The Gilbert Collection by Phoenix Ancient Art

P. 1

P. 2

P. 3

The Gilbert Collection a lifetime of learning Dr. Walter (Wally) Gilbert has been celebrated throughout his life as a Nobel Prize-winning scientist, exhibiting artist, and one of the foremost collectors of antiquities of his generation. In each of his diverse scholarly pursuits, his approach has consistently remained one of academic integrity, with an emphasis on both the materials of the artworks and the stories that inspired them. Together with his wife and life-long partner, Celia, Wally Gilbert has acquired a vast collection of objects from the ancient world, assembled in a representation of a life well-lived.

Spanning from the birth of Western art around the cultures of the Mediterranean Basin to Asia and Mesoamerica, the focus of the collection is the art of Greece, Rome and Etruria, along with the cultures that flourished in Egypt and Mesopotamia.

They collected many miniature works of art, including seals, vessels, and figures which make up over 100 objects under 7 cm tall in the collection. Some of which are the finest in the world and absolute masterworks, such as a Greek Gold Head of a Griffin that is only 4 centimeters high with astonishing detail.

Some of the Greek vases in the collection are also at the top of their class including the Attic Red Figure Stamnos attributed to the Eucharides Painter. A delicately painted representation of an archery contest, about to take place, between Herakles and the sons of King Eurytus. Set in Oechalia, they will battle over Iole, the King’s daughter, whom Herakles has already shot with a “love arrow”.

Curious Children Wally, now 87, was born in Boston in 1932 to child psychologist Emma Cohen and then-Harvard economist Richard V. Gilbert. Emma and Richard met in their early teens and married on the way to Emma’s first year at Radcliffe College. Thus, the highly intellectual environment where Wally came to thrive was fostered long before he was born.

Emma had been raised in an anarchist colony called Stelton, New Jersey, marked not just by a desire to be free of government, but by an emphasis on unique pathways to education independent of mainstream teachings. Before she had her two children, she had pursued a PhD in child psychology, so she took continuing advantage of the opportunity to watch their cognitive abilities develop.

Wally’s mother tested their IQ annually, fascinated by watching how rapidly they advanced. Emma initially homeschooled Wally and his sister, teaching them to read voraciously. This profoundly influenced Wally’s interest and ability to learn new material.

It wasn’t long before the children revealed a boundless desire to learn. When the Gilbert family relocated to Washington, D.C. in 1939 for Richard’s position in the Roosevelt Administration, the precocious seven-year-old Wally was dismayed to learn that the Washington library refused to let him into the adult section. He felt “helpless and constrained.”

5

P. 4

P. 5

By the age of eight, Wally had met his future wife, Celia Stone. Her father, I. F. Stone, was a celebrated, left-wing intellectual and newspaperman. When the leftist newspapers began to flounder after the war, Celia’s father created “I.F. Stone’s Weekly” which flourished during the Vietnam War. At the height of McCarthyism, the FBI was apparently rifling through the Stone family’s garbage cans, hoping to find something incriminating.

But Celia’s father was more than a clear radical force during politically uncertain times. He was also a parent, who encouraged Celia’s love of poetry and fairytales. Decades later, this foundation allowed her to appreciate the objects her husband collected. Her favorite storybook was Bullfinch’s Mythology: The Age of the Fable.

“Bullfinch’s mythology was a Victorian compendium of myths,” she explained, “So it was more written for a grown-up than for a child. But my father didn’t recognize such things. If there was something well-known and well-regarded, he would bring it home and we would use that.”

When they first met, Celia was struck by Wally’s attention to detail, particularly when it came to his mineral collection. She saw the way he presented his findings and realized he was very unusual—not at all like the other boys.

“ Wally always was a collector,” she later remembered, “ He had everything laid out in little boxes. The mineral specimens rested on top of cotton, and they all had labels. Not in the box, but right adjacent to it.”

Celia was also impressed by the subject matter. While the other children collected marbles, the choice of minerals had deep roots in the earth and its origins. It was a way to find a piece of science and history.

“I think there is a basic urge in some people to collect,” Celia said, “And Wally’s always had that.

It was a direction in which he always was moving. Because if it was minerals, you could switch onto antiquities.”

Once Wally began to acquire objects, Celia recalled her time reading mythology. “I could connect with the embodiments of these tales,” she said, “Because it seemed familiar.”

In Our DNA Building on childhood pursuits as a reader and mineral collector, Wally Gilbert was encouraged to pursue his interest in science. He moved seamlessly into astronomy, then inorganic chemistry. By 1949, his senior year of high school, Wally skipped classes to teach himself nuclear physics by reading at the Library to Congress. Shortly thereafter, at Harvard for his undergraduate degree, Wally studied both chemistry and theoretical physics. At the University of Cambridge, he took a doctorate in 1957 in the theory of elementary particles and quantum field theory.

His ability to cross-pollinate ideas led to some of the world’s most celebrated discoveries. During the summer of 1956 Wally befriended biologist Jim Watson, newly appointed as an assistant professor at Harvard. Over dinner, Jim often complained of boredom, until finally in 1960, he told the Gilberts, “Something very exciting is happening in the laboratory.”

Wally was a physicist and an assistant professor at Harvard at the time, but he was immediately on board with Watson’s genetic project---which was the search for messenger RNA, an unstable RNA molecule that carries the information from DNA to the factories in cells (the ribosomes) that make proteins. The existence and behavior of such intermediate was not known at that time. So, he read six papers (the only background on the subject then) and joined the team.

Wally explained, “The nice thing about fields at their inception is that you don’t have to read very much.

Today, if you want to start off in biology, you probably have a shelf of books to read.”

Wally went on to do experiments in molecular biology, although his appointment as a professor at Harvard was in theoretical physics: lecturing and training graduate students. Luckily, he was promoted to tenure in biophysics. His next major work was identifying how a protein, made by a ‘control’ gene, turned off and on a target gene, by isolating that extremely rare protein and showing that it bound to DNA and blocked to target gene.

He was awarded the Nobel Prize in 1980 for his later research discovering a rapid way of how to read the order of the chemical groups along the DNA molecule (the ‘bases’- A, T, C, and G). That invention changed the problem from one of great difficulty, working out one group a month in the early 1970s, to one of great ease, working out hundreds, then thousands, of bases in an afternoon. He shared the Nobel award with Fred Sanger, who worked out a similar method simultaneously. DNA sequencing, with many further developments, has gone on to dominate all of modern biology and medicine.

Wally was one of the founders of Biogen, in 1978---a new company dedicated to making medically useful human proteins in bacteria. He left Harvard in 1981 to run that company as CEO. He later returned to Harvard in 1985, where he taught until his retirement in 2000.

That someone at the forefront of cutting-edge, radical advancement in technology would collect objects from the ancient world is fascinating. Wally differentiated himself from other scientists with his discoveries, undoubtedly, but also in the methodology of how his curiosity led him to new findings.

6

7

P. 6

P. 7

The Making of Collectors By the late 1980s, the Gilberts found that their scientific pursuits led to creative ones. Wally’s seasoned career in science was coupled with a love of photography, watercolor, and painting. Celia made breakthroughs in her own artistic practice, working with monotypes, while Wally grew increasingly passionate about archaeology as well: From 1985 to 1995, he read all the Greco-Roman classics in translation, including Homer, Caesar, and Herodotus’s Histories. He greatly enjoyed the high drama of the Sumerian legends, and even learned the first 50 lines of The Iliad in the original Greek. The deeper he went into his scholastic odyssey, the art objects of the periods he was discovering soon found their way to him as well.

Wally’s entrepreneurial and probing drive opened up the world of antiquities dealers to him. He soon immersed himself in that bustle of a thriving antiquities market, using a shrewd eye to collect top-quality works with energy and discrimination.

Celia’s father had also encouraged a strong foundation in poetry, and memorized English, Latin and Greek verse. He often told her, “To be a poet is the greatest thing in the world,” and she took the phrase to heart, publishing a number of books of poetry and one of short stories.

“When you handle the objects, your relationship becomes different,” he said. “The museum-goer sees objects as frozen in a case, but the collector actually feels the object as a truly human product.”

“My interest in mythology has certainly been nourished by the things Wally bought,” she reflected. “I don’t think I’d appreciate it as much if I hadn’t grown up with it.”

Her most recent book, Ashes, Ashes, We All Fall Down (2016), opens with a semi-autobiographical story about a woman whose husband began buying ancient art pieces.

“Wally always had an eye for what was first-class,” Celia explained, “For what was…you could say, what was worthy. What was exciting about a piece. It could have been a collection it came from, or the age, or the beauty of the work, but he has a connoisseur’s eye for what is beautiful.”

He knew the material composition, the artistic technique, and the legends that inspired the hundreds of works he amassed and kept at his home in Cambridge. He felt a sense of tactility, and deep affinity, by living among the objects.

But around 2004, Wally began to switch his focus to creating his own art.

“ My husband and I collect antiquities…” she wrote. “ They entered our lives, refugees from the midden heap of history, to be sheltered and cherished and when we die to be handed on to others.”

The collecting of antiquities began through a suggestion from a business partner, “why don’t we go to New York with our wives for a week of theater and visit the antiquities auction?”

The fascination was instantaneous. Wally explained: “The new and the old are very different impulses. The new involves the creative impulse and the search for novelty. But the old involves knowledge and feeling about history. Most scientists live entirely in the current moment, as opposed to having an interest in how the fields emerged. But I find old chemistry has that same historical feeling.”

“ Someone valued these objects in the ancient world.

They were made with an aesthetic impulse to create beauty in their daily lives.”

8

9

P. 8

P. 9

Art of the Future “One of the great dangers in life is thinking we must do what we’ve been trained to do,” Wally said.

His flexibility as a seeker of knowledge has rendered him entirely adaptable. He transitioned from a scientific field from research to business and then moved through classical literature to go on to create one of the great American collections of ancient Mediterranean art. In his seventies, Wally was reborn yet again, this time as a seeker of beauty through his own hands. His senses of tactility and discovery were amplified in the creative process of an artist.

“I find that there’s an overlap between art-making and creating new knowledge,” he clarified. “Making your own art is about the impulse to create, which also drives us in science.”

With this in mind, Wally followed his wife into artmaking. He started as a photographer, zeroing in on the minutia of the mechanics that defined his word. A golden doorknob, a nick on a sidewalk—nothing was too small to catch his attention. Then he began working more geometrically, with pieces such as the “Squares and Triangles” digitally inspired in patterns and scintillations. The vivid palette was reflective of a lifetime of exposure to scientific advancement, rather than the golden and subdued hues of the more lifelike and zoomorphic antiquities he had amassed. The optical delight, however, and the determination to find a rhythm in the color and pattern, came from the sample passion as his collecting.

Over the last 15 years, Wally’s artwork has been exhibited internationally, with numerous solo shows and installations from New York, Massachusetts, Maryland, and California to the United Kingdom, Poland, Germany, and South Korea.

His boundless passion for newfound knowledge is matched only by a reverence for the ancient world. As a scientist, an artist, and a collector, the bridge between all categories is a desire to cultivate and expound on the beautiful unknown. Ancient or contemporary, his single-minded genius in delighting and decoding has revealed many secrets of the universe. This collection serves to do the same.

