Mummy Portrait of a Woman

Romano-Egyptian funerary portrait of a woman painted in tempera (pigments suspended in animal glue) on a cedar of Lebanon panel. Although not presenting a psychological depth comparable to the best encaustic portraits, this tempera product is notable for its bright, colorful presentation characterized by a bold linearity quickly executed. Tempera is a fast-drying medium typically applied in a variety of widths and lengths of brushstrokes, and is especially evident in the construction of the eyebrows, eyelashes, and tightly wound black curls of this Antonine lady (AD 98-117).

The shape of the face is composed of a series of arcs beginning at the hairline and continuing down to the mouth and double chin accented by a dimple. The lines on the neck beneath are termed “Venus rings,” and were often used on Roman portraits to communicate the vibrant sexuality associated with that goddess. The subject wears a pink tunic of red madder to indicate her ownership of an elite purple-dyed burial garment trimmed in red ochre. The customary clavi (woven stripes) were apparently painted quickly and somewhat haphazardly, affecting the visual movement of her slightly skewed torso with its sloped shoulders. Her jewelry is distinctive: at the center of her brow is a round hair ornament to which two beads have been attached. From these dangles what is likely intended to represent a quite large pearl. She wears gold hoop earrings of some thickness and elaboration. Her necklaces are typical for the ladies of these portraits: the larger is of an unidentified woven metal with a round gold pendant. The inner necklace is made of alternating pearls and semi-precious stones: emeralds would have been appropriate for this date and are often seen in these portraits. The thick panel is smaller relative to others and has one prominent transverse crack, but is otherwise in good condition. The two plugged dowel holes at the lower edge are of unknown function.

By proof of the triangular stamp on its reverse, this portrait once belonged to the collector and dealer Theodor Graf (1840-1903), and this suggests that it was very likely found at Er-Rubayat (from whence he sourced his collection). The distinctive style of certain features, such as the mouth, eyebrows, eyes, and Venus rings on the neck are very similar to a Portrait of a Man in Vienna, Kunsthistoriches Museum Inv. x432.