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Buberl, Paul. Die griechisch-ägyptischen Mumienbildnisse der Sammlung Th. Graf. Vienna: 1922, p. 55, no. 46.
Buberl, Paul. Die griechisch-ägyptischen Mumienbildnisse der Sammlung Th. Graf. Vienna: 1922
Citation (Bibliographic Reference) Sequence
Dorotheum, Vienna. Sale cat., November 24, 1932, lot 33.
Dorotheum, Vienna. Sale cat., November 24, 1932
Drerup, Heinrich. Die Datierung der Mumienportraets. Paderborn: 1933, pp. 47-48, 66, no. 34; pl. 20 b.
Drerup, Heinrich. Die Datierung der Mumienportraets. Paderborn: 1933
Kende Galleries, New York. Sale cat., September 26, 1942, lot 167.
Kende Galleries, New York. Sale cat., September 26, 1942
Parke-Bernet, New York. Sale cat., Joseph Brummer Coll., Part II, May 11-14, 1949, p. 10, lot 45.
Parke-Bernet, New York. Sale cat., Joseph Brummer Coll., Part II, May 11-14, 1949
Hahl, Lothar. "Zur Erklaerung der niedergermanischen Matronendenkmaeler," Bonner Jahrbucher 160 (1960), pp. 9-49, p. 20, no. 55.
Hahl, Lothar. "Zur Erklaerung der niedergermanischen Matronendenkmaeler," Bonner Jahrbucher 160 (1960), pp. 9-49
Parlasca, Klaus. Mumienportraets und verwandte Denkmaeler. Wiesbaden: 1966, p. 75, n. 96.
Parlasca, Klaus. Mumienportraets und verwandte Denkmaeler. Wiesbaden: 1966
Galerie Koller, Zurich. Sale cat., The Ernest Brummer Collection, October 16-19, 1979, p. 21, no. 4.
Galerie Koller, Zurich. Sale cat., The Ernest Brummer Collection, October 16-19, 1979
Parlasca, Klaus. Ritratti di Mummie. Repertorio d'arte dell'Egitto greco-romano (A. Adriani, ed). 2 ser. Vol. III. (Roma : "L'Erma" di Bretschneider, 1980), p. 60, no. 644; pl. 152.3.
Parlasca, Klaus. Ritratti di Mummie. Repertorio d'arte dell'Egitto greco-romano (A. Adriani, ed). 2 ser. Vol. III. (Roma : "L'Erma" di Bretschneider, 1980)
Thompson, David L. Mummy Portraits in the J. Paul Getty Museum (Malibu: J. Paul Getty Museum, 1982), pp. 58-59, no. 12, ill.
Thompson, David L. Mummy Portraits in the J. Paul Getty Museum (Malibu: J. Paul Getty Museum, 1982)
Parlasca, Klaus. "Ein spaetroemischer bemalter Sarg aus Aegypten im J. Paul Getty Museum," Alexandria and Alexandrianism, pp. 155-169. Malibu: 1996, p. 167; fig. 6.
Parlasca, Klaus. "Ein spaetroemischer bemalter Sarg aus Aegypten im J. Paul Getty Museum," Alexandria and Alexandrianism, pp. 155-169. Malibu: 1996
Borg, Barbara. Mumienportra¨ts: Chronologie und kultureller Kontext (Mainz: Ph. von Zabern, 1996), p. 47, 59, 87, 105, 168, 171, 192; pl. 74,2.
Borg, Barbara. Mumienportra¨ts: Chronologie und kultureller Kontext (Mainz: Ph. von Zabern, 1996)
Maram, Eve. "Dialoguing with My Demon." Psychological Perspectives 59, no. 1 (2016), pp. 24, ill.
Maram, Eve. "Dialoguing with My Demon." Psychological Perspectives 59, no. 1 (2016).
Hope, Deborah. "Pearls Found in Ancient Greek and Roman Contexts in the Mediterranean." Mediterranean Archaeology 32/33 (2019/2020), p. 92 (cat. B-IMP38).
Hope, Deborah. "Pearls Found in Ancient Greek and Roman Contexts in the Mediterranean." Mediterranean Archaeology 32/33 (2019/2020)
Barr, Judith. “From All Sides: The APPEAR Project and Mummy Portrait Provenance.” In Mummy Portraits of Roman Egypt: Emerging Research from the APPEAR Project. Marie Svoboda and Caroline R. Cartwright, eds. (Los Angeles: J. Paul Getty Museum, 2020) https://www.getty.edu/publications/mummyportraits/part-one/11/, figs. 11.2; 11.5.
Barr, Judith. “From All Sides: The APPEAR Project and Mummy Portrait Provenance.” In Mummy Portraits of Roman Egypt: Emerging Research from the APPEAR Project, edited by Marie Svoboda and Caroline R. Cartwright. Los Angeles: J. Paul Getty Museum, 2020.
The J. Paul Getty Museum. "Faces of Roman Egypt" [exh.] Published via Google Arts & Culture (2021), https://artsandculture.google.com/story/YQVRtpUvIK_TtA (acc. April 7, 2021), ill.