10

P. 10

P. 11

European

P. 12

P. 13

2 — Axe

European, Neolithic, ca. 2800 – 1700 B.C. Flint H: 35.2 cm (13.8 in) see p. 202

3 — Torque

European,15th – 14th century B.C. Gold D: 14.3 cm (5.6 in) see p. 202

1 — Spiral Fibula

European, 2nd – 1st millennium B.C. Bronze L: 7 cm (2.8 in) see p. 202

4 — Female statuette

European, Vinča, 5th millennium B.C. Terracotta H: 9.3 cm (3.6 in) see p. 203 14

European

European

P. 14

P. 15

15

5 — Abstract plaque Idol

6 — Eye goddess

Iberian, 4th – 2nd millennium B.C. Slate H: 19.7 cm (7.8 in) see p. 203

16

Iberian, 3rd – early 2nd millennium B.C. Marble H: 13.2 cm (5.2 in) see p. 203

European

European

P. 16

P. 17

17

8 — Axe

European, 4th millennium B.C. Green schist H: 34.5 cm (13.5 in) see p. 204

9 — Bat head knuckle

Northern European, Celtic, 3rd century B.C. – 2nd century A.D. Bronze L: 7.7 cm (3.0 in) see p. 204

7 — Ring Idol pendant

Balkan, 5th millennium B.C. Gold H: 9.1 cm (3.6 in) see p. 203

10 — Axe

Central European, Chalcolithic, ca. 4000 – 3500 B.C. Copper L: 29.2 cm (11.4 in) see p. 204

18

European

European

P. 18

P. 19

19

Egyptian

11 — Fibula

14 — Head

12 — Pair of earrings

15 — Fish fibula

13 — Horse fibula

16 — Impasto mug

L: 18.3 cm (7.2 in) see p. 204

L: 5.6 cm (2.2 in) see p. 205

L: 2.8 cm (1.1 in) see p. 205

20

H: 2 cm (0.79 in) see p. 205

L: 3.4 cm (1.34 in) see p. 205

H: 13.9 cm (5.4 in) see p. 205

European

European

P. 20

P. 21

21

17 — Semi-spherical bowl

Egyptian, Early Dynastic- Old Kingdom, ca. 3100 – 2575 B.C. Green Schist D: 12.7 cm (5 in) see p. 206

20 — Relief with the figure of a servant

Egyptian, Amarna Period, Dynasty 18, ca. 1353 – 1336 B.C. Limestone H: 22.2 cm (8.7 in) – L: 16.5 cm (6.4 in) see p. 206

19 — Scarab ring

Egyptian, New Kingdom, ca. 1550 B.C. – 1070 B.C. Red jasper D: 2.9 cm (1.14 in) see p. 206

18 — Finger amulet

21 — Ushabti of Tay-Sen

Egyptian, Late Period, ca. 713 – 332 B.C. Obsidian L: 9.8 cm (3.8 in) see p. 206 22

Egyptian, New Kingdom, Dynasty 19, ca. 1295 – 1186 B.C. Painted wood H: 15.2 cm (6 in) see p. 207

Egyptian

Egyptian

P. 22

P. 23

23

23 — Statuette of a woman

Egyptian, Middle Kingdom, ca. 2030 – 1640 B.C. Stone H: 24.1 cm (9.5 in) - W: 5.3 cm (2.1 in) see p. 207

22 — Black-top jar in the shape of a fish

Egyptian, Predynastic, Naqada I, ca. 3900 – 3450 B.C. Terracotta H: 19.5 cm (7.7 in) see p. 207 24

Egyptian

Egyptian

P. 24

P. 25

25

24 — Vase

Egyptian, Old Kingdom- Dynasty 6, ca. 2323 – 2150 B.C. Alabaster H: 13.9 cm (5.5 in) see p. 207

26 — Ring with a seated cat

Egyptian, New Kingdom, ca. 1550 - 1070 B.C. Cornelian H: 4.4 cm (1.73 in) see p. 208

27 — Hippopotamus

Egyptian, Middle Kingdom, Dynasty 12, ca. 1981 – 1802 Faience H: 10.8 cm (4.2 in) see p. 208

29 — Cylinder Jar

Egyptian, Old Kingdom, ca. 2649 – 2150 B.C. Veined alabaster H: 9.5 cm (3.74 in) - D: 3.8 cm (1.5 in) see p. 209

28 — Necklace

Egyptian, New Kingdom, ca. 1550 – 1070 B.C. Cornelian, gold L: 41.1 cm (162 in) see p. 208

25 — Relief with the head of Horus

Egyptian, Middle Kingdom, ca. 2030 – 1640 B.C. Painted Limestone H: 9.5 cm (3.7 in) see p. 208 26

Egyptian

Egyptian

P. 26

P. 27

27

30 — Block statue of an official

31 — Relief of Sepy, priestess of Hathor

Egyptian, Saite Period, Dynasty 26, ca. 688 – 252 B.C. Schist H: 25.4 cm (10 in) see p. 209 28

Egyptian, Middle Kingdom, ca. 2030 – 1640 B.C. Painted Limestone H: 34.6 cm (13.6 in) see p. 209

Egyptian

Egyptian

P. 28

P. 29

29

33 — Head of a lion

Egyptian, Roman period, ca. 1st century B.C – 3rd century A.D. Basalt H: 16.5 cm (6.5 in) - W: 18.5 cm (7.3 in) see p. 210

34 — Relief representing a high statesman

32 — Thin walled Kerma ware vase

Egyptian, Late Period, ca. 713 – 332 B.C. Limestone H: 34.4 cm (13.5 in) see p. 210

Nubian, Kerma culture, ca. 1750 – 1550 B.C. Terracotta H: 11.18 cm (4.4 in) – D: 14.48 cm (5.7 in) see p. 209

30

Egyptian

Egyptian

P. 30

P. 31

31

35 — Sarcophagus panel

Egyptian, Late Period, ca. 713 – 332 B.C. Painted wood H: 34.5 cm (13.6 in) - W: 66.3 cm (26.1 in) see p. 210 32

Egyptian

Egyptian

P. 32

P. 33

33

39 — Arm of a statuette

Egyptian, Old Kingdom, ca. 2649 – 2150 B.C. Wood H: 22.9 cm (9 in) see p. 211

36 — Early Dynastic vessel

38 — Early Dynastic Jar

Egyptian, Early Dynastic period, ca. 3rd millennium B.C. Breccia H: 5.6 cm (2.2 in) see p. 210

Egyptian, Early Dynastic period, ca. 3rd millennium B.C. Alabaster H: 8.6 cm (3.39 in) see p. 211

40 — Red vase with centipede marking

Egyptian, Predynastic period, ca. 4500 – 3100 B.C. Terracotta H: 28.45 cm (11.2 in) see p. 211

37 — Jar

Egyptian, Predynastic Period, Naqada II – III, ca. 3450 – 3100 B.C. Breccia H:10.2 cm (4 in) see p. 211

34

Egyptian

Egyptian

P. 34

P. 35

35

42 — Pointed spoon

Egyptian, New Kingdom, Dynasty 18, ca. 1550 – 1295 B.C. Alabaster L: 14.6 cm (5.7 in) see p. 212

44 — Cosmetic palette in the form of a fish Egyptian, New Kingdom, ca. 1550 – 1070 B.C. Steatite H: 6.6 cm (2.6 in) - W: 6.6 cm (2.6 in) see p. 212

43 — Foot of a statuette

41 — Cylindrical jar

Egyptian, Old Kingdom, ca. 2649 – 2150 B.C. Wood L: 4.8 cm (1.9 in) see p. 212

Egyptian, Old Kingdom, ca. 2649 – 2150 B.C. Alabaster H: 33.2 cm (13 in) see p. 212 36

Egyptian

Egyptian

P. 36

P. 37

37

45 — Ring with a gazelle in a papyrus thicket

49 — Horus

53 — Votive ear plugs

56 — Tauret

46 — Bastet

50 — Cosmetic container with lug handles

54 — Scarab

57 — Kohl jar

47 — Thoth

51 — Kohl jar

55 — Scarab

58 — Cosmetic container with lug handles

48 — Lion headed snake

52 — Four-headed ram

H: 1.9 cm (0.75 in) see p. 213

H: 6.7 cm (2.6 in) see p. 213

H: 5.6 cm (2.2 in) see p. 213

H: 2.5 cm (1 in) see p. 213

38

H: 2.79 cm (1.1 in) see p. 214

H: 3.2 cm (1.26 in) - D: 4.9 cm (1.93 in) see p. 214

H: 2 cm (0.8 in) - D: 4 cm (1.6 in) see p. 214

H: 4.3 cm (1.7 in) see p. 214

H: 2.9 cm (1.14 in) - L: 2.2 cm (0.87 in) see p. 214

L: 2 cm (0.8 in) see p. 215

L: 1.78 cm (0.7 in) see p. 215

H: 3.05 cm (1.2 in) see p. 215

H: 4 cm (1.57 in) - D: 5.2 cm (2.05 in) see p. 215

H: 4.6 cm (1.81 in) - D: 4.1 cm (1.61 in) see p. 215

59 — Macehead D: 8.5 cm (3.35 in) see p. 215

Egyptian

Egyptian

P. 38

P. 39

39

60 — Kohl Jar

65 — Tauret

70 — Predynastic jar

75 — Kohl Jar

61 — Kohl Jar

66 — Ptah

71 — Predynastic jar

76 — Black-top red ware bowl with tripod feet

62 — Rimless Cosmetic Container

67 — Inlay in the form of a "Ba" bird

72 — Predynastic Ovoid vessel

77 — Palette in the shape of a surgeon's knife

63 — Kohl Jar

68 — Head of a ram or bull

73 — Cosmetic vessel

78 — Early Dynastic amulet of a grasshopper

64 — Cosmetic Container

69 — Head of a Pharoah

74 — Thueris

H: 3.05 cm (1.2 in) see p. 216

H: 4.8 cm (1.89 in) - D: 4.8 cm (1.89 in) see p. 216

H: 4 cm (1.57 in) see p. 216

H: 3.2 cm (1.26 in) - D: 2.9 cm (1.14 in) see p. 216

H: 2.8 cm (1.1 in) - D: 4 cm (1.57 in) see p. 216

40

H: 3.65 cm (1.44 in) see p. 216

H: 2.54 cm (1 in) see p. 217

H: 3.4 cm (1.34 in) see p. 217

H: 4.1 cm (1.61 in) see p. 217

H: 3.45 cm (1.36 in) see p. 217

H: 5.7 cm (2.24 in) see p. 217

D: 3.8 cm (1.5 in) see p. 217

H: 4.7 cm (1.85 in) see p. 218

L: 4.9 cm (1.93 in) - H: 3.5 cm (1.38 in) see p. 218

3.05 cm (1.2 in) see p. 218

D: 14.2 cm (5.5 in) see p. 218

L: 10.2 cm (4 in) see p. 219

L: 6.1 cm (2.4 in) see p. 219

H: 5.9 cm (2.3 in) see p. 218

Egyptian

Egyptian

P. 40

P. 41

41

Greek

79 — Funerary mask

84 — Kohl jar

80 — Kohl jar

85 — Cosmetic lidded vessel with handles

81 — Female figure amulet

86 — Kohl jar

82 — Male figure amulet

87 — Cosmetic container

H: 15.2 cm (6 in) see p. 219

2.29 cm (0.9 in) see p. 219

H: 6.7 cm (2.6 in) see p. 219

H: 6.7 cm (2.6 in) see p. 220

H: 4.1 cm (1.61 in) - D: 3.6 cm (1.42 in) see p. 220

L: 4.2 cm (1.65 in) - H: 2.2 cm (0.87 in) see p. 220

H: 5.1 cm (2.01 in) - D: 4.1 cm (1.61 in) see p. 220

H: 5.9 cm (2.32 in) - D: 4.2 cm (1.65 in) see p. 221

83 — Macehead L: 10.4 (4 in) see p. 220

42

Egyptian

Egyptian

P. 42

P. 43

43

88 — Stemless red-figure kylix depicting an Amazonomachy Possibly by Aristophanes Greek, Attic, 4th century B.C. Terracotta H: 6.6 cm (2.6 in) - D: 17.5 cm (6.9 in) see p. 221 44

Greek

Greek

P. 44

P. 45

45

46

Greek

Greek

P. 46

P. 47

47

89 — Siana cup

Attributed to the Taras Painter Greek, Attic, 560 B. C. Terracotta H: 13.6 cm (5.3 in) – D: 27.9 cm (10.9 in) see p. 221

90 — Red-figure squat lekythos with Artemis Attributed to the Painter Oxford 1920 Greek, Attic, ca. 450 B.C. Terracotta H: 15.8 cm (6.2 in), D: 10.1 cm (3.9 in) see p. 222

48

91 — Black-figure neck amphora with Athena and chariot Attributed to the Dot-band Class, near to the Edinburgh Painter Greek, Attic, ca. 500 B.C. Terracotta H: 22.5 cm (8.8 in) see p. 222

Greek

Greek

P. 48

P. 49

49

92 — Black-figure oinochoe with a battle scene

93 — Kylix with komast

Greek, Corinthian, ca. 560 B.C. Terracotta H: 30.48 cm (12 in) see p. 222

Greek, Corinthian, 6th century B.C. Terracotta H: 13.7 cm (5.3 in), D: 17.9 cm (7.0 in) see p. 223

94 — Kylix with sphinxes

Attributed to the Painter of the Boston Polyphemos Greek, Attic, ca. 550 – 540 B.C. Terracotta H: 13.9 cm (5.5 in) see p. 223 50

