Egyptian Silver Bastet as Seated Cat Amulet

Comprising (from left to right, top to bottom): 1) a scarab with an oval border containing a goose, nefer(?), and a reed leaf; 2) a scarab with an oval border featuring a triple lotus flower motif at the top and bottom, with a middle row of floral bundles; 3) a scaraboid with a long oval border containing a cross pattern incorporating scrolls, coiled cords, and floral elements; 4) a scarab with an oval border featuring a hes-jar flanked by two cobras; 5) a scarab with a standing male figure holding a sceptre/mace and a flail, flanked by two highly stylised rearing cobras; 6) a plain scarab; 7) and a scarab with an oval border containing the name Amun-Re, a neb symbol, and a lotus flower. 13 grams total, 11-23 mm



From the collection of a gentleman, acquired on the London art market in the 1990s. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

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.

A rectangular section of woven linen textile featuring four lines of neat hieratic text in black. 8 grams, 32 cm



From the collection of a gentleman, acquired on the London art market in the 1990s. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

From the fifth century B.C., mummy wrappings for the affluent frequently display lines of hieratic script—a cursive variant of Egyptian hieroglyphs used for both daily and religious writings. These often include excerpts from funerary texts like the Book of the Dead, along with prayers and invocations designed to safeguard and guide the deceased in the afterlife. These texts, sometimes accompanied by vignettes, were inscribed directly on the linen strips before or during the mummification process. Some of these bandages could be remarkably long; one example from Brussels, measuring only 6.2 cm in width, spans an incredible 26 metres.