Egyptian Coptic Textile Fragment Group

Encaustic painting on thin linen fabric, upper part of the funeral shroud with half-length representation of the deceased, representing the bust of a young man in the guise of mummiform Osiris holding implements of his divinity, black hair, wearing a gilt broad collar (maniakion) and netting, pink dress ornamented with rosettes, traces of halo in white pigment; set in a glazed frame. 4.3 kg, 58 x 63 cm including frame



Collection of the estate of Patti Cadby Birch (1923-2007), New York, USA. with Sotheby’s, New York, Antiquities, 5 June 2008, sale no.8452, no.105. European private collection, acquired thereafter. Accompanied by a copy of an Art Loss Register certificate, no.S00014603. Accompanied by an academic report by Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12612-234638. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

Fayum portraits, painted on wood or linen, applied to the mummies of the Graeco-Roman period, are one of the most wonderful legacies that the koiné of the Graeco-Roman world has left us. Due to the favourable climate enhancing the state of preservation, these encaustic paintings have left us an almost photographic testimony of the faces of the inhabitants of Roman Egypt. The realistic portrait shows here the idea of the deceased as Osiris. This idea, already existing in the Ptolemaic Period regardless of the gender of the person represented, continued to exist in the Graeco-Roman period. The deceased is undoubtedly a young man, beardless, with black and slightly frizzy hair. A similar male portrait with the same type of clothing, the attributes: nimbus and the identifying elements of Osiris can be found in a portrait now in Paris (Parlasca, 2003, no.771, pl.172,3). Patti Cadby Birch (1923-2007) was a prominent American philanthropist and collector, known for her significant contributions to the arts. A patron of institutions such as The Metropolitan Museum of Art and the Museum of Modern Art in New York, she supported numerous exhibitions and acquisitions, particularly in the fields of antiquities and Islamic art. Works from her esteemed collection have been widely exhibited and are held in several major museum collections.

Pyramidal in form with shallow-carved hip and facial detailing. 537 grams, 81 mm



with Artemis Gallery, Munich, Germany, 2001. Private collection, Europe. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12580-232124.

The frog had a great role in ancient Egyptian mythology and was connected with the mythology of creation. A number of gods and goddesses were connected with the frog such as Heqet, Ptah, and Heh. The connection with the god Ptah as a god of creation was probably due to the idea that Ptah was the only god who created the world in ancient Egypt through his heart and his tongue. Every work of the god came about through what his heart devised and his tongue commanded. Frogs were often associated with Hekat, deity of birth and fecundity. Amulets of frogs were frequent votive gifts at such Predynastic and Archaic sites at Abydos, Naqada, and Saqqara.

Comprising: a fragment of a segmentum in linen and red, brown, yellow and blue wool, S torsion, embroidered with a series of heads alternating with a flying putto holding a melograne; a fragment of another segmentum in linen and red, brown, yellow and blue wool, S torsion, embroidered with vegetal patterns, borders decorated with meanders; a fragment of a segmentum in linen and red, brown, white, yellow and blue wool, S torsion, embroidered with floral buds; a small fragment of a tablion with geometric decoration, purple wool on linen. 44 grams total including package, 4.3-20.5 cm



Acquired 1970s-1996. Property of a North American collector. London collection, 2016.

Some of these pieces are fragments from a tunic decoration, usually belonging to bands on red background, decorated with a series of motifs related to the Dionysian cult: usually these depict cherubs, fish, heads, palmettes, vegetal and floral ornaments, as well as figures of dancing puttoes within the orbiculi. The decorative motifs on these tunics were usually arranged vertically and horizontally.