Greek

Greek

P. 50

P. 51

51

98 — Pygmy

100 — Lekanis

Greek, Hellenistic, 3rd – 2nd century B.C. Bronze H: 6.7 cm (2.4 in) see p. 224

95 — Eye cup with Dionysos’ masks

Greek, Laconian, 6th century B.C. Terracotta H: 11.3 cm (4.4 in) see p. 225

Attributed to Near the Group of Walter’s 48.42 Greek, Attic, mid 6th century B.C. Terracotta H: 8.8 cm (3.4 in), D: 22.8 cm (8.9 in) see p. 223

96 — Medaillon with the head of a Maenad

97 — Black-figure kyathos with Dionysos and satyr

Greek, 350 B.C. Bronze with silver inlays L: 7.9 cm (2.8 in) see p. 224

52

Attributed to the Group of Vatican G.57 Greek, Attic, ca. 525-500 B.C. Terracotta H: 7.9 cm (3.1 in) see p. 224

99 — Red-figure kylix with a dancer Attributed to Skythes Greek, Attic, late 6th – early 5th century B.C. Terracotta H: 13 cm (5.1 in) – D: 33 cm (12.9 in) see p. 225

Greek

Greek

P. 52

P. 53

53

101 — Red-figure kylix fragments Attributed to Douris Greek, Attic, ca. 480 B.C. Terracotta L: 15.2 cm (6.0 in) see p. 225

103 — Cup with chariot race Greek, ca. 400- 350 B.C. Bronze H: 8.4 cm (3.3 in) see p. 226

104 — Mastoid

Attributed to the Haimon Group Greek, Attic, ca. 500 B.C. Terracotta H: 9.2 cm (3.6 in) see p. 226

102 — Cup

Minoan, Middle Minoan II, ca. 1800-1700 B.C. Terracotta H: 7.3 cm (2.8 in) see p. 225

54

105 — Head of a koré

Greek, South Italian, 5th century B.C. Terracotta H: 12.1 cm (4.7 in) see p. 226

Greek

Greek

P. 54

P. 55

55

106 — Red-figure pyxis with erotic drinking scene Attributed to the Chaire Painter Greek, Attic, ca. 490 – 480 B.C. Terracotta H: 7.45 cm (2.9 in) see p. 227

56

Greek

Greek

P. 56

P. 57

57

107 — Red-figure pyxis with three labors of Heracles Greek, Attic, late 6th – early 5th century B.C. Terracotta H: 4.3 cm (1.69 in) - D: 7.5 cm (2.95 in) see p. 227 58

Greek

Greek

P. 58

P. 59

59

109 — Idol seated on a throne

108 — Red-figure fish plate

Mycenaean, Late Helladic IIIA – IIIB, 14th – 13th century B.C. Terracotta H: 10.2 cm (4 in) see p. 228

Attributed to the Bloomington painter Greek, South Italian, Apulian, 4th century B.C. Terracotta H: 8.8 cm (3.4 in), D: 21.5 cm (8.4 in) see p. 228

110 — Phi “IdolPhi”

Mycenaean, Late Helladic IIIA – IIIB, 14th – 13th century B.C. Terracotta H: 13.6 cm (5.4 in) see p. 228 60

Greek

Greek

P. 60

P. 61

61

111 — Enthroned Poseidon

Greek, South Italian, Tarentine, 4th century B.C Terracotta H: 10.2 cm (4 in) see p. 229

113 — Fighting Athena

Greek, South Italian, Tarentine, 4th century B.C. Terracotta L: 10.2 cm (4 in) see p. 229

114 — Lekanis with panthers, a sphinx, and harpies Greek, Corinthian, ca. 600 – 575 B.C. Terracotta H: 9 cm (3.5 in) see p. 230

112 — Maiden

Greek, South Italian, Tarentine, 4th century B.C. Terracotta H: 10.2 cm (4 in) see p. 229

62

Greek

Greek

P. 62

P. 63

63

115 — Red-figure calyx krater with Lycurgus Greek, Apulian, 4th century B.C. Terracotta H: 42.5 cm (16.7 in) see p. 230 64

Greek

Greek

P. 64

P. 65

65

117 — Red-figure askos with Dionysos and Ariadne Attributed to the Underworld Painter Greek, South Italian, Apulian, ca. 350 B.C. Terracotta H: 22.2 cm (8.7 in) see p. 231

116 — Six technique stamnos with two satyrs

118 — Red-figure mug

Greek, Attic, ca. 510 B.C. Terracotta H: 20.8 cm (8.1 in) see p. 230

66

Greek, Apulian, 4th century B.C. Terracotta H: 9.2 cm (3.6 in) see p. 231

Greek

Greek

P. 66

P. 67

67

121 — Aryballos

Greek, Corinthian, ca. 600 – 575 B.C. Terracotta H: 17.1 cm (6.7 in) see p. 232

119 — Squat lekythos

Greek, ca. 350 B.C. – 300 B.C. Bronze 10.2 cm (4 in) see p. 231

122 — Young girl dressed as a bear Greek, 4th century B.C. Terracotta H: 9.5 cm (3.7 in) see p. 232

120 — Strainer

Greek, 5th – 3rd Century B.C. Bronze H: 28 cm (11 in) see p. 232

68

Greek

Greek

P. 68

P. 69

69

124 — Odysseus

Greek, Hellenistic, 2nd – 1st century B.C. Bronze H: 8 cm (3.1 in) see p. 233

125 — Core-formed amphoriskos

123 — Red-figure kylix with a hetaira

Greek, Hellenistic, 1st century B.C. Glass H: 16.2 cm (6.3 in) see p. 233

Attributed to the Hermaios Painter Greek, Attic, ca. 510-500 B.C. Terracotta H: 7.6 cm (2.9 in), D: 19.2 cm (7.5 in) see p. 233

70

Greek

Greek

P. 70

P. 71

71

126 — Head of a woman

Greek, Magna Graecia, ca. late 4th century B.C. Marble H: 35 cm (13.8 in) see p. 234 72

Greek

Greek

P. 72

P. 73

73

127 — Black-glaze mug

130 — Plaque with a divine chariot

Greek, 4th century B.C. Terracotta H: 6.8 cm (2.7 in) see p. 234

Greek, ca. 560 B.C. Bronze H: 10.3 cm (4 in) see p. 235

128 — Horse

Greek, Hellenistic, 3rd – 2nd century B.C. Silver L: 5.1 cm (2 in) see p. 234

129 — Quatrefoil aryballos

Attributed to the Liebighaus Group Greek, Corinthian, ca. 600 - 575 B.C. Terracotta H: 7.6 cm (3 in) see p. 234

74

131 — Pair of bracelets with lion heads Greek, 4th century B.C. Silver L: 8.1 cm (3.1 in) see p. 235

Greek

Greek

P. 74

P. 75

75

132 — Amphoriskos

Greek, Hellenistic, ca. 3rd – 2nd century B.C. Rock crystal H: 6.3 cm (2.5 in) see p. 235

134 — Hound rhyton

Greek, South Italian, Tarentine, 4th century B.C. Terracotta L: 20.6 cm (8.1 in) see p. 236

133 — Squat lekythos with nude woman

135 — Ram rhyton

Greek, South Italian, Gnathian, ca. 350 B.C. Terracotta H: 20 cm (7.8 in) see p. 236

76

Greek, South Italian, Tarentine, ca. mid-4th century B.C. Terracotta L: 20.6 cm (8.1 in) see p. 236

Greek

Greek

P. 76

P. 77

77

136 — Stamnos with Heracles and Iole Attributed to the Eucharides Painter Greek, Attic, ca. 480 B.C. Terracotta H: 37.2 cm (14.6 in) see p. 236 78

Greek

Greek

P. 78

P. 79

79

80

Greek

Greek

P. 80

P. 81

81

140 — Necklace

Greek, Hellenistic, 2nd century B.C. Gold, cornelian, jet L: 33.5 cm (13.1 in) see p. 238

138 — Black-glaze askos Greek, ca. 350 B.C. Terracotta H: 8.1 cm (3.19 in) see p. 237

137 — Lidded askos Greek, 4th century B.C. Marble H: 14 cm (5.5 in) see p. 237

141 — Red-figure pyxis with animals and fantastic beasts Greek, Attic, ca. 375-350 B.C. Terracotta H: 10.9 cm (4.3 in) - D: 18.5 cm (7.3 in) see p. 238

139 — Lidded Jar

Greek, 3rd - 2nd century B.C. Rock crystal H: 4.32 cm (1.7 in) - D: 4.57 cm (1.8 in) see p. 237 82

Greek

Greek

P. 82

P. 83

83

144 — Oinochoe

Greek, Proto-Corinthian, ca. 710-700 B.C. Terracotta H: 22.3 cm (8.7 in) see p. 239

142 — Votive relief dedicated to Persephone Greek, South Italian, Locrian, ca. 470-440 B.C. Terracotta, blue and red pigments H: 25.4 cm (10 in) see p. 238

143 — Magenta ware flask of an actor

145 — Black- figure olpe with animal frieze

Greek, Hellenistic, 2nd – 1st century B.C. Terracotta, purplish-pink pigment H: 11.5 cm (4.5 in) see p. 239

84

Attributed to the Painter of Vatican 73 Greek, Corinthian, 640 – 625 B.C. Terracotta H: 33 cm (13 in) see p. 239

Greek

Greek

P. 84

P. 85

85

146 — Skyphos with frieze of animals Greek, Proto-Corinthian, ca. 670-650 B.C. Terracotta H: 10.7 cm (4.2 in) see p. 240

147 — Almond-shaped amphoriskos Greek, ca. 4th century B.C. Terracotta H: 6 cm (2.4 in) - W: 2.8 cm (1.1 in) see p. 240

148 — Lydion

East Greek, first half of the 6th century B.C. Terracotta H: 12.3 cm (4.8 in) see p. 240

86

149 — Mother goddess

Aegean, 5th – 4th millennium B.C. Marble H: 6.7 cm (2.6 in) see p. 240

Greek

Greek

P. 86

P. 87

87

150 — Mirror cover with Herakles and Princess Auge

151 — Bell-krater

Greek, late 4th century B.C. Bronze D: 15.4 cm (6 in) see p. 241 88

Greek, South Italian, Gnathian, ca. 330 B.C. Terracotta H: 33 cm (12.9 in) see p. 241

Greek

Greek

P. 88

P. 89

89

152 — Aphrodite hairpin

Greek, Hellenistic, 1st century B.C. Gold H: 14.6 cm (5.7 in) see p. 242 90

Greek

Greek

P. 90

P. 91

91

153 — Head of a griffin Greek, ca. 7th century B.C. Gold H: 4 cm (1.5 in) see p. 242 92

Greek

Greek

P. 92

P. 93

93

94

Greek

Greek

P. 94

P. 95

95

155 — Pithos

159 — Chous

156 — Situla

160 — Black ware jar

157 — Gorgoneion

161 — Black-glaze mug

158 — Mask of Silenus

162 — Xenon ware oinochoe with swan

H: 6.35 cm (2.5 in) see p. 243

H: 4.8 cm (1.89 in) see p. 243

H: 6 cm (2.3 in) see p. 243

154 — Nike pendant

Greek, Hellenistic, 3rd century B.C. Gold H: 5.4 cm (2.1 in) see p. 242 96

H: 7.4 cm (2.9 in) see p. 243

H: 6.2 cm (2.4 in) see p. 244

H: 5.2 cm (2 in) see p. 244

H: 10.5 cm (4.1 in) see p. 244

H: 7.3 cm (2.8 in) see p. 244

Greek

Greek

P. 96

P. 97

97

163 — Aryballos

167 — Single-handled cup

171 — Xenon ware oinochoe

175 — Olpe with panthers and geese

164 — Aryballos

168 — Vessel in the form of a spinning top

172 — Xenon ware kylix

176 — Gnathian skythos

165 — Aryballos

169 — Cotyle

173 — Aryballos

177 — Pomegranate

166 — Aryballos

170 — Hydrolic vase

174 — Cup

178 — Gnathian skythos

H: 6.4 cm (2.5 in) see p. 245

H: 6.3 cm (2.4 in) see p. 245

H: 6.3 cm (2.5 in) see p. 245

H: 10.5 cm (4.1 in) see p. 246

98

H: 5.4 cm (2.1 in) see p. 246

H: 8.2 cm (3.2 in) see p. 246

H: 11.4 cm (4.3 in) see p. 246

H: 13.7 cm (5.3 in) see p. 247

H: 13.7 cm (5.4 in) see p. 247

D: 23.8 cm (9.4 in) see p. 247

H: 11.4 cm (4.4 in) see p. 247

H: 7.4 cm (2.9 in) see p. 247

H: 24.1 cm (9.4 in) see p. 248

H: 9.2 cm (3.6 cm) see p. 248

D: 7.62 (3 in) see p. 248

H: 9.2 cm (3.6 cm) see p. 248

Greek

Greek

P. 98

P. 99

99

179 — Black-glaze aryballos H: 11.9 cm (4.6 in) see p. 248

180 — Black-glaze mug H: 10.9 cm (4.2 in) see p. 249

181 — Black-glaze askos in the form of a knucklebone H: 8.6 cm (3.4 in) - W: 13.7 cm (5.4 in) see p. 249

