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LOT 0408
Late Coptic Panels Decorated with Two Standing Saints
17TH-18TH CENTURY A.D.
25 5/8 x 19 3/4 in. (1.05 kg total, 65.2 x 50 cm).
Two wooden panels showing two standing nimbate figures, probably Saint Daloucham on the right, wearing a red veil, and a bearded figure on the left, probably Saint Pachomius, holding a small cross and prayer beads; mounted on a fabric-covered backing board.
ProvenanceLeclere, Marseille, 20 April 2013, no.99.
Private collection, UK.
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 search certificate number no.12184-221677.
Cf. Atalla, N.S., Coptic Art, Wall Paintings, Peintures Murales, L'Art Copte, Cairo, 1989, fig. p.119 (paintings from the Monastery of Thomas, Achmim); Zibawi, M., L’Arte Copta, L’Egitto Cristiano dalle origini al XVIII secolo, Milano, 2003, figs.289-290.
FootnotesStylistically, the icon can be compared to the paintings in the Church of St. Thomas in Achmim, which could also help identify one of the two saints. Especially important in this regard are the parallels between the robes of the saints and those of Saint Thomas in the church’s Doom, with long folds coloured with identical colours; the floral decoration of the sleeves of the inner tunic, and the faces of the Saints, with oval and widened eyes. The influence of Ethiopian paintings of the same period is evident in the Church of Achmim, like in this icon. The painting preserves the distant memory of medieval paintings, through a Coptic cultural humus whose vestiges are still today in Egypt, Nubia and Ethiopia. In the Church of Achmim are represented the martyrs of Achmim, i.e. Saint Pachomius and his sister Saint Daloucham. It is not impossible that one of the represented ascetic monks could be Pachomius. It is also probable that the icon was part of a wider group, representing also other important characters of the Coptic Church.
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LOT 0408
Late Coptic Panels Decorated with Two Standing Saints
Estimate £1,000 - 1,400€1,160 - 1,620 (for guidance only)$1,350 - 1,890 (for guidance only)
Opening Bid
£250 (EUR 290; USD 338) +BP*
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Egyptian Faience Mummy Bead Panel with Four Sons of Horus
Ptolemaic Period, circa 332-30 B.C.Estimate: £100 - 140 (+bp*)
Opening Bid: £50
Openwork beaded panel depicting a winged scarab with the Four Sons of Horus, Hapy, Imsety, Qebehsenuef, and Duamutef below; restrung. 22.9 grams, 11.3 cm wide
Ex Mariaud de Serres collection, Paris, France, 1980s-1990s. Accompanied by a previously illustrated catalogue card with provenance.
Winged scarabs were often used as funerary amulets and believed to symbolise the deceased's rebirth and regeneration. The Four Sons of Horus were deities responsible for protecting the deceased's internal organs. Here, on the left, is the baboon-headed Hapy, protector of the lungs, then the human-headed Imsety, protector of the liver, followed by the falcon-headed Qebehsenuef, who protected the intestines and, finally, the erect-eared jackal-headed Duamutef on the right, who protected the stomach. -
Egyptian Faience Shabti for the Fourth Son of Ramesses II, Prince Khaemwaset
New Kingdom, 19th Dynasty, 1279-1213 B.C.Estimate: £1,500 - 2,000 (+bp*)
Opening Bid: £750
In brownish-black and white faience with black detailing, depicted wearing a round wig featuring a side-lock, the white face displaying eyes, eyebrows, nostrils, and a short beard in black; the arms crossed, and the white-glazed hands (one missing) holding hoes; a slightly raised white-glazed frontal panel containing a column of hieroglyphic text reading: 'The Osiris, the sem (priest), the King's Son, Khaemwaset, True of Voice'. 103 grams, 12.7 cm
Acquired on the UK art market, 1990s. Private collection, New York, USA.
Khaemwaset was the fourth son of Ramesses II, born to Queen Iset-Nofret. In addition to serving as the Sem-priest of Ptah at Memphis from an early age, he held various titles related to the Memphite cult, including High Priest of Ptah. The side-lock featured on all of Khaemwaset's shabtis is associated with his priestly role. Many shabtis of the prince are known, with the largest single group coming from the Serapeum at Saqqara; however, others have been found in numerous other locations. Since Khaemwaset's tomb has yet to be discovered, it appears that most of the known shabtis may have served as votive offerings in the sacred areas of the Memphite necropolis. His faience shabtis come in various colours, including green, blue, white, and black, and range in size from just under 10 cm to 15 cm in height. The distinctive glaze combination of this example, featuring a raised white-glazed panel contrasting with the darker body colour, is also found on some other 19th Dynasty shabtis (Cf. Janes, G., The Shabti Collections 3: Rochdale Arts & Heritage Service, Cheshire, 2011, pp.1-5, for those of Userhat from Sedment). -
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Egyptian Bronze Seated Bastet Cat Amulet
Late Period, 664-332 B.C.Estimate: £500 - 700 (+bp*)
Opening Bid: £250
Modelled seated on a tongue-shaped base, with simple facial detailing and a suspension loop to the back. 5.76 grams, 21 mm
UK private collection before 2000. London collection, acquired on the UK art market.
The goddess Bastet was believed to be the daughter of the sun god and was shown with the features of a lion up until about 1000 B.C., when she was first portrayed as a cat or human with a cat head. As the daughter of Ra, she was associated with the rage inherent in the sun god's eye, which was considered to be his instrument of vengeance. Her development into a cat goddess occurred during the New Kingdom, but did not fully develop until the Late Period. She was still associated with the destructive power of the sun and was shown on the prow of the solar boat, decapitating the evil serpent Apophis in the Book of the Dead. The maternal, protective and hunting characteristics of the cat are obvious in Bastet, and she was seen as a protector of pregnant women and young children. In the Pyramid Texts, she is invoked by the deceased king to act as his protector and to help him reach the sky to join the sun god; the king proclaims that Bastet is his mother and nurse. Like her counterpart, Sekhmet, Bastet has an aggressive side and, in a text from Karnak, Amenhotep II described his enemies being slaughtered like the victims of Bastet. The goddess had a shrine at Karnak, where she is known as the 'Lady of Asheru', which aligns her closely with the goddess Mut, the consort of Amun-Ra. Her most famous shrine was in the north-east Delta region, at Bubastis, and was known as Per-Bastet or 'the House of Bastet.' Herodotus describes the festival of Bastet as one of the most elaborate in all of Egypt and identifies her with the Greek Artemis. Cemeteries of cats have been excavated at Bubastis, and at Saqqara and Memphis.
