Very Large Egyptian Expedition Lithograph of the Temple of Edfu

Comprising: a fragment of a segmentum in white linen and blue wool, D torsion, with remains of a medallion embroidered with architectonical ornaments; fragment of an orbiculus in linen and red, brown, yellow and blue wool, S torsion, embroidered with vegetal patterns and the central images of an animal; a further fragment of an orbiculus in white linen and red, white, black wool, S torsion, embroidered with floral buds, a tetragamma and animals; a beautiful fragment of clavus, purple wool on linen, embroidered with lions catching birds. 67 grams total including package, 10.7-26.6 cm



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

Scenes featuring personified animals first appeared during the early Pharaonic period and continued through to the Coptic era. These animals are often featured in scenes of music and dance, or processions linked with Dionysiac iconography.

With a round face, large eyes, a narrow nose that broadens at the end, and full lips downturned at the corners; the forehead with a distinctive deep furrow above the brow; a narrow, twisted diadem encircling his wavy hair; mounted on a custom-made display stand. 84 grams total, 10 cm including stand



Private collection, Bern, Switzerland. with Galerie Rhéa, Zurich, Switzerland. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12631-236408.

The Greek hairstyle is a characteristic feature of Ptolemaic royal portraiture, as is the twisted diadem - a Greek interpretation of the Egyptian headband (the sšd) - which appears on several portrait heads of Ptolemaic boy-kings and princes. The distinctive furrow is intriguing, as it contrasts with the typically blemish-free physiognomy of most Ptolemaic royal sculpture. However, a similar furrow can be seen on the portrait head of a provincial governor from Dendera, dated to the 2nd century B.C. (Bothmer, B.V., Egyptian Sculpture of the Late Period 700 B.C. to A.D. 100, New York, 1960, pp. 144-143, pl. 112, nos. 301-302), which may indicate an artistic trend employed in high-status sculpture at that time. It has been suggested that small royal portrait heads, such as this example, may have served as votives. The lack of an Egyptian-style back pillar on this and similar pieces supports the possibility that they were inserted into statues made of different materials (Ashton, S.-A., Ptolemaic Royal Sculpture from Egypt, BAR International Series 923, Oxford, 2001, p.12).

Formed as a rearing cobra with the hood divided into cells to accept inlay. 6.54 grams, 35 mm



From the collection of a gentleman, acquired on the London art market in the 1990s.

The uraeus depicts a rearing cobra and symbolises royal power and authority, as well as the Lower Egyptian goddess Wadjet.