceptional, probably signifying that he is singing what is usually referred to as the "song of the harpist". No text accompanies this harpist, although many variants can be found found in other tombs. His body is shown in profile with the folds of his stomach been very obvious. Unlike the guests behind him, he squats directly on the floor, not on a mat. The sole of his left foot can be seen emerging from under his right thigh. On top of his apparently bald head he has a ointment cone.
Immediately behind him is a scene with several female guest and their attendants. The high quality guests all kneel on the reed mat, dressed in the finest attire and shown in various attitudes. This, as with the musicians, enlivens the scene considerably. They are shown in a more natural mix, three kneel side by side at the rear, two next to each other at the front and one in the middle. The first guest breathes the odour of a lotus flower, while the one at her side (partially hidden by the first), has turned towards the rear and holds a fruit to the third, whose left arm is also turned toward the rear and present the same type of fruit to the lady seated behind her. From this, the possible explanation is that the first of the two women is seated with a tray containing the fruit in front of her, and she is passing them to the one behind her, to pass them them to the others. All of the women wear the same design dress and large round gold earrings, but a variety of broad necklaces. A young girl, naked except for a jewelled belt around her hips, adjusts the earring of the middle guest at the rear.
The upper sub-register contains, immediately above the blind harpist, the remains of vessels resting in wooden stands. Again, these could either be refreshments for the guests or further nourishment for Nakht and his wife.
Above the guests of the lower sub-register, four more female guests are seated on chairs similar to those in the bottom register, all resting on another reed mat. Two guests are seated side by side at the rear and two others seated singly in front. Very little of them has survived, but from what has, they appear to have been dressed in the same attire. In front of the one at the middle are the naked legs of a serving girl, again possibly adjusting her jewelry.
Four small pieces from this area exist in the Brooklyn museum (seen opposite, below). These show faces of the two guests were seated next to each other at the rear. These were not included in the line drawings of Davies, nor recorded by him in the painted recording, therefore they were possibly in the debris on the floor and just taken without thought of restoring them to their original position. From these pieces it can been seen that their breasts were visible through theirs dresses, that they wore the usual broad necklaces of different designs, they wore large round gold earrings and had a hairstyle which extended below the shoulders on top of which was an ointment cone. Also visible are the stems of the lotus blossoms which they obviously held.
Once again the wall is divided into two registers, with Nakht and Tawy seated with their backs to the entrance of the rear chamber. The wall has suffered virtually no natural damage. That which does exist is from the now familiar removal of the name Amon from the texts. In addition to this there is damage to the left-hand edge, at the junction with the rear chamber entrance, but even this has resulted in no major loss of detail and most of the multicoloured border still exists. What is uncertain, is whether there was a blue vertical band outside it. The kheker frieze is fully intact and from it the unevenness of the ceiling, towards the north end, can easily be seen (see ).
On both registers the couple are, according to the text,
"enjoying and beholding beauty" by the sight of the offerings which are presented to them. The major part of the registers is taken up with scenes of gathering or preparation of these gifts, from hunting of fish and fowl in the marshes (upper register) and the grape harvest, wine pressing, bird capture and the removal of the plumage (lower register).
• Starting on the left, Nakht and Tawy are again seated on a bench seat resting on a reed mat. The high backrest is of a hollow construction, with a gold curved top. The couple are dressed in their usual attire, although Nakht's semi-transparent over-garment extends from over his left shoulder down to his ankles. His beard can just be seen. Both hold a single lotus bloom, with Nakht's having a longer stem. Tawy's left hand can be seen resting on his left shoulder. Strangely there is damage which has removed the part of their face which includes the eye. Was deliberately done at the same time as the removal of the name Amon?
Above then are six columns of multi-colour text (the other texts of these two registers are of a single colour). It states:
"Enjoying (themselves) by looking at the good things, the products of the fields and the papyrus areas, (by) the serving-priest [of Amon], the scribe Nakht, justified, and his beloved sister, with a place in his heart, the chant[ress of Amon], Tawy.".
In front of them is a large and varied pile of offerings which have been presented to them. Only one person is shown bring things from the activities in the marshes and he is shown on a much smaller scale than the couple, located at the opposite side of the pile. What he brings is shown under it, being seven fowl, whilst over his shoulder he carries a further five. The two men immediately above him face away from the couple and actually belong to the hunting scenes which occupy the major part of the upper register.
