AN EGYPTIAN ENCAUSTIC ON WOOD MUMMY PORTRAIT OF A GIRL, ROMAN PERIOD, TRAJANIC, CIRCA LATE 1ST/EARLY 2ND CENTURY A.D. | An Egyptian Encaustic on Wood Mummy Portrait of a Girl

her hair combed back, braided, arranged in a broad bun on top of the head, and escaping in thin delicate curls over the forehead and temples, and wearing a purple chiton with black clavus visible, purple mantle falling from her left shoulder, reddish necklace with gold amulet case pendant, and bracket earrings with small pearls and other precious stones.

said to be from the necropolis at er-Rubayat in the Fayum
Theodor Graf (1840-1903), Vienna, acquired in Egypt in the 1880s
Berlin Museums, acquired from the above's estate through Dorotheum, Vienna, 1928
Stadler Collection, Jestetten, Baden, Germany, acquired from the above in January 1929
Galerie Heidi Vollmoeller, Zurich, 1955
private collection, Zurich, probably acquired from the above
by descent to the present owners

Graf, no. 57
Paul Buberl, Die griechisch-ägyptischen Mumienbildnisse der Sammlung Theodor Graf, Vienna, 1922, pp. 21, 41, no. 33, pl. 33
Heinrich Heydemann, Über die gemalten Bildnisse aus dem Fajum in Besitz des Herrn Theodor Graf zu Wien (Berichte über die Verhandlungen der Kgl. Sächsischen Gesellschaft der Wissenschaften zu Leipzig, phil.-hist. Classe, vol. 40), Leipzig, 1888, p. 321
Irmgard Woldering, Bildkatalog des Kestner Museums Hannover, vol. I: Ausgewählte Werke der ägyptischen Sammlung, Hanover, 1958, plate in inserted supplement
Klaus Parlasca, Mumienporträts und verwandte Denkmäler, Wiesbaden, 1966, p. 134, note 67
Klaus Parlasca, Ritratti di Mummie (Repertorio d’arte dell’ Egitto greco-romano, serie B – volume I), 1966, p. 59, no. 118, pl. 28, 2
Barbara Borg, Mumienporträts : Chronologie und kultureller Kontext, Mainz am Rhein, 1996, p. 44f.

Klaus Parlasca describes the condition as "ottimo stato di conservazione". Indeed, the portrait appears to be in very good condition overall. Parlasca also points out that the lower section seems to be unfinished. Under UV light, the background around the head shows as a darker area, which could be the result of heavier modern varnish. The garments look darker under UV as well, probably the result of different ancient pigments used there, closer to tempera than the encaustic pigment used for the head. Note vertical splits to panel, small missing section in lower left corner, a hole along one of the splits on the chest, minor losses and scratches to the paint on garments, chips to the paint along the edge of the panel (especially along the left side), areas of staining above the head, wear to the gold jewellery pendant, and minute loss below the nose. The dark strip along the lower edge preserves what appears to be ancient adhesive, probably where the linen bandage was attached. The panel is backed with a thin piece of cardboard and strapped to the back of the matting board. Comes with wood frame and glass panel in somewhat battered condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The present panel belongs to the first collection of mummy portraits assembled by the Viennese antiquities dealer Theodor Graf in the late 1880s. This famous collection made mummy portraits known to the Western world, when Graf exhibited it throughout Europe and America and published it prior to its dispersal (see Euphrosyne Doxiadis, The Mysterious Fayum Portraits:Faces from Ancient Egypt, London and New York, 1995, pp. 129-133).