182 — Black-glaze pyxis

H: 9.4 cm (3.7 in) - D: 10.9 cm (4.3 in) see p. 249

100

183 — Black-glaze mug

187 — Coin with head of Athena

191 — Aryballos

188 — Circular mirror

192 — Seated dog

185 — Xenon ware kylix

189 — Votive double axe

193 — Mouse shaped vase

186 — Stemless kylix with Arethusa

190 — Cosmetic spoon

194 — Koré

H: 6.86 cm (2.7 in) - D: 10.41 cm (4.1 in) see p. 249

184 — Black-glaze Salt with stamped decoration and ridged edge L: 4.1 cm (1.61 in) - W: 6.70 cm (2.64 in) see p. 249

D: 21.6 cm (8.5 in) see p. 250

H: 5.6 cm (2.2 in) - D: 17.8 cm (7 in) see p. 250

D: 2.5 cm (1 in) see p. 250

D: 16.6 cm (6.5 in) see p. 250

L: 1.8 cm (0.4 in) see p. 251

L: 12.4 cm (4.9 in) see p. 251

H: 6.9 cm (2.7 in) see p. 251

H: 6.9 cm (2.72 in) see p. 251

H: 4.5 cm (1.7 in) see p. 252

H: 8 cm (3.15 in) see p. 252

Greek

Greek

P. 100

P. 101

101

Roman

195 — Red-figure pyxis fragment

199 — Fibula

196 — Black-glaze kylix

200 — Spoon

H: 4.5 cm (1.7 in) see p. 252

D: 12 cm (4.7 in) see p. 253

L: 13.4 cm (5.3 in) see p. 253

L: 16 cm (6.3 in) see p. 253

197 — Red-figure pyxis with winged hippocamp D: 14.5 cm (5.7 in) see p. 253

198 — Leg of a horse

H: 19.5 cm (7.7 in) - W: 8.9 cm (3.5 in) see p. 253

102

Greek

103

P. 102

P. 103

201 — Herakles

Graeco- Roman, 1st century B.C. – 1st century A.D. Silver H: 12.7 cm (5 in) see p. 254

104

Roman

Roman

P. 104

P. 105

105

Roman

P. 106

P. 107

107

203 — Victoriola

Roman, 1st century B.C. – 1st century A.D. Bronze, silver H: 8.9 cm (3.5 in) see p. 254

204 — Splashed glass amphoriskos Roman, 1st century A.D. Glass H: 12 cm (4.7 in) see p. 255

202 — Splashed glass jug

205 — Amphoriskos

Roman, 1st century A.D. Glass H: 20.3 cm (8 in) see p. 254 108

Roman, 1st century B.C. – 1st century A.D. Rock crystal H: 5.4 cm (2.1 in) see p. 255

Roman

Roman

P. 108

P. 109

109

206 — Lamp in the shape of Silenus Roman, 1st century B.C. – 1st century A.D. Terracotta H: 7.8 cm (3.1 in) - W: 13.7 cm (5.4 in) see p. 255

209 — Baby boy 208 — Mercury and Mars Roman, 2nd century A.D. Bronze H: 10.2 cm (4 in) see p. 256

207 — Young Satyr

210 — Venus

Roman, 1st century A.D. Bronze H: 9.8 cm (3.8 in) see p. 255 110

Roman, 1st – 2nd century A.D. Bronze H: 7.6 cm (2.9 in) see p. 256

Roman, 1st century A.D. Terracotta H: 69.8 cm (27.4 in) see p. 256

Roman

Roman

P. 110

P. 111

111

212 — Isis-Fortuna

Roman, 2nd century A.D. Bronze H: 10.8 cm (4.2 in) see p. 257

211 — Marsyas

213 — Pottery fragment with erotic scene

Roman, 2nd century A.D. Pavonazzetto marble H: 33 cm (12.9 in) see p. 257 112

Roman, late 1st century B.C. Terracotta H: 6.9 cm (2.7 in) see p. 257

Roman

Roman

P. 112

P. 113

113

214 — Cuirass relief with Jupiter and Mars Roman, early 1st century A.D. Bronze H: 24.1 cm (9.4 in) – L: 19.6 cm (7.7 in) see p. 258

114

Roman

Roman

P. 114

P. 115

115

215 — Candelabrum with Jupiter-Ammun and Bacchus Roman, 2nd century A.D. Bronze H: 88 cm (34.6 in) see p. 258 116

216 — Fresco panel with an idealized portrait Roman, 1st century A.D. Pigments, gesso H: 20.4 cm (8 in) L: 18.9 cm (7.4 in) see p. 258

Roman

Roman

P. 116

P. 117

117

219 — Patera with ram head handle Roman, 1st – 2nd century A.D. Bronze L: 20.32 cm (8 in) see p. 259

218 — Perfume flask Roman, 1st century A.D. Glass H: 23.5 cm (9.2 in) see p. 259

217 — Fresco with a gazelle Roman, 1st century A.D. Stucco, pigments H: 21.9 cm (8.6 in) see p. 259 118

220 — Skyphos

Roman, 2nd century A.D. Obsidian D: 8.9 cm (3.2 in) see p. 259

Roman

Roman

P. 118

P. 119

119

223 — Plutus holding a money bag Roman, 1st century B.C. – 1st century A.D. Bronze L: 5 cm (1.9 in) see p. 260

225 — Ring with capricorn Roman, late 3rd century A.D. Gold, amethyst D: 2.3 cm (0.9 in) see p. 260

221 — Specillum

Roman, 1st – 2nd century A.D. Bronze H: 14.9 cm (5.9 in) see p. 260

227 — Bust of Serapis Roman, 2nd century A.D. Bronze H: 11.4 cm (4.4 in) see p. 261

226 — Marbled dish

Roman, mid–1st century B.C. Terracotta D: 11.6 cm (4.5 in) see p. 261

222 — Ring

Roman 2nd – 3rd century A.D. Porphyry D: 2.54 cm (1 in) see p. 260

120

224 — Cobalt blue cup

Roman, 2nd – 3rd century A.D. Glass H: 6.7 cm (2.6 in) see p. 260

Roman

Roman

P. 120

P. 121

121

228 — Micro-mosaic emblema with cat and partridge

229 — Hercules

Roman, 1st century A.D. Tesserae (stone and glass paste) H: 47 cm (18.5 in) - W: 43 cm (17 in) see p. 261 122

Roman, 1st century B.C. – 1st century A.D. Bronze, silver H: 13.3 cm (5.2 in) see p. 261

Roman

Roman

P. 122

P. 123

123

230 — Juglet

Roman, 2nd century A.D. Glass H: 10.9 cm (4.2 in) see p. 262

233 — Aubergine jug Roman, 4th century A.D. Glass H: 14.4 cm (5.6 in) see p. 262

231 — Amphoriskos

Roman, 3rd – 5th century A.D. Glass H: 25 cm (9.8 in) see p. 262

124

232 — Irridescent unguentarium Roman, 4th century A.D. Glass H: 10.8 cm (3.9 in) see p. 262

Roman

Roman

P. 124

P. 125

125

234 — Venus

Roman, 2nd century A.D. Bronze H: 10 cm (3.9 in) see p. 263

237 — Diana

Roman, 1st century A.D. Bronze H: 7.9 cm (3.1 in) see p. 263

235 — Red-ware jug

Roman, 2nd – 3rd century A.D. Terracotta H: 14.6 cm (5.7 in) see p. 263

126

236 — Glazed cup with barbotine animals Roman, 2nd century A.D. Terracotta H: 8.4 cm (3.3 in) - D: 8.3 cm (3.3 in) see p. 263

Roman

Roman

P. 126

P. 127

127

239 — Grotesque head pendant

242 — Thetis and baby Achilles riding a Triton

240 — Penknife

243 — Winged phallus

241 — Crouching Venus

244 — Theater Mask

L: 5.7 cm (2.24 in) see p. 264

238 — Nemesis

L: 5.59 cm (2.2 in) see p. 264

Roman, 2nd century A.D. Bronze H: 17 cm (6.6 in) see p. 264

128

H: 5 cm (2 in) - W: 3.3 cm (1.3 in) see p. 264

H: 3.7 cm (1.4 in) see p. 265

L: 3.6 cm (1.4 in) see p. 265

H: 2.4 cm (0.94 in) - L: 3.10 cm (1.22 in) see p. 265

Roman

Roman

P. 128

P. 129

129

Italic

245 — Heart-shaped strainer

247 — Eros hairpin

246 — Red-ware head flask

248 — Hercules mingens

L: 26.3 cm (10.3 in) see p. 266

H: 21.9 cm (8.6 in) see p. 266

H: 8.3 cm (3.2 in) see p. 266

H: 6 cm (2.4 in) see p. 266

249 — Harpokrates H: 4.3 cm (1.7 in) see p. 267

130

Roman

Roman

P. 130

P. 131

131

250 — Red-figure calyx krater with warriors and griffins Faliscan, ca. 375 B.C. Terracotta H: 45.1 cm (17.6 in) see p. 267 132

Italic

Italic

P. 132

P. 133

133

134

Italic

Italic

P. 134

P. 135

135

251 — Double head flask with Satyr and Maenad Etruscan, 4th century B.C. Terracotta H: 14.6 cm (5.7 in) see p. 267 136

Italic

Italic

P. 136

P. 137

137

252 — Black-figure Pontic kylix Attributed to the Amphiaros Painter Etruscan, ca. 530 B.C. Terracotta H: 10.1 cm (3.9 in), D: 15.8 cm (6.2 in) see p. 268

254 — Lion

Etruscan, 6th century B.C. Bronze L: 5.4 cm (2.1 in) see p. 268

253 — Dancer

256 — Fire rake

Etruscan, 5th century B.C. Bronze H: 11.7 cm (4.6 in) see p. 268

138

Etruscan, 7th – 6th century B.C. Silver L: 23.6 cm (9.2 in) see p. 269

255 — Running figure Etruscan, 5th century B.C. Bronze H: 7 cm (2.7 in) see p. 269

Italic

Italic

P. 138

P. 139

139

257 — Oinochoe

258 — Discobolus

Etruscan, 5th century B.C. Bronze H: 30.4 cm (11.9 in) see p. 269 140

Etruscan, late 6th century B.C. Bronze H: 9.7 cm (3.8 in) see p. 270

Italic

Italic

P. 140

P. 141

141

259 — Antefix representing a dancer Etruscan, ca. 500 B. C. Terracotta H: 50.3 cm (19.8 in) - W: 26.6 cm (10.5 in) see p. 270

142

Italic

Italic

P. 142

P. 143

143

262 — Head of a youth Etruscan, 5th century B.C. Terracotta H: 26.9 cm (10.5 in) see p. 271