Although the blue text, to the right of the multi-coloured one, extends over half of the main hunting scene, it actually relates to the couple and the offerings, and does not describe the major scene below it. It even repeats, in part, what was stated previously, saying:
"Enjoying (themselves) by looking at the good things, the products of the fields (produced) by (his) companions, as the baskets of the product of hunting and fishing, by the serving priest of [Amon], the scribe Nakht, justified, and his sister, the chantress of [Amon], the mistress of the house, Tawy. She says 'Enjoy your work of the peasants, I make these libations to your geese, at their moment (of death?).' ".
• On the right, the hunting scenes. This theme is a classic decoration, found in many tombs since the Old Kingdom. In the New Kingdom, it is always composed of two hunting activities, the capture of birds by use of the throwing stick and fishing with the harpoon. These two scenes can be represented one behind the other, or more frequently, as here, in a facing composition. Although the two scenes could be regarded separately, it is easier to discuss them together, thus making it easier to draw comparisons.
The hunting, in both cases, takes place in the papyrus thicket, with Nakht standing in a light papyrus skiff. In the left-hand section, Nakht holds a throwing stick in his hand, with which he hunts fowl. In the other part his posture indicates that he is about to hurl a spear. However, the spear has not been painted in by the artist. In total, Nakht is accompanied by his wife, three children and three servants. In the left-hand skiff is his wife, standing behind him, and a daughter and a son; the kneeling daughter holding his leg will be his eldest, whilst his naked son, holding a throwing stick just like his father, stands in front of him. In the right-hand skiff his wife again stands behind him, accompanied by two daughters; again the eldest daughter holds his leg whilst this time another daughter stands at the front of the skiff. None of these children are named in the texts above the scenes. Two servants stand behind the left-hand skiff, whilst a single servant stands behind the right-hand skiff. At the front of each of the skiffs has been removed the image of a goose, removed by the supporters of Akhenaten, because it was considered as a symbol of the god Amon.
The scenes are solidly rooted in religious ideas, with the papyrus thicket being regarded as a mythical place of fertility and regeneration. Hence the fact that members of his family are represented, which wouldn't normally be the case if it just represented Nakht enjoying the activity of hunting. There are far too many occupants for such a frail craft, again emphasising the fact that this activity, as shown here, could never have taken place. In general, some aspects of the imagery point to the scene beings a representation of Nakht in the reign of Amenophis II. However, his wide belt suggests that it belongs to the time of Thutmosis IV.
The columns of blue text above the right-hand side of the scene describes it:
"Traversing the fowling-pools, penetrating the swamps, enjoying himself by spearing fish, by the serving-[priest of Amon, the scribe] Nakht, justified.".
At the bottom is the dark blue representation of the water, which is raised at the centre in order to better show two fish. None can be seen in the main body of the water beneath, and none appear there in Davies' line drawing. The representation of the owner of the tomb harpooning these assures the deceased, as if by the magic of the image, possession of the virtues which they represent, and thus his rebirth after death.
The background to the two scenes is a wide expanse of papyrus thicket topped by three rows of umbels, creating a very attractive display. Above and among the stems fly a number of birds, butterflies and dragon-flies; there can also be seen two throwing sticks. On top of the papyrus umbels are two bird nests each with two eggs. These are protected by the actual birds, both being of a different breed. A further nest and eggs, plus the protective bird can be seem among the papyrus stems.
This lower register is about the couple receiving produce from the grape harvest and wine pressing, bird capture and preparation of the same. The two activities are displayed on different sub-registers, with the couple again seated on the left.
• Starting on the left, Nakht and Tawy are once again seated on a bench seat resting on a reed mat. However, this time it does not have the high curved back, but a short padded one. They are seated inside a booth, as described in the grey coloured text above them:
"Sitting in the booth to enjoy (themselves) by looking at the good things from the papyrus swamps, by the serving-priest [of Amon], the scribe Nakht, and his sister, the chant[ress of Amon, Tawy].". By the term "papyrus swamps", the area referenced is the Delta lands in the north of the country, as were the activities in the upper register. This is the only text in this register. What is perplexing about Nakht is that, as an average Theban official, he certainly wouldn't have had any possessions in the north of the country, and surely not grape vineyards.
The couple are dressed as in the upper register, including the semi-transparent over-garment of Nakht. This time his beard is easily seen. Again they both have a single lotus bloom, but here Tawy has hers resting over her right arm, whilst her right hand is again on his left shoulder. Although the name Amon has been removed, their eyes have not been touched this time.
The front of the booth is supported by a very decorative pillar, in fact there would be two. It consist of a pillar of papyrus stems, bound tightly at the top and very beautifully at the base, with a single umbel at the top, with a lotus bloom to either side of it.
• The offered gifts and the porters. Immediately in front of the couple, inside the booth, is a stool on which stands a large basket of fruit overlaid by lotus blossoms. This is obviously part of the piles of gifts seen in front of the booth.
