The Mediterranean’s vastness contains an array of peoples and cultures. It is full of rich history with empires long past and forgotten. Their artwork and other cultural implements may be the last real connection we have to that ancient past. Christie’s for their Antiquities sale being held in London this July has unveiled a selection of works worthy of remembering. They give us an insight into the past that many of us would have to travel to a museum to enjoy.
These 155 lots display a variety of cultures and skills of the various societies of the Mediterranean and Middle East. These works come from antiquity, a period defined by historians and classicalists as beginning with the start of writing and ending with the start of the Middle Ages. This period of roughly 5000 years plays host to many great cultures with some of their best work up for sale.
Easily the most striking lot of the sale is a coffin from the period before Roman rule. Its massive size at six and a half feet along with the miraculous preservation of all its fine colors and details truly make it a rare find and exquisite piece.
The coffin is joined by other antiques from the region including other objects and items honoring the dead, well-cast bronze statutes depicting cultures long past, and an amphora from ancient Greece depicting gods, mortals, and monsters from famous myths.
Lot 95 ⏐An Egyptian Wood Polychrome and Gilt Anthropoid Coffin for Djedhor
Circa Late Period- Ptolemaic Period 400-30 BCE
Height: 203 cm
Provenance:
- Alexander Sandmeier (Egyptian Galery of Art Gottingen, Germany, 1975)
- Belgian Private Collection and since passed down by descent.
Estimate: £400,000 - 600,000
The Ptolemaic Period was founded in 305 BCE by Ptolemy I Soter, a Macedonian General who was one of Alexander the Great’s allies. A Macedonian kingdom, Ptolemaic Greece saw the blending of Greek and Egyptian culture over hundreds of years and was easily one of the great powers of the region. Most notable about this Empire was its final ruler Cleopatra, before its absorption into the Roman Empire.
The blending of Greek and Egyptian culture was one of the unique points of Ptolemaic Egypt and a feature seen in many of the successor states to Alexander the Great’s Empire, as far east as Persia and India. The Greek rulers of Egypt would be quick to try and adopt Egyptian customs to legitimize their rule of the land, and with art, there was a significant melding of Hellenistic style into Egyptian themes.
It’s under this context that Christie’s claims this coffin was made for Djedhor, son of Nakht-khonsu. Ancient Egypt tends to be known for its stone sarcophagi that the wealthy and powerful were buried in to be laid inside tombs and pyramids. Coffins though, were still present being made of wood and buried underground just like today.
This does not mean, however, that this coffin was made for someone poor. The coffin itself was found by esteemed archaeologist Otto Rubensohn’s 1904-1905 excavation at Abusir el-Meleq, an area south of Cairo. Rubensohn’s notes and photographs show the coffin being found inside a limestone sarcophagus alongside rows of similarly styled coffins, highlighting that this was possibly a member of an affluent local family.
Archeologist Otto Rubensohn (1867-1964) pictured here on the roof of the German Archeological Institute of Athens in 1898
The artifact itself is a brilliantly designed coffin chock full of details. The face of the coffin is gilded with a thin layer of gold and features a black hair piece and beard with a spiral-like design This was meant to reflect his religious divinization. To the sides of the coffin, the hieroglyphs and signs are what tell us the name of the person buried along with where.
This seemingly simplistic facial design is paired with a highly detailed body. The neck and upper chest region features 14 different rows each representing an element in the form of a floral collar. Each layer is colorful and exhibits the skill of how this was painted. The shape of the coffin too holds meaning as it swells a bit across the body implying Djedhor was muscular and strong in life. This is matched by its impressive 6 and a half feet in height.
Moving further to the design of the coffin, there features some well-drawn scarabs, with outstretched wings and text on the sides that list Egyptian deities, a common feature for the region. The scarab meanwhile is an auspicious animal in Egyptian culture that represents rebirth, regeneration, and safety in the afterlife.
The coffin also features other mythological creatures such as ba-birds, a bird with a human head that was common for the Ptolemaic period and represented the soul of the deceased. Some falcons wear crows representing Upper and Lower Egypt, and a figure of a goddess pouring water in a basin. On the back of the coffin, there remains a picture of the Egyptian Goddess of life and magic Isis, who is kneeling.
Surprisingly this coffin breaks a lot of traditional rules, for example, there is a baboon on the front of the coffin just above the legs, an irregular decoration. Additionally, the way the legs are modeled has a painted outline while wearing sandals, “clothes of the living.”
Lot 35⏐An Egyptian Painted Wood Mummy Portrait of a Man
Circa Roman Period, Hadrianic, First Half of the 2nd Century AD
Height: 49.5 cm
Provenance:
- Galerie Orient-Occident, Paris, before 1981
- Acquired from the above in 1982.