260 — Head of a bull

Villanovan, 10th century B.C. Bronze H: 6.7 cm (2.6 in) see p. 270

261 — Horse tamer

Etruscan, 6th century B.C. Bronze H: 5.6 cm (2.2 in) see p. 270

144

Italic

Italic

P. 144

P. 145

145

263 — Standing man

Italic, Umbro-Picenean, 5th century B.C. Bronze H: 7 cm (2.7 in) see p. 271

265 — Oinochoe

Italic, Villanovan, 7th century B.C. Terracotta H: 26.7 cm (10.9 in) see p. 271

266 — Worshipper Italic, ca. 700 B.C. Bronze H: 10.8 cm (4.2 in) see p. 272

264 — Worshipper

Etruscan, early 5th century B.C. Bronze H: 11.9 cm (4.7 in) see p. 271 146

Italic

Italic

P. 146

P. 147

147

Near Eastern

267 — Amphora

270 — Askos with a duck’s head

268 — Bucchero olpe

271 — Polychrome-painted kyathos

H: 11.43 cm (4.5 in) see p. 272

H: 24 cm (9.4 in) see p. 272

H: 11.5 cm (4.3 in) see p. 272

H: 14.7 cm (5.79 in) see p. 273

269 — Bucchero oinochoe

H: 17 cm (6.7 in) - W: 13.2 cm (5.2 in) see p. 272

148

Italic

Italic

P. 148

P. 149

149

272 — Amulet

276 — Jar

Mesopotamian, ca. 3500 B.C. – 3000 B.C. Alabaster L: 3.1 cm (1.22 cm) - H: 3.1 cm (1.22 cm) see p. 273

Sumerian, ca. 3000-2500 Terracotta H: 9.1 cm (3.6 in) see p. 274

273 — Cuneiform tablet

274 — Jug

Near Eastern, ca. 1865 – 1804 B.C. Clay L: 6.3 cm (2.4 in) – W: 5.1 cm (2.0 in) see p. 273 150

Cypriot, ca. 1800 – 1650 Terracotta H: 14.6 cm (5.7 in) see p. 273

275 — Flask with cut-away spout

277 — Beaker

Cypriot, ca. 1050 – 950 B.C. Terracotta H: 12 cm (4.7 in) see p. 274

Anatolian, ca. 3000 B.C. Terracotta H: 7.3 cm (2.9 in) see p. 274

Near Eastern

Near Eastern

P. 150

P. 151

151

278 — Seated lion

Late Uruk, 3300 – 3200 B.C. Pink limestone H: 14 cm (5.5 in) see p. 274

152

Near Eastern

Near Eastern

P. 152

P. 153

153

279 — Cylinder seal

Sumerian, ca. 3100 – 2890 B.C. Marble H: 3.1 cm (1.2 in) see p. 274

282 — Red-polished bowl Cypriot, ca. 2000 – 1725 Terracotta D: 14 cm (5.5 in) see p. 275

281 — Amulet

Sumerian, ca. 3200 B.C. – 3000 B.C. Stone L: 3.8 cm (1.5 in) see p. 275

280 — Torso of a bearded Man

283 — Vessel

Near Eastern, 2nd millennium B.C. Terracotta H: 7 cm (2.76 in) see p. 275

154

284 — Fertility deity

Sumerian, ca. 3000 B.C. Terracotta H: 6.3 cm (2.5 in) - D: 11.9 cm (4.7 in) see p. 275

Near Eastern, ca. 2000 – 1800 BC Terracotta H: 13.6 cm (5.4 in) see p. 275

Near Eastern

Near Eastern

P. 154

P. 155

155

285 — Round seal

Bactrian, 3rd – 2nd millennium B.C. Bronze D: 6.7 cm (2.6 in) see p. 276

288 — Rattle

Hacilar, 6th millennium B.C. Terracotta H: 11.1 cm (4.37 in) see p. 276

287 — Cylinder seal with a banquet scene Sumerian, ca. 2600 B.C. – 2334 B.C. Lapis lazuli H: 2.9 cm (1.14 in) - D: 1 cm (0.39 in) see p. 276

286 — Cuneiform tablet

289 — Red-polished ware bowl with a spout

Near Eastern, ca. 1910 – 1840 B.C. Clay L: 3.5 cm (1.3 in) – W: 4.1 cm (1.6 in) see p. 276 156

Cypriot, ca. 2000 B.C. Terracotta D: 19 cm (7.4 in) see p. 276

Near Eastern

Near Eastern

P. 156

P. 157

157

290 — Kneeling worshipper Late Uruk, ca. 3200 – 2900 B.C. Limestone H: 12 cm (4.72 in) see p. 277

158

Near Eastern

Near Eastern

P. 158

P. 159

159

291 — Cylinder seal with a standing man

294 — Amulet of recumbent bull

Akkadian, ca. 1400 – 1100 B.C. Stone H: 2.9 cm (1.1 in) see p. 277

Sumerian, ca. 3000 B.C. – 2800 B.C. Marble L: 3.81 cm (1.5 in) see p. 277

292 — White slip bowl

293 — Cup

Cypriot, ca. 1550 – 1415 B.C. Terracotta H: 10.1 cm (3.9 in) see p. 277 160

295 — Seated baboon

Sumerian, ca. 3000 B.C. Copper H: 8.1 cm (3.2 in) see p. 277

Sumerian, 4th – 3rd millennium B.C. Bronze L: 2.54 cm (1 in) - H: 2.3 cm (0.91 in) see p. 278

Near Eastern

Near Eastern

P. 160

P. 161

161

296 — Cylinder seal with two seated Gods Akkadian, ca. 2279 – 2255 B.C. Green serpentine H: 3.2 cm (1.2 cm) see p. 278

298 — Bowl

Hacilar, 5th Millennium B.C. Terracotta H: 7.6 cm (2.99 in) - D: 20.9 cm (8.23 in) see p. 278

297 — Deity or priestess

Near Eastern, ca. 2000 – 1800 B.C. Terracotta H: 22 cm (8.7 in) see p. 278

299 — Phiale with omphalos

Anatolian, Phrygian, 8th century B.C. Bronze H: 15.6 cm (6.1 in) see p. 278 162

Near Eastern

Near Eastern

P. 162

P. 163

163

300 — Bowl with a spout Sumerian, ca. 3200 B.C. Marble D: 13.9 cm (5.4 in) see p. 279

303 — Cylinder seal with a contest scene Akkadian, ca. 2234 – 2154 B.C. Green serpentine H: 3 cm (1.2 in) see p. 279

301 — Macehead

Old Babylonian, 2nd millennium B.C. Haematite H: 4.4 cm (1.7 in) see p. 279

304 — Amulet of a pregnant woman Sumerian, ca. 3000 B.C. Marble H: 2.54 cm (1 in) see p. 279

302 — Red ware kylix

305 — Cylinder seal

Cypriot, ca. 750 – 650 B.C. Terracotta D: 30.1 cm (11.8 in) see p. 279

164

Cypriot, 16th – 14th century B.C. Haematite H: 2.6 cm (1 in) see p. 280

Near Eastern

Near Eastern

P. 164

P. 165

165

306 — Engraved shell with the head of horus Phoenician, ca. 7th century B.C. Tridacna Shell, garnet and gold inlaid eyes H: 10.2 cm (4 in) - W: 18.1 cm (7.1 in) see p. 280

166

Near Eastern

Near Eastern

P. 166

P. 167

167

168

Near Eastern

Near Eastern

P. 168

P. 169

169

309 — Frustoconical cup Bactrian, ca. 2000 B.C. Veined alabaster H: 9 cm (3.5 in) see p. 281

311 — Lion seal

307 — Necklace

Bactrian, ca. 2000 B.C. Bronze L: 6.6 cm (2.5 in) see p. 281

Bactrian, ca. 2200 B.C. – 1900 B.C. Gold and Turquoise L: 43.8 cm (17.24 in) see p. 280

308 — Cylinder seal with seated women and eye idols Sumerian, 3200 B.C. – 3000 B.C. Yellow stone H: 3.5 cm (1.38 in) - D: 2 cm (0.79 in) see p. 280 170

310— Cylinder seal with a bird-man Akkadian, ca. 2279 B.C. – 2255 B.C. Black stone H: 3.4 cm (1.34 in) - D: 2.2 cm (0.87 in) see p. 281

Near Eastern

Near Eastern

P. 170

P. 171

171

314 — Mask of Humbaba the Terrible Old Babylonian, ca. 1900 – 1750 B.C. Terracotta L: 11.4 cm (4.4 in) see p. 282

313 — Abstract couple

Canaanite, 2nd millennium B.C. Bronze H: 13.3 cm (5.2 in) see p. 282

312 — Spherical jug

315 — Bull head rhyton

Cypriot, ca. 750 – 600 B.C. Terracotta H: 21.6 cm (8.5 in) see p. 281 172

Anatolian, ca. 19th – 17th century B.C. Terracotta L: 12.7 cm (5 in) see p. 282

Near Eastern

Near Eastern

P. 172

P. 173

173

320 — Amulet

Sumerian, ca. 3200 B.C. – 2900 B.C. Aragonite H: 2.54 cm (1 in) see p. 283

316 — Necklace

Sumerian, ca. 2600 – 2400 B.C. Gold, carnelian L: 38.1 cm (15 in) see p. 282

319 — Flagon

Cypriot, ca. 750 B.C. – 650 B.C. Terracotta H: 34.1 cm (13.43 in) see p. 283

317 — Earrings

Near Eastern, 3rd Millennium B.C. Gold L: 4.4 cm (1.73 in) see p. 282 174

321 — Pazuzu pendant

318 — Head of a bull

Neo-Assyrian, 8th – 7th century B.C. Jasper H: 5.1 cm (2.01 in) see p. 283

Near Eastern, ca. 3000 B.C. Bronze H: 4.3 cm (1.7 in) see p. 283

Near Eastern

Near Eastern

P. 174

P. 175

175

325 — Necklace

Sumerian, 2nd millennium B.C. Gold, carnelian, banded agate, amethyst L: 49.5 cm (19.4 in) see p. 284

322 — Piglet amulet

Proto-Sumerian, 4th millennium B.C. Limestone L: 5.25 cm (2.07 in) see p. 284

323 — Pomegranate

324 — Female statuette

Phoenician, 6th century B.C. Alabaster L: 5.8 cm (2.28 in) - H: 4.1 cm (1.61 in) see p. 284 176

326 — Lion head seal

Graeco- Phoenician, 5th century B.C. Terracotta H: 40 cm (15.7 in) see p. 284

Sumerian, ca. 3200 B.C. – 3000 B.C. Green stone L: 4.5 cm (1.77 in) see p. 284

Near Eastern

Near Eastern

P. 176

P. 177

177

327 — Eye idol atop an architectural structure Proto-Sumerian, 3rd millennium B.C. Chlorite H: 25.4 cm (10 in) see p. 285

178

Near Eastern

Near Eastern

P. 178

P. 179

179

328 — Phiale with incised detailing Phoenician, 8th – 7th century B.C. Bronze D: 17.5 cm (6.9 in) see p. 285

330 — Acephalus statuette

Near Eastern, Neolithic, 6000 – 4000 B.C Porphyry H: 8.1 cm (3.2 in) see p. 285

332 — Seated Baboon

Old Babylonian, 2nd millennium B.C. Haematite H: 3.5 cm (1.38 in) see p. 286

329 — Bull head amulet

Sumerian, ca. 2500 B.C. – 2400 B.C. Limestone H: 3.2 cm (1.26 in) see p. 285

180

331 — Ceremonial axe Bactrian, ca. 2000 B.C. Arsenical bronze H: 7.6 cm (3 in) see p. 286

Near Eastern

Near Eastern

P. 180

P. 181

181

333 — Amulet of a bound captive Proto-Sumerian, ca. 3000 B.C. Stone H: 3.7 cm (1.46 in) see p. 286

336 — Tripod bowl

Syrian, 7th – 6th Millennium B.C. Rock crystal H: 3.5 cm (1.38 in) see p. 287

335 — Axe with Gilgamesh fighting a lion Bactrian, ca. 2000 B.C. Arsenical bronze H: 9.2 cm (3.6 in) see p. 286

338 — The sun goddess, Arinna Hittite, 14th – 13th century B.C. Stone H: 6.4 cm (2.5 in) see p. 287

334 —Cylinder seal with spiral design Syrian, ca. 1850 – 1700 B.C. Haematite H: 5.7 cm (2.2 in) see p. 286

182

337 — Cylindrical bowl

Bactrian, 3rd millennium B.C. Chlorite L: 6.7 cm (2.6 in) see p. 287

Near Eastern

Near Eastern

P. 182

P. 183

183

339 — Duck weight

Babylonian, 8th – 7th century B.C. Green diorite H: 12 cm (4.7 in) - W: 16.5 cm (6.5 in) Weight: 2209.6 g (12.1 lbs) see p. 288

340 — Ritual bowl with assembly scene

341 — Torso of a deity

Bactrian, mid- 3rd millennium B.C. Steatite H: 5.8 cm (2.2 in) see p. 288 184

Western Asiatic, 1st millennium B.C. Bronze H: 33.5 cm (13.2 in) see p. 288

Near Eastern

Near Eastern

P. 184

P. 185

185

342 —Anthropoid sarcophagus lid

343 — Eye idol

Canaanite, ca. 14th – 13th century B.C. Terracotta H: 38.1 cm (15 in) see p. 288 186

