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.

Central part of an orbiculus representing a six-petalled flower, S torsion, in red, yellow, olive green and blue wool. 11 grams total including package, 74 mm



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

Similar figures are widely presented in Coptic textiles, repeating a pattern in which flowers are usually paired with bird figures. This decoration is typical of tunics, but it was also used in large-scale textiles intended for domestic or funerary furnishings.

Modelled seated on a tongue-shaped base, with simple facial detailing and suspension loop to the back. 3.25 grams, 28 mm



Ex London gallery and Belinda Elliston, a member of the Egyptian Exploration Society, 1940s onwards.

In ancient Egypt, the cat was venerated as the sacred animal of the goddess Bastet, whose principal cult centre was Bubastis in the Nile Delta. Although cats were once part of folk practice, their veneration as part of formal cults spread across Egypt during the Late Period. Bastet was closely linked to lion-headed goddesses like Sekhmet, Tefnut, and Pakhet, and the cat itself became associated with solar imagery: the Book of the Dead portrays the sun god as a Great Cat vanquishing Apophis beneath the sacred Ished Tree. The cat could also embody the Eye of the Sun or, more often in Bastet’s case, the Eye of the Moon. Mummified cats were frequently dedicated as votive offerings, and some of their feline-shaped coffins were adorned with finely crafted bronze heads to enhance their divine likeness.