Estimate £150,000 - 250,000
The Roman Republic would conquer Egypt during the Anticum War when Cleopatra sided with Mark Anthony against Julius Caesar Augustus. It would be formally integrated into the new Roman Empire in 27 BCE. This part is well known to history and the general public, but what of the rich pre-Roman culture of Egypt?
Unlike the invading Greeks under the Potelemic Empire, the Romans cared little about ingratiating themselves with the Egyptian population and legitimizing their rule by adopting Egypt’s customs. Rome instead made sweeping changes to socio-political life. This was especially the case when Christianity entered the picture, and caused a transformative period in Egypt’s history.
This work of art is from that era of Roman rule and offers a glimpse into how Roman artwork penetrated Egypt’s cultural practices. This piece up for auction is a portrait that would’ve hung over the deceased person’s mummy showing who they were in life. The works were done in a Greco-Roman style signifying the cultural influence Europe was having over the Mediterranean.
The painting method being displayed is of Roman origin as well with aspects like the hair having being similar to the trends set by the Roman Imperial family. This is paired with the facial features and jewelry all being in a more Roman style. Also changed during Roman rule were the elaborate coffin and sarcophagus designs, instead replaced by simpler works that departed from the age of the pharaohs.
Works like these signified how mainland European influences were impacting Egypt beyond politics and economics and changing everyday life. This specific one depicts a man whose facial features are very well captured in what would be considered a very Roman style. Such works also sell well with two being sold by Christie’s in 2016 both above their initial estimated value.
On the right: An Egyptian Encaustic on Wood Mummy Portrait of a Woman⏐Sold: US$187,500, Christie’s New York, 2016⏐On the left: An Egyptian Encaustic on Wood Mummy Portrait of a Bearded Man⏐Sold: US$125,000, Christie’s New York, 2016
Lot 21⏐An Egyptian Bronze Falcon
Circa Late Period- Ptolemaic Period 664-30 BCE
Height: 31.1 cm
Provenance:
- Joseph Khawam & Co., Cairo
- Private Collection Paris, acquired from the above in 1954; thence by descent
Estimate £250,000 - 350,000
Horus was the Egyptian god of the sun, sky, and kingship. His body was that of a man with the head of a falcon. As such the falcon in Egyptian culture would come to represent kingly divinity, something matched by the striking and proud stance of this bronze falcon sculpt.
The statue itself is hollow-cast with remarkable attention being paid to its stance, its wing folded inwards and talons seemingly gripping the wooden plinth it stands on. This strong physical stance is matched by the sharply crafted face. The details that identify it as a falcon are recessed into the bronze, whilst the beak is sharply hooked.
What is interesting is its hollow nature. On the bottom of the falcon statue is a small opening. Past examples of similar states have shown that in this opening mummified remains or a votive, a form of offering made to a god. The opening would have then been sealed with plaster but over the years what was inside has been lost. This gives the statue further practical or religious use, adding meaning to this already well-crafted work.
Lot 95 ⏐Group Exekias⏐An Attic Black-Figured Amphora (Type B)
Circa 540 BCE
Height: 40.5 cm
Provenance:
- Swiss Private Collection, Acquired before 1942; thence by descent
Estimate: £200,000 - 300,000
Headlining the sale is a vase made by Group Exekias, otherwise known as Group E. The group is named after Exekias (roughly 550-525 BCE) who was a renowned pottery maker and vase painter from ancient Athens. The look of this work is instantly attributable to Ancient Greece with this style of art being synonymous with the era to the wider public.
Group E was art that was closely related to Exekias’ art. Importantly they were not inspired by him with some work coming before Exekias’ vases, instead, they share the same style. What ties these works together is their black-figure painting style, how they often depict gods and individuals of legend, and are painted on large amphorae, a kind of large jug with a narrow neck and two handles.
This work is no different with it being on amphorae and depicting the battle between Herakles the son of Zeus and Geryon, a three-headed and three-bodied monster. In the story, Herakles is undergoing his Tenth Labour where the King of Mycenae sends him to capture the cattle of Geryon. The battle is depicted beautifully with the monster wielding a spear, helmet, and greaves. Herkels is on the left brandishing a sword, while wearing a lionskin.
This myth was popular for Greek artists and vase makers. It first appeared in the 7th century BCE and would continue to this era of black-figure painters in the 6th century BCE. Overall the usage of battle between Herakles and Geryon has been more than 70 times on vases.
On the other side of the vase is another mythological scene showing Dionysus, the god of wine, fruit, fertility, and much more standing between four satyrs. Satyrs were horse-like men who were nature spirits and fun-loving companions to Dionysus.