Near Eastern, 3500 – 3000 B.C. Red quartzite H: 14 cm (5.5 in) see p. 289

Near Eastern

Near Eastern

P. 186

P. 187

187

344 — Lama figure (Human headed bull) Sumerian, Early Dynastic, 2500 – 2400 B.C. Indurated limestone H: 7.5 cm (2.9 in) - W: 13.5 cm (5.3 in) see p. 289

188

Near Eastern

Near Eastern

P. 188

P. 189

189

345 — Seated female deity

Phoenician, 14th – 13th century B.C. Silver H: 14.8 cm (5.8 in) see p. 289

190

Near Eastern

Near Eastern

P. 190

P. 191

191

346 — Mask of a composite figure Sumerian, 3rd millennium B.C. Limestone, lapis lazuli, marble H: 7.4 cm (2.9 in) - W: 6.7 cm (2.6 in) see p. 290

192

Near Eastern

Near Eastern

P. 192

P. 193

193

347 — Hedgehog

348 — Grasshopper amulet

Old Babylonian, ca. 2000 B.C. – 1500 B.C. Haematite W: 2.5 cm (0.98 in) see p. 290

Old Babylonian, ca. 2000 B.C. – 1500 B.C. Haematite L: 6.85 cm (2.7 in) see p. 290

350 — Head pendant

354 — Stamp seal

351 — Cylinder seal

355 — Stamp seal

352 — Cylinder seal

356 — Stamp Seal

353 — Stamp seal

357 — Duck weight stamp seal

L: 2 cm (0.7 in) see p. 290

H: 2.5 cm (0.9 in) see p. 291

349 — Head of a griffin

Assyrian, 1st millennium B.C. Soapstone H: 4.8 cm (1.9 in) see p. 290

194

H: 2 cm (0.7 in) see p. 291

H: 2.2 cm (0.87 in) - L: 1.9 cm (0.75 in) see p. 291

H: 1.5 cm (0.59 in) see p. 291

H: 1.24 cm (0.49 in) - D: 3.1 cm (1.22 in) see p. 291

H: 1.2 cm (0.47 in) - D: 2.2 cm (0.87 in) see p. 291

H: 1.54 cm (0.61 in) - L: 2.18 cm (0.86 in) see p. 292

Near Eastern

Near Eastern

P. 194

P. 195

195

Far Eastern

358 — Cylinder seal with animals

362 — Cylinder seal

359 — Lion head amulet

363 — Mother goddess

H: 2.3 cm (0.91 in) - D: 2.4 cm (0.94 in) see p. 292

L: 3.8 cm (1.5 in) see p. 292

H: 2.8 cm (1.1 in) see p. 292

H: 2.7 cm (1.1 in) see p. 293

360 — Seal of a Recumbent Lion L: 2.85 cm (1.12 in) see p. 292

361 — Cylinder seal H: 2.3 cm (0.9 in) see p. 292

196

Near Eastern

Near Eastern

P. 196

P. 197

197

365 — Hand of Buddha

Southeast Asian, 13th century Bronze L: 25 cm (9.8 in) see p. 293

364 — Amphora

366 — Jar

Western Sichuan, 3rd – 2nd century B.C. Terracotta H: 31 cm (12.2 in) see p. 293 198

Chinese, Neolithic, ca. 3000 B.C. Terracotta H : 42.5 cm (16.7 in) see p. 293

Far Eastern

Far Eastern

P. 198

P. 199

199

367 — Sa Huynh pendant W: 5.08 cm (2 in) see p. 293

370 — Earring H: 5.2 cm (2.05 in) see p. 294

368 — Bracelet D: 16.8 cm (6.6 in) see p. 294

371 — Earrings L: 6.7 cm (2.64 in) see p. 294

369 — Earrings H: 4.1 cm (1.61 in) - L: 4.7 cm (1.85 in) see p. 294

372 — Bead in the shape of a monkey

200

L: 1.9 cm (0.75 in) see p. 294

Far Eastern

Far Eastern

P. 200

P. 201

201

4 — Female statuette European, Vinča, 5th millennium B.C. Terracotta H: 9.3 cm (3.6 in)

Collection Index

G1995.34 35426

The statuette, modeled by hand, was characterized by a discreet white and red polychrome in the incisions for metal rings adorning the head, which are now lost. Typologically, this image is an excellent example of the art of the culture known as Vinča (in present-day Serbia). The woman is standing with arms outstretched; her breasts are button-shaped, the buttocks are prominent, and the pubic triangle is indicated by a slight depression. The ostentation of femininity suggests that the image would have held significance in relation to human, animal and agricultural fertility.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 24 November 1995.

1 — Spiral Fibula

G1995.45 35498

5 — Abstract plaque Idol

European, 2nd – 1st millennium B.C. Bronze L: 7 cm (2.8 in)

G1998.17 35452

Iberian, 4th – 2nd millennium B.C. Slate H: 19.7 cm (7.8 in)

This fibula is a small technical masterpiece, because it consists entirely of a single square-section bronze wire, stretched and coiled to form the large spiral. The wire has been hammered to obtain the oval plate that precedes the closure device, which consists of a spring and a long spindle. Finery of this nature belongs to a group largely seen during the last phases of the Bronze Age north of the Alps and in Eastern Europe, characterized by a flat central element in an elliptical or oval shape.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 6 December 1995.

2 — Axe

This superb perforated plaque idol is bent in the shape of a hook and adorned with several hatched triangles arranged to follow the shape of the object. The polish is remarkable, as is the restrained beauty of the geometric decor and the strength of the abstracted style. Hooks are classified as a symbol of regeneration, which have been found in Iberian megalithic tombs in modern-day Portugal dating as far back as the second half of the 4th millennium B.C. Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Paris, 20 October 2002.

G1996.28 35788

6 — Eye goddess

European, Neolithic, ca. 2800 – 1700 B.C. Flint H: 35.2 cm (13.8 in) This thin-butted axe, Denmark, early bronze age, is of slender slightly tapering form with finely curved blade; the brownish-grey flint has black and cream swirling inclusions.

Provenance Sotheby’s, New York, 17 December 1996, lot 281; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 17 December 1996.

3 — Torque

G2000.29 35468

Iberian, 3rd – early 2nd millennium B.C. Marble H: 13.2 cm (5.2 in)

G1997.35 35529

European,15th – 14th century B.C. Gold D: 14.3 cm (5.6 in)

This finely carved eye goddess belongs to a group of about 20 richly decorated cylindrical idols from southwestern Spain, held in various museums and private collections. It is believed to represent the Millaran Eye Goddess, worshipped during the Megalithic Period in the Iberian peninsula. The large, so called Picasso eyes, are formed with a central spherical groove, surrounded by eyelashes enclosed in a circle. Above, strands of hair are depicted with short, angled vertical lines over each eye, followed by two arcs to depict the eyebrows. The wavier remaining hair and side locks continue across the top, falling unbound on the back to the bottom of the cylinder. Below, three parallel arcs represent facial tattooing, which could also have been interpreted as a beard.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Paris, 23 June 2000.

An impressive torque, which was worn as a necklace, was made from a single solid gold casting. It is tipped by shrinking rhomboidal elements, which stick into the neck as it is put on. The very precise weight and shape of the section suggest that the necklace was made in a stone bivalve mold. Also known in the bronze version, torques of this type are more often in twisted wire.

7 — Ring Idol pendant

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 26 October 1997.

The idol was hammered into a very thin gold plate. It is comprised of a circle surmounted by a small trapezoidal element with a rounded edge. A small circular hole pierces the upper part, while raised buttons adorn the base and edges. Despite its simplicity, this shape could symbolize a human figure with a round body and a stylized

G2000.83 35570

Balkan, 5th millennium B.C. Gold H: 9.1 cm (3.6 in)

202

203

P. 202

P. 203

head. The use of these objects is not known: the presence of the hole reasonably suggests that it was a pendant (necklaces, earrings) or possibly a decorative applique.

Provenance Sotheby's, New York, 8 December 2000, lot 49; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 8 December 2000.

8 — Axe

G2002.18 35673

European, 4th millennium B.C. Green schist H: 34.5 cm (13.5 in)

12 — Pair of earrings European, Celtic, end of 6th – 5th century B.C. Gold L: 5.6 cm (2.2 in)

G2000.83 35570

These two earrings take a unique shape, composed of a large spiral serving to suspend the jewelry and a triangular decorative element, richly ornamented with granular geometric motifs. The technique of this granulation, known in the Near East since the end of the 3rd millennium B.C., reached its peak with the items produced by Etruscan artisans during the 7th and the 6th centuries before this era. In the Celtic world, however, the decorative granulation was rare and seldom applied by the goldsmiths.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Munich, 25 March 2004.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 3 December 2002.

9 — Bat head knuckle

13 — Horse fibula

G2000.36 35653

G2002.16 35761

Romano- Celtic, 2nd – 3rd century A.D. Bronze L: 2.8 cm (1.1 in)

Northern European, Celtic, 3rd century B.C. – 2nd century A.D. Bronze L: 7.7 cm (3 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 3 December 2002.

The lively bat’s head served as a ring decoration and also as a weapon. Worn on a finger, the shaped base provides support against the palm when the fist is closed and the “ring” is used as a “bronze knuckle”.

The mouth was originally filled with red enamel, some of which still remains.

14 — Head

G2000.37 35703

Iberian, 6th century B.C. Bronze H: 2 cm (0.79 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 1 August 2000.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 1 August 2000.

10 — Axe

G1993.7 35555

Central European, Chalcolithic, ca. 4000 – 3500 B.C. Copper L: 29.2 cm (11.4 in)

15 — Fish fibula

This enormous axe-adze was cast in a single piece without subsequent hammering or forging. This is made of unalloyed copper cast in a single piece mold, using ores from Transylvania and Slovakia. It is among the first large metal objects made in Europe.

G2002.17 35762

Romano- Celtic, 2nd – 3rd century A.D. Bronze L: 3.4 cm (1.34 in) Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 3 December 2002.

Provenance Ex- Lord McAlpine of West Green collection, Oxford, prior to 1987; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 16 December 1993.

Exhibited and Published Antiquities from Europe and the Near East in the collection of the Lord McAlpine of West Green, Oxford, 1987, p. 92; Power Tools: the Stone Age and Bronze Age in North Europe, Frederick Shultz Ancient Art, New York, 1993, no. 57.

16 — Impasto mug

G1995.10 35559

Central European, Chalcolithic, ca. 2000 – 1700 B.C. Terracotta H: 13.9 cm (5.4 in) Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 31 May 1995.

11 — Fibula

G2007.2 35680

European, Bronze Age, 2nd millennium B.C. Bronze L: 18.3 cm (7.2 in) Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Frankfurt am Main, 29 January 2007.

204

205

P. 204

P. 205

17 — Semi-spherical bowl

G2000.53 35564

Egyptian, Early Dynastic- Old Kingdom, ca. 3100 – 2575 B.C. Green Schist D: 12.7 cm (5 in)

21 — Ushabti of Tay-Sen

G1997.32 35528

Egyptian, New Kingdom, Dynasty 19, ca. 1295 – 1186 B.C. Painted wood H: 15.2 cm (6 in)

The bowl was cut with finesse and precision in a block of green schist. The profile is slightly curved and the rounded lip is hardly raised inwards. An engraved circle underlines the center of the vase. In ancient Egypt, stone vases were considered important luxury items: their principal function was to contain ointments and cosmetic oils, preserving them due to the thickness of their lining. These substances had innumerable daily uses (medications, cosmetics) and also played a primary role in religious life (including offerings, funerary rites, etc.).

Admirably, this ushabti retains its ancient polychrome. Its inscription indicates that this is a female figure in the name of Tay-Sen. Wrapped in her shroud and wearing a tripartite wig with a multi-strand pearl necklace, she crosses her hands on her chest. The ushabtis were generally made of faience, and copies in wood, stone or bronze are rare and intended only for the wealthiest classes. Their mission was to accompany the departed to his final resting place, performing various tasks in daily life in his place.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 21 October 2000.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 21 October 1997.

