Lot 27
  • 27


200,000 - 300,000 USD
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  • 14 in. by 8 in.; 35.5 cm by 20.3 cm
painted on wood, his head turned to his right, and wearing a white chiton and himation draped high over the nape of the neck, his face with long beard and moustache, full lips, aquiline nose, arched brows, and thick richly curled hair.


Paul J. Sachs (1878-1965), Cambridge, Massachusetts
Joseph Brummer Gallery, New York, 1938


Fogg Art Museum Handbook, Cambridge, Massachusetts, 1927, p. 6
Daisie B. Tanner, "Four Fayum Portraits in the Fogg Art Museum," Bulletin of the Fogg Art Museum, Vol. 2, 1932/1933, pp. 4-9, Fig. 3
Heinrich Drerup, Die Datierung der Mumienporträts (Studien zur Geschichte und Kultur des Altertums, Vol. 19/1), Paderborn, 1933, pp. 39 and 58, No. 18, pl. 11
Gallery Notes, Buffalo Fine Arts Academy, April 5, 1933, p. 2
Style and Technique. Their interrelation in Western European Painting, catalogue of the exhibition at the Fogg Art Museum, Cambridge, Mass., 1936, p. 47, No. 5, pl. 1
Eugen Fischer and Gerhard Kittel, Das antike Weltjudentum: Tatsache, Texte, Bilder (Forschungen zur Judenfrage, Vol. 7), Hamburg, 1943, pp. 144 and 146, Fig. 125
Andrew C. Ritchie, ed., Buffalo Fine Arts Academy. Catalogue of the Paintings and Sculpture in the Permanent Collection, Buffalo, 1949, pp. 110, 197f., n. 52, Fig. 1 p. 111
Charlotte B. Johnson, School Arts, 61, n. 10, June 1962, p. 33 (illustrated)
George M.A. Hanfmann, Roman Art: A Modern Survey of the Art of Imperial Rome, Greenwich, Connecticut, 1964, pl. XLVII
Klaus Parlasca, Mumienporträts und verwandte Denkmäler, Wiesbaden, 1966, p. 238, No. 197
Mummy Portraits from Roman Egypt, catalogue of the exhibition [Detroit, 1967], Cat. No. 4 (illustrated)
Helen Gardner, Gardner’s Art through the Ages, 5th ed. revised by Horst de la Croix and Richard G. Tansey, New York, 1970, and all later editions
Klaus Parlasca, Ritratti di mummie (Repertorio d’arte dell’Egitto greco-romano, Serie B – Vol. II), Rome, 1977, pp. 57-58, No. 360, pl. 87.1
László Castiglione, Acta Antiqua Academiae Scientiarum Hungaricae, Vol. 15, 1967, p. 111, pls. 4-5
Steven A. Nash, with Katy Kline, Charlotta Kotik and Emese Wood, Albright-Knox Art Gallery. Painting and Sculpture from Antiquity to 1942, New York, 1979, pp. 64-65 (illustrated)
Nancy H. and Andrew Ramage, Roman Art: Romulus to Constantine, New York, 1991, p. 202, fig. 8.12
Barbara Borg, Mumienporträts. Chronologie und kultureller Kontext, Mainz, 1996, pp. 79 and 87
Klaus Parlasca and Hellmut Seemann, eds., Augenblicke. Mumienporträts und ägyptische Grabkunst aus römischer Zeit, Munich, 1999, p. 40f., Fig. 32

Catalogue Note

For related examples cf. Yale University Art Gallery, Inv. No. 1939.264 (Gerry D. Scott, III, Ancient Egyptian Art at Yale, New Haven, 1986, No. 98A; Parlasca 1977, No. 354), Berlin State Museums, Ant. Inv. No. 31161/5 (Parlasca 1977, No. 361), and Eton College, Myers Museum, Inv. No. 1252 (E. Doxiadis, The Mysterious Fayum Portraits. Faces from Ancient Egypt, London, 1995, p. 23, Fig. 17), all thought to be Antonine and to come from the er-Rubayat necropolis, the first two having once been in the collection of Theodor Graf.