In the center, Dionysus wears a chiton, a form of Ancient Greek tunic. He is further wrapped by a himation, a heavier drape to cover the body, colored in black and red while wearing a crown of ivy. In his left hand, he holds a rhyton, a form of drinking vessel shaped like an animal’s head.
Lot 118⏐An Etruscan Bronze Kore
Circa Late 6th Century BCE
Height: 15.9 cm
Provenance:
- Art Market in Rome, by 1941 (identified by photographs)
- Dr. Ernst Homann-Wedeking (1908-2002), Munich and Hamburg, acquired by 1943.
- Georg Ernst Graf Platen Hallermund, London, 1950s.
- Private Collection, Germany.
- with Gordian Weber Kunsthandel, Cologne, 2009.
Estimate £100,000 - 150,000
The Etruscans were an ancient civilization living in central Italy in modern-day Tuscany. They lived in an array of city-states and had a rich culture of literature and art. They were particularly famed for their terracotta works, but equally so, their bronze works have also been praised.
Eventually, their civilization would be consumed by the ever-expanding Romans, but they appear to have left their mark on Rome with the famous Capitoline Wolf bronze sculpture being of potential Etruscan origins.
The Capitoline Wolf, potentially a statue done in an Etruscan style, this work is one of the definitive symbols of the Roman Empire, depicting its mythological origins
The statue itself depicts a female figure commonly referred to as a kore. In Greek culture, a kore is a statue that specifically depicts a young woman standing upright and wearing long loose robes. This specific work is the epitome of a kore as the woman’s features are well-defined. The robe is also full of detail in its design with its patterns etched into the bronze cloth and it captures the flow and figure of the wearer.
Her hands are also used in the kore’s design with her left hand holding a miniature egg tucked between her posed fingers and thumb. Additionally, her right hand, according to academics, would be holding a libation bowl. The libation bowl, also known as a patera, was first used in ancient Greece to hold liquids that would have been given as offerings to the gods, as such this work possibly holds some sort of religious meaning to it.
The woman stands on a small circular base. This implies that it could have been once part of a different vessel. Small statues like these often sat on objects such as urns, boxes, or baskets as decorative features. This was common in Etruscan culture and below is an example of how it may have been used.
A bronze cinerary urn with a lid, originating from the Campania region of Southern Italy, which was dominated by the Etruscan culture at the time⏐Metropolitan Museum of Art, New York City
Other Highlighted Lots:
Lot 7⏐An Egyptian Polychrome Wood 'eye' Coffin for Senbi
Circa Middle Kingdom, Early to Mid-12th dynasty, 1976-1853 BCE
Length: 193 cm
Provenance:
- Excavated by Ahmed Kamal at Meir in 1910
- The Sayed Pasha Khashaba Collection, Egypt
- Alexander Sandmeier, (Egyptian Galery of Art Gottingen, Germany, 1975)
- Belgian Private Collection and since passed down by descent
Estimate: £150,000 - 250,000
Lot 3⏐Two Egyptian Limestone Relief Fragments for Niankhmin
Circa Old Kingdom, 5th Dynasty, Reign Of Unas, 2345-2315 BCE
Dimensions: 123 x 51.4 cm and 104 x 71 cm
Provenance:
- Alexander Sandmeier, (Egyptian Galery of Art Gottingen, Germany, 1975)
- Belgian Private Collection and since passed down by descent.
Estimate: £80,000 - 120,000
Lot 75⏐An Achaemenid Gold Applique of a Hybrid Lion
Circa Iran, 5th Century BCE
Length: 3.9 cm
Provenance:
- Reputedly excavated in Hamadan, Iran in 1920
- Maurice Vidal collection, New York, before July 1948.
Estimate: £60,000-80,000
Lot 76⏐An Achaemenid Gold Applique of a Bactrian Camel
Circa Iran, 5th Century BCE
Length: 3.9 cm
Provenance:
- Reputedly excavated in Hamadan, Iran in 1920
- Maurice Vidal collection, New York, before July 1948.
Estimate: £60,000-80,000
Lot 23⏐An Egyptian Polychrome Wood Anthropoid Coffin for Seuserdedes
Circa Late Period- Ptolemaic Period 400-250 BCE
Length: 181 cm
Provenance:
- Auguste Dumoulin, Liège, acquired in Luxor in 1885; since passed down by descent
Estimate: £50,000 - 80,000
Lot 102⏐A Large Attic Pottery Amphora
Circa: Middle Geometric Period, Mid-8th Century BCE
Length: 49.5 cm
Provenance:
- With Galerie du Sycomore, Paris
- Swiss private collection, acquired from the above in 1989
Estimate £60,000 - 80,000
Auction Details:
Auction House: Christie’s London
Sale: Antiquities
Date and time: July 3 2024⏐3:30 (London Local Time)
Number of Lots: 155