18 — Finger amulet

G1996.27 35511

22 — Black-top jar in the shape of a fish

Egyptian, Late Period, ca. 713 – 332 B.C. Obsidian L: 9.8 cm (3.8 in) In the form of two finely tapered fingers with delicately carved nails and joints incised on both sides. The brown and black stone (obsidian) is highly polished.

The translation of the Egyptian words for these amulets is "finger of heavy stone at the girdle," and their traditional position on a mummy is the left side of the pelvis, never higher than the middle of the stomach.

Provenance Ex- Norbert Schimmel Collection, New York, prior to 1974; Sotheby's, New York, 17 December 1996, lot 237; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 17 December 1996.

Exhibited and Published MUSCARELLA, O.W., ed., Ancient Art, the Norbert Schimmel Collection, catalogue of the exhibition at the Cleveland Museum of Art, the Dallas Museum of Art, and the Metropolitan Museum of Art, 1974-76, Mainz, 1974, no. 237, illus.; SETTGAST, J., GEHRIG, U., STROMMENGER, E., and VIERNEISEL, K., Von Troja bis Armana, The Norbert Schimmel Collection, New York, catalogue of the exhibition at the Aegyptisches Museum Berlin, the Museum für Kunst un Gewerb, Hamburg, and the Prähistorischen Staatsammlung, Munich, 1978, Mainz 1978, no. 262 illus.; Sotheby's, New York, 17 December 1996, lot 237.

19 — Scarab ring

G2000.42 35562

Egyptian, Predynastic, Naqada I, ca. 3900 – 3450 B.C. Terracotta H: 19.5 cm (7.7 in)

G2001.8 35721

Egyptian, New Kingdom, ca. 1550 B.C. – 1070 B.C. Red jasper D: 2.9 cm (1.14 in) The ring is sculpted in open work: a scarab shelters beneath lotus flowers. This is probably a Phoenician object in Egyptianizing style.

This container is composed of two elements: the body of the fish, modeled in three dimensions, which supports the small point of the ogival jar typical of the ceramics of Naqada. Although well-verified by other examples, this type of vessel is extremely rare and little-known. The biochromatic red-brick and black combination was obtained by an elaborate firing technique, which necessitated heating in an oxidized and subsequently reductive atmosphere (in which the vase was then re-heated). The Naqada period is one of the best known from Pre-Pharaonic Egypt, when the region of the Nile was not yet unified.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 21 October 2000.

23 — Statuette of a woman

G2006.1 35612

Egyptian, Middle Kingdom, ca. 2030 – 1640 B.C. Stone H: 24.1 cm (9.5 in) - W: 5.3 cm (2.1 in) The statuette represents a feminine figure standing in a strictly frontal position, with feet posed on a small base. The figure wears a slinking long robe to her ankles, placed perfectly in relief on her sinuous and very feminine form. In particular, one notes the very fine rendering of the chest, paired with rounded buttocks.

Two tresses descend onto the shoulders, while the hair at the back presents a large rectangular mass. Forms, proportions, and facial traits and style are typical of Egyptian statuaries from the Middle Kingdom.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Paris, 6 October 2006.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 7 June 2001.

24 — Vase 20 — Relief with the figure of a servant

Egyptian, Amarna Period, Dynasty 18, ca. 1353 – 1336 B.C. Limestone H: 22.2 cm (8.7 in) – L: 16.5 cm (6.4 in) Provenance Sotheby’s, New York, 8 June 1994, lot 306; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 8 June 1994.

G1994.6 35556

G2009.1 35681

Egyptian, Old Kingdom - Dynasty 6, ca. 2323 – 2150 B.C. Alabaster H: 13.9 cm (5.5 in) Provenance Ex- private collection, South America, acquired in the 1950s; Ex- private collection, UK, acquired in the 1970s; The Gilbert collection, Cambridge, Massachusetts, acquired in London, 30 October 2009.

206

207

P. 206

P. 207

25 — Relief with the head of Horus

G2000.9 35547

Egyptian, Middle Kingdom, ca. 2030 – 1640 B.C. Painted Limestone H: 9.5 cm (3.7 in)

29 — Cylinder Jar

G2001.103 35755

Egyptian, Old Kingdom, ca. 2649 – 2150 B.C. Veined alabaster H: 9.5 cm (3.74 in) - D: 3.8 cm (1.5 in)

This relief is decorated with the head of a falcon preceding a green vertical line. The bird retains abundant traces of polychrome (sky blue for the body, black for the beak, green and red for the head) and is to be identified as Horus, one of the best-known symbols of the pharaoh. The vertical object painted with a brownish red and posed on the head of the bird could be an element of the pschent crown, which established the pharaonic power over both Upper and Lower Egypt. In this case, the relief would have reproduced a part of the name of Horus (the first and oldest of the five names of the royal titulary) of a particular Pharaoh of the Middle Kingdom, perhaps of Amenemhat V.

This vessel in the cylindrical form has thin walls, an everted lip and a flat base inscribed in ink with the numbers “68725”.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 29 May 2000.

30 — Block statue of an official

26 — Ring with a seated cat

Provenance Ex- Cattaoui private collection, France; The Gilbert collection, Cambridge, Massachusetts, acquired in London, 1 December 2001

G1999.8 35457

Egyptian, Saite Period, Dynasty 26, ca. 688 – 252 B.C. Schist H: 25.4 cm (10 in) G2001.2 35720

Egyptian, New Kingdom, ca. 1550 - 1070 B.C. Cornelian H: 4.4 cm (1.73 in)

This remarkably artistic sculpture depicts a man squatting on the ground, his legs bent towards his chest and his arms crossed over his knees. His name would have been inscribed on the posterior pillar. The block statue sculptural type dates back to the 12th dynasty and was typically reserved for senior officials (of non-royal rank). During the Late Period, it was popular to place these statues in the temples, allowing the deceased to participate in religious life.

This elegant ring is carved in semiprecious carnelian. The veins of the stone are artfully used to enhance the form of the ring and of the beautiful cat sitting atop the shank. The feline poses in the typical fashion for Egyptian cats with its forelegs straight and close together and its tail held tightly beside one hind leg and forepaw. The space below the cat’s belly is open, making the sculpture extremely delicate and fine. Cats were sacred to the goddess Bastet, whose center of worship was in the north of Egypt.

Provenance Ex- Gawain McKinley private collection, London, Paris, New York; Sotheby’s, New York, 5 June 1999, lot 63; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 5 June 1999.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 7 June 2001.

31 — Relief of Sepy, priestess of Hathor

G2001.11 35439

Egyptian, Middle Kingdom, ca. 2030 – 1640 B.C. Painted Limestone H: 34.6 cm (13.6 in)

27 — Hippopotamus

G2001.31 35587

Egyptian, Middle Kingdom, Dynasty 12, ca. 1981 – 1802 Faience H: 10.8 cm (4.2 in) As indicated by the curvature of the body, the animal is striding towards the left. The turquoise surface of the skin is covered in black painted plant motifs, which reproduce the aquatic life of the Nile (including lilies, papyrus and paper reeds.) Rendering the image still more lively in some cases, we even see painted insects, frogs, and birds. A familiar but fearsome animal, the hippopotamus has appeared for centuries to in Egyptian iconography, suggestive of damage to farmland and danger to men and navigators alike.

Provenance Sotheby’s, New York, 12 June 2001, lot 203; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 12 June 2001.

28 — Necklace

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 20 June 2001.

Provenance Christie’s, New York, 8 June 2001, lot 91; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 8 June 2001.

32 — Thin walled Kerma ware vase

G2010.1 35682

Nubian, Kerma culture, ca. 1750 – 1550 B.C. Terracotta H: 11.18 cm (4.4 in) – D: 14.48 cm (5.7 in) G2001.43 35663

Egyptian, New Kingdom, ca. 1550 – 1070 B.C. Cornelian, gold L: 41.1 cm (162 in)

Decorated in very low relief with a scene presenting two women: the mother, who raises lotus flowers to smell their perfume, and behind her, her oldest daughter. Dressed and styled in the same manner, the two women are seated on a long, rounded low bench. Under the seat are their makeup boxes and circular mirrors. The inscription, carved in relief in the hollow, indicates the name of the first woman and her function: she was called Sepy, and she was priestess in a sanctuary devoted to the goddess Hathor.

Exquisitely finely potted and decorated with a black top and intermediate band of color.

Provenance Excavated by Reisner in 1914, excavation numbers inked on one side, and on file in Museum of Fine Arts, Boston; Ex- collection of HRH The Prince George, Duke of Kent & HRH Princess Marina, Duchess of Kent (d. 1942), received as a gift from the Government of Sudan in the 1930s; thence by decent to the collection of Prince and Princess Michael of Kent; The Gilbert collection, Cambridge, Massachusetts, acquired in London in 2010.

208

209

P. 208

P. 209

33 — Head of a lion

G2001.93 35597

Egyptian, Roman period, ca. 1st century B.C. – 3rd century A.D. Basalt H: 16.5 cm (6.5 in) - W: 18.5 cm (7.3 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 16 October 2001.

G2005.2 35423

G2000.20 35700

Egyptian, Early Dynastic period, ca. 3rd millennium B.C. Alabaster H: 8.6 cm (3.39 in) Beautiful jar with offset base, ribbed ovoid body, pierced lug handles on the shoulder, and rounded rim.

The persona on this relief is found at the edge of the scene, further suggested by the border of the polychrome tiles incised on the right (known as a khekher frieze). The man, of whose origin in name in function are probably written on the line above, is rendered in profile and turned to the left. This suggests a prestigious role in society, represented bald and richly adorned with a large necklace.

Provenance Sotheby's, New York, 14 June 2000, lot 3; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 14 June 2000.

39 — Arm of a statuette

Provenance Ex- US private collection, New England; Ex- Hurst and Hurst, Cambridge, MA, 1984; Christie's, New York, 19 December 2005, lot 21; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 19 December 2005.

G2001.60 35592

Egyptian, Old Kingdom, ca. 2649 – 2150 B.C. Wood H: 22.9 cm (9 in)

G2006.2 35422

Egyptian, Late Period, ca. 713 – 332 B.C. Painted wood H: 34.5 cm (13.6 in) - W: 66.3 cm (26.1 in)

The long, thin wooden arm belonged to an Egyptian statuette: the wrist is adorned with a red bracelet edged with black. Statues were placed in the tombs near the mummy and sometimes even inside the sarcophagus, playing a role as an alternative receptacle for the soul of the deceased. Increasingly seen late in the Old Kingdom period, the practice became more prevalent in the Middle Kingdom.

Provenance Ex- private collection, 8 May 1890 (written on inside shoulder); The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 19 July 2001.

This sarcophagus, constituted of nailed wooden boards. Upright wooden dividers share the scene in two decorative tableaus, with a painted inscription and two statuettes representing respective sons of Horus: They appear to be supernatural figures (referred to as genies) charged with protecting the different organs of the deceased. Here, we see Qebehsenuef with the head of a falcon (for the intestines) and Duamutef with the head of Horus (for the stomach). Their remaining two brothers would probably have been found on the parallel panell of the sarcophagus. The composition is enriched by a very well conserved polychrome, completely in tones of yellow ochre.

40 — Red vase with centipede marking

G2016.1 35686

Egyptian, Predynastic period, ca. 4500 – 3100 B.C. Terracotta H: 28.45 cm (11.2 in) The centipede marking represents a statement of ownership before hieroglyphics came into use.

Provenance Ex- Philip Adams private collection, acquired in 1972; Ex- Michael Ball private collection; The Gilbert collection, Cambridge, Massachusetts, acquired in London, 6 October 2006.

36 — Early Dynastic vessel

Provenance Christie’s, London, 15 April 2015, lot 16; The Gilbert collection, Cambridge, Massachusetts, acquired in London, 20 April 2015.

38 — Early Dynastic Jar

Egyptian, Late Period, ca. 713 – 332 B.C. Limestone H: 34.4 cm (13.5 in)

35 — Sarcophagus panel

G2015.1 35683

Egyptian, Predynastic Period, Naqada II – III, ca. 3450 – 3100 B.C. Breccia H:10.2 cm (4 in)

This beast holds his head upright and stares straight in front of him. The head, which has lost part of its right half, was carved from a small block of dark gray basalt. It likely belonged to a lion statuette, as indicated by the very precise rendering of the structure of the head and the fine work of the mane.

34 — Relief representing a high statesman

37 — Jar

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Glendale, California, 2 August 2016.