Outside the booth is not, as before, one large pile of gifts, but several and there does not appear to be any wine vessels, even the production of the wine is shown in the bottom sub-register. Among the piles can be seen fish and fowl (which were seen being captured in the upper register), along with live ducks, eggs and an abundant supply of grapes, pomegranates and several bunches of lotus blossoms.
The porters, like the actual activities at the right-hand side of the register, are displayed on the two sub-registers, two on each. All are dressed identically in white kilts with a high waist-line rising towards the rear. They bring even more gifts to the couple, including more fishes, fowl and grapes.
Behind the two upper porters the scene is divided into two related activities.
Starting on the right, the scene is of harvesting grapes by two men. The activity takes place under a vine-grove pictured as being composed of three grapevines, obviously intended to represent the depth and shade of the vineyard. The harvesters are certainly not overpowered by the vines and although not showing a great deal of movement, they are portrayed as individuals. The one on the left has a pot-bellied stomach and roughly cut grey hair, both indicating that he is the elder of the two. The one behind him has black tight curly hair, normal for the inhabitants of the Upper Egypt. It is interest to compare the line drawing of Davies with his painted version: the painted version has the hair colours of the two men as they are actually found (see ), but in the line drawing he has them reversed (see ). Despite the number of grapes they have to gather, all apparently ripe, unless the alternate bunches are not white grapes but are unripened ones, they only have one small basket between them.
On the left, the harvested grapes have been placed in a white stone press where they are treaded by five men, three on the left and two on the right. Conventionally their skin colour is alternated in order to easily see the number of men involved. They support themselves by the ropes hanging from the crossbar supported by two very decorative papyrus columns. All of these men wear much shorter kilts than those worn by the two harvesting the grapes. A similarly dressed man stands outside the press, in front of the stone tank which receives the strained juice from the press. The juice which he collects will be placed in large jars, four of which are shown above him. This scene appears more lively than the rather more conventional gathering scene on the right, although a little less active than the one found in , but the preserved quality of the painting is better here in TT52.
• Lower sub-register, bird capture and removal of the plumage. Finally, the last decorated portion of wall has been reached. This, like the double scene above, is situated behind the two porters on the left side of the sub-register and again consists of two related activities.
Starting on the right is the mass capture of birds in the papyrus swamp, using an hexagonal net. This is performed by four men, a group of three controlling the net and another who gives the instruction to close the net. Once again, the tall papyrus area is illustrated with a mass of umbels at the top, not in a natural way, but in a very picturesque way, as a backdrop to the scene rather than enclosing it. At the bottom can be seen the dark blue water with a shoreline above it, but the water extends around the hexagonal net, which is displayed upright (not horizontal) in order to show the detail of its content.
Appearing, half hidden, from behind the papyrus background, is the lookout, whose job it was to signal to the three men to pull on the rope, thus closing the large net. They lean backwards indicating their effort. As in the scene grape treading above, their skin tones are alternated in order to easily see the number of men involved. All four of these men wear only a brief vestment around their middle, because in doing this job they are certain to get very wet.
The artist has placed a great deal of detail into the chaotic mass of birds captured in the net. Note should be made that none have escaped, even though the amount of activity is great. Also worth noting is the fact that the rear-most of the three men has turned his head turned to face the two men in the sub-scene behind him.
This scene is also found in , but the preserved quality is again better in TT52 and the activity within the hexagonal net is much greater. In TT56 the rear-most man again turns to face behind him but all the men are displayed apart, wearing fuller garments around their middle. There are also other differences. Of all known analogous scenes found in other tombs, it is only in TT56 that the "lookout" is absent, the one who is normally half hidden by the papyrus plants, ready to give the signal to close of the trap. Also in TT56 columns were drawn ready to receive a descriptive text, but they were never used.
On the left, partially taking place under a framework of two posts supporting a cross member, is the plucking of previously captured birds, whose necks would have been twisted. This is performed by two men. The man on the left, who, judging by his hair style is the elder of the two, sits on a comfortable seat and performs his task on a sloping work surface. His birds are hung from the cross-beam of the structure. Whilst the younger man sits on a simple stool and works from his hands, placing his finished work in front of him. Note that there are no unplucked fowl present in the scene. Both men wear a normal tight fitting white kilt.
Above the right-hand man are vessels, similar to those seen in the sub-register above. If they were meant for wine they would be out of place here. These could have been used to fill the space; but if this was the case, why didn't the artist insert some descriptive text? However it is possble that the processed birds, once dry, with or without salting, may have been placed in these jars to be preserved or even transported, although the necks do seem a little narrow.