Leonard, Benjamin. "At Face Value." Archaeology (January/February 2022), pp. 40-1, ill.
Leonard, Benjamin. "At Face Value." Archaeology (January/February 2022)
Marlowe, Elizabeth. "The long, winding, and bumpy road: seeing museum antiquities as colonial legacies." The Routledge Handbook of Classics, Colonialism, and Postcolonial Theory. Katherine Blouin and Ben Akrigg, eds. (London: Routledge, 2025), p. 457, ill.
Marlowe, Elizabeth. "The long, winding, and bumpy road: seeing museum antiquities as colonial legacies." The Routledge Handbook of Classics, Colonialism, and Postcolonial Theory. Katherine Blouin and Ben Akrigg, eds. (London: Routledge, 2025)
The J. Paul Getty Museum, Villa Collection, Malibu, California
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.
Attribution 4.0 International (CC BY 4.0)
J. Paul Getty Museum, Los Angeles, California
The J. Paul Getty Trust, Los Angeles, California
Text provided by the J. Paul Getty Museum. Licensed under CC BY 4.0 (http://creativecommons.org/licenses/by/4.0/).
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.
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Related Media (Audio): Mummy Portrait of a Woman, feat. Marie Svoboda
Mummy Portrait of a Woman, feat. Marie Svoboda
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Objects Exhibited in Fayum Portraits: Painted Portraits from Roman Egypt at The J. Paul Getty Museum, Malibu
Fayum Portraits: Painted Portraits from Roman Egypt at The J. Paul Getty Museum, Malibu
Fayum Portraits: Painted Portraits from Roman Egypt
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Provenance Acquisition for Mummy Portrait of a Woman (79.AP.129) associated with Theodor Graf, Austrian; subsequently sold to Alfred Emerson.
Provenance Activity for Mummy Portrait of a Woman (79.AP.129) associated with Theodor Graf, Austrian
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Provenance Activity for Mummy Portrait of a Woman (79.AP.129) associated with Alfred Emerson
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Provenance Acquisition for Mummy Portrait of a Woman (79.AP.129) associated with Alfred Emerson
Provenance Activity for Mummy Portrait of a Woman (79.AP.129) associated with Private Collection
Provenance Acquisition for Mummy Portrait of a Woman (79.AP.129) associated with Private Collection; subsequently sold, Gemalde alter und neuer Meister : hellenistische Portrats aus dem Fayum, Miniaturen, Stiche, Skulpturen, Arbeiten in Silber und Gold..., Dorotheum Kunstabteilung, Vienna, November 24, 1932, lot 33.
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sold, Gemalde alter und neuer Meister : hellenistische Portrats aus dem Fayum, Miniaturen, Stiche, Skulpturen, Arbeiten in Silber und Gold..., Dorotheum Kunstabteilung, Vienna, November 24, 1932, lot 33.
Provenance Sales Statement Sequence Attribution
Provenance Activity for Mummy Portrait of a Woman (79.AP.129) associated with Flinker Collection
Provenance Acquisition for Mummy Portrait of a Woman (79.AP.129) associated with Flinker Collection
Provenance Acquisition for Mummy Portrait of a Woman (79.AP.129) associated with Private Collection; subsequently sold, American Furniture, Kende Galleries, New York, September 26, 1942, lot 167, to Joseph Brummer.
sold, American Furniture, Kende Galleries, New York, September 26, 1942, lot 167, to Joseph Brummer.
Provenance Activity for Mummy Portrait of a Woman (79.AP.129) associated with Joseph Brummer
Provenance Acquisition for Mummy Portrait of a Woman (79.AP.129) associated with Joseph Brummer; subsequently by inheritance to his heirs, 1947.
Provenance Acquisition for Mummy Portrait of a Woman (79.AP.129) associated with Joseph Brummer; subsequently The notable art collection belonging to the estate of the late Joseph Brummer, Parke-Bernet Galleries, New York, May 11, 1949, lot 45.
The notable art collection belonging to the estate of the late Joseph Brummer, Parke-Bernet Galleries, New York, May 11, 1949, lot 45.
Provenance Activity for Mummy Portrait of a Woman (79.AP.129) associated with Ernest Brummer
Provenance Acquisition for Mummy Portrait of a Woman (79.AP.129) associated with Ernest Brummer; subsequently by inheritance to his wife, Ella Brummer, 1964.
by inheritance to his wife, Ella Brummer, 1964.
Provenance Activity for Mummy Portrait of a Woman (79.AP.129) associated with Ella Baché Brummer
Provenance Acquisition for Mummy Portrait of a Woman (79.AP.129) associated with Ella Baché Brummer; subsequently sold, the Ernest Brummer Collection, Galerie Koller, Zurich, October 16-19, 1979, lot 4, to the J. Paul Getty Museum.
sold, the Ernest Brummer Collection, Galerie Koller, Zurich, October 16-19, 1979, lot 4, to the J. Paul Getty Museum.
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CC0 1.0 Universal (CC0 1.0) Public Domain Dedication
Acknowledgements for Collection Metadata
Collection metadata provided by the J. Paul Getty Museum. Licensed under CC0 1.0 (http://creativecommons.org/publicdomain/zero/1.0/).