G2006.4 35773

Egyptian, Early Dynastic period, ca. 3rd millennium B.C. Breccia H: 5.6 cm (2.2 in) Provenance Ex- European private collection; The Gilbert collection, Cambridge, Massachusetts, acquired in London, 6 October 2006.

210

211

P. 210

P. 211

41 — Cylindrical jar

G2002.5 35426

Egyptian, Old Kingdom, ca. 2649 – 2150 B.C. Alabaster H: 33.2 cm (13 in) The shape is as simple as it is elegant: a long cylinder with a flat base, seen with a rounded and protruding lip; a thin cord in relief is carved just under the lip. Seen filtered through light, the play of natural veins of stone is rendered transparent, both light and dark, horizontal and wavy, making this object even more impressive to the eye of the modern viewer. The stone vases, which appeared only in the tombs of royalty or members of the wealthy classes, were considered objects of great luxury.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 16 May 2002.

45 — Ring with a gazelle in a papyrus thicket Egyptian, New Kingdom, ca. 1550 – 1070 B.C. Faience H: 1.9 cm (0.75 in)

G1995.28 35687

These faience objects were the costume jewelry of the New Kingdom.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 7 July 1995.

46 — Bastet

G1993.4 35474

Egyptian, Ptolemaic Period, ca. 304 - 30 B.C. Faience H: 6.7 cm (2.6 in)

42 — Pointed spoon

G2015.2 35615

Egyptian, New Kingdom, Dynasty 18, ca. 1550 – 1295 B.C. Alabaster L: 14.6 cm (5.7 in) The spoon is carved in an oblong fragment of beige alabaster, crossed horizontally by light veins. The body, perfectly rounded and polished, is in the shape of a lanceolate leaf; it bears no trace of incised decoration. At the rear, the container is provided with a small, cylindrical handle. The precise use of this object is unknown, but we imagine that it would have been used in the preparation or manipulation of cosmetic powder rather than as a table spoon.

Provenance Christie's, London, 15 April 2015, lot 46; The Gilbert collection, Cambridge, Massachusetts, acquired in London, 15 April 2015.

43 — Foot of a statuette

G2007.4 35774

G2001.30 35586

Egyptian, Late period, ca. 713 – 332 B.C. Faience H: 5.6 cm (2.2 in) The surface of the amulet retains its brilliant turquoise color. Despite the absence of some notable attributes, it is evident it represents the human form of the god Thoth, with his face completely replaced by an ibis head. The standing body appears young, yet despite its natural position and beautiful artistic qualities, the zoomorphic component renders the image almost grotesque. A lunar deity, Thoth had reigned over all intellectual activity with his unique skills: a sort of divine secretary, he was considered the inventor of writing and the master and patron of the scribes.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 31 January 2007.

G2001.72 35593

Egyptian, New Kingdom, ca. 1550 – 1070 B.C. Steatite H: 6.6 cm (2.6 in) - W: 6.6 cm (2.6 in)

This is part from the right side of a palette that was modeled in the shape of a fish, while on the other side, the stone was carved to transform the sculpture into a container. Only the patina surrounding the mouth of the vessel, enriched with numerous anatomical details, is preserved. Despite a certain formal stylization, it is probable that the fish represented is a carp, a species frequently found in the fresh waters of the large rivers such as the Nile. The exact function of this palette is unknown. It suggests use for either sacred purposes (such as libations and burning perfume) or domestic use (preparation of cosmetic products).

Provenance Ex- Heermaneck private collection, New York, 1970's; The Gilbert collection, Cambridge, Massachusetts, acquired in London, 20 June 2001.

Provenance Sotheby's, New York, 8 June 1994, lot 72; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 8 June 1994.

47 — Thoth

Egyptian, Old Kingdom, ca. 2649 – 2150 B.C. Wood L: 4.8 cm (1.9 in)

44 — Cosmetic palette in the form of a fish

The amulet (with a suspension found on the back of the neck) is molded in faience in a beautiful shade of turquoise. She represents a hybrid goddess with the body of young woman, showcasing slender forms which emphasize her tight dress. Her lioness's head is provided with a mane as well as a tripartite wig. In her left hand, she holds a scepter. This amulet represents Bastet, a divine figure who enjoyed great popularity during the Third Intermediate Period. A protective figure and mistress of animals, she was the gentle and merciful form of the dangerous goddess Sekhmet.

Provenance Ex- private collection, Germany, 1955-1965; Sotheby's, New York, 12 June 2001, lot 164; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 12 June 2001.

48 — Lion headed snake

G2003.8 35768

Egyptian, Old Kingdom, ca. 2649 – 2150 B.C. Lapis lazuli H: 2.5 cm (1 in) Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 29 October 2003.

212

213

P. 212

P. 213

49 — Horus

Egyptian, Old Kingdom, ca. 2649 – 2150 B.C. Onyx H: 2.79 cm (1.1 in)

54 — Scarab Egyptian, Late period, ca. 713 – 332 B.C. Obsidian L: 2 cm (0.8 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 24 October 2007.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 20 June 2001.

G2007.6 35776

50 — Cosmetic container with lug handles

G2001.68 35747

Egyptian, Middle Kingdom, ca. 2030 – 1640 B.C. Diorite H: 3.2 cm (1.26 in) - D: 4.9 cm (1.93 in)

55 — Scarab

G2001.50 35731

Egyptian, Late period, ca. 713 – 332 B.C. Green jasper L: 1.78 cm (0.7 in)

Provenance Ex- Rosa Valantine collection, New York; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 19 July 2001.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 20 June 2001.

56 — Tauret

51 — Kohl jar

G2001.47 35729

Egyptian, Middle Kingdom, ca. 2030 – 1640 B.C. Diorite H: 2 cm (0.8 in) - D: 4 cm (1.6 in)

G2003.7 35767

Egyptian, Old Kingdom, ca. 2649 – 2150 B.C. Haematite H: 3.05 cm (1.2 in) Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 29 October 2003.

Provenance Ex- Flimm collection; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 20 June 2001.

57 — Kohl jar 52 — Four-headed ram

G2001.51 35732

G2001.28 35584

Egyptian, Late period, ca. 713 – 332 B.C. Diorite H: 4.3 cm (1.7 in) This speckled diorite statuette features a four-headed ram carved from a small stone. The four heads likely imply the multiplicity of the meaning of this amulet. Two of his heads look front and two backwards respectively, each with a single wound horn. The beast appears to move slowly, his left paws advancing forward. Numerous very important deities of the Egyptian world were represented by the ram (such as Khnum, Amon, Osiris or Herychef ).

G2001.63 35742

Egyptian, Middle Kingdom, ca. 2030 – 1640 B.C. Diorite H: 4 cm (1.57 in) - D: 5.2 cm (2.05 in) Provenance Ex- Rosa Valantine collection, New York; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 19 July 2001.

58 — Cosmetic container with lug handles

G2001.69 35748

Egyptian, Middle Kingdom, ca. 2030 – 1640 B.C. Diorite H: 4.6 cm (1.81 in ) - D: 4.1 cm (1.61 in)

Provenance Ex- private collection, Germany, 1955 - 1965; Sotheby's, New York, 12 June 2001, lot 163; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 12 June 2001.

Provenance Ex- Rosa Valantine collection, New York; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 19 July 2001.

53 — Votive ear plugs

G2001.73 35750

Egyptian, New Kingdom, ca. 1550 – 1070 B.C. Glass H: 2.9 cm (1.14 in) - L: 2.2 cm (0.87 in) Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 26 April 2001.

59 — Macehead

G2000.5 35645

Egyptian, Predynastic period, Naqada I, 3900 – 3450 B.C. Diorite D: 8.5 cm (3.35 in) Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 17 May 2000.

214

215

P. 214

P. 215

60 — Kohl Jar

Egyptian, Middle Kingdom, ca. 2030 – 1640 B.C. Alabaster H: 3.05 cm (1.2 in)

66 — Ptah Egyptian, Old Kingdom, ca. 2649 – 2150 B.C. Cornelian H: 2.54 cm (1 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 20 June 2001.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 29 October 2003.

G2001.49 35803

61 — Kohl Jar

G2001.59 35739

Egyptian, Middle Kingdom, ca. 2030 – 1640 B.C. Alabaster H: 4.8 cm (1.89 in) - D: 4.8 cm (1.89 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 19 June 2001.

G2001.71 35831

Egyptian, Middle Kingdom, ca. 2030 B.C. - 1640 B.C. Alabaster H: 4 cm (1.57 in)

68 — Head of a ram or bull

G2001.27 35724

Egyptian, Predynastic period, Naqada II - III, ca. 3450 – 3100 B.C. Quartz H: 4.1 cm (1.61 in)

Provenance Ex- Rosa Valantine collection, New York; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 19 July 2001.

63 — Kohl Jar

G2001.36 35726

Egyptian, New Kingdom, ca. 1550 – 1070 B.C. Glass H: 3.4 cm (1.34 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 19 July 2001.

62 — Rimless Cosmetic Container

67 — Inlay in the form of a "Ba" bird

G2003.10 35769

Provenance Ex- private collection, Germany, acquired in 1955–1965; Sotheby's, New York, 12 June 2001, lot 161; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 12 June 2001.

G2001.64 35743

69 — Head of a Pharoah

Egyptian, Middle Kingdom, ca. 2030 – 1640 B.C. Alabaster H: 3.2 cm (1.26 in) - D: 2.9 cm (1.14 in) Provenance Ex- Rosa Valantine collection, New York; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 19 July 2001.

64 — Cosmetic Container

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Paris, 24 June 2000.

G2001.70 35749

Egyptian, Middle Kingdom, ca. 2030 – 1640 B.C. Alabaster H: 2.8 cm (1.1 in) - D: 4 cm (1.57 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Bermudez, 1 October 1993.

G2000.7 35697

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 29 May 2000.

G1993.1 35560

Egyptian, Third Intermediate period, ca. 1070 – 713 B.C. Cornelian H: 3.65 cm (1.44 in)

70 — Predynastic jar

Egyptian, Predynastic period, ca. 4th millennium B.C. Stone H: 5.7 cm (2.24 in)

Provenance Ex- Rosa Valantine collection, New York; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 19 July 2001.

65 — Tauret

G2000.28 35702

Egyptian, Old Kingdom, ca. 2649 – 2150 B.C. Cornelian H: 3.45 cm (1.36 in)

71 — Predynastic jar

G2000.8 35698

Egyptian, Predynastic period, Naqada II - III, ca. 3450 – 3100 B.C. Breccia D: 3.8 cm (1.5 in) Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 29 May 2000.

216

217

P. 216

P. 217

72 — Predynastic Ovoid vessel

G2001.32 35725

Egyptian, Predynastic period, Naqada II, ca. 3450 – 3300 B.C. Stone H: 4.7 cm (1.85 in)

77 — Palette in the shape of a surgeon's knife

Provenance Ex- Lord Rea private collection, United Kingdom, 1846 - 1916; The Gilbert collection, Cambridge, Massachusetts, acquired in London, 19 June 2001.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 15 February 1997.

78 — Early Dynastic amulet of a grasshopper

73 — Cosmetic vessel

G2001.62 35741

Egyptian, Middle Kingdom, ca. 2030 – 1640 B.C. Wood L: 4.9 cm (1.93 in) - H: 3.5 cm (1.38 in)

Egyptian, Early Dynastic, ca. 3rd millennium B.C. Stone L: 6.1 cm (2.4 in)

79 — Funerary mask G2001.29 35585

Egyptian, Late Period, ca. 713 – 332 B.C. Faience H: 5.9 cm (2.3 in) The statuette, provided with a rod in the back, represents Thueris, the female divinity with composite forms, which stands on its hind legs. Only the tripartite hairstyle and the breasts bring the figure closer to being human. Otherwise, her body is composed of the head and chest of a hippopotamus, the paws of a lion, and the back and tail of crocodile. Thueris absorbs and synthesizes the threatening properties of these three animals and transforms them into positive qualities of protection, above all towards pregnant women and newborns.

G1993.3 35473

Egyptian, Third Intermediate Period – Late Period, Dynasty 22 – 26, ca. 945 – 525 B.C. Stuccoed and painted wood, gauze H: 15.2 cm (6 in) This beautiful mask would have been found within the internal coffin of a sarcophagus, typically placed directly on the face of the mummy. Set against the white paint of the skin, black large eyes and thick brow lines dominate in striking black contrast. The facial features are framed by a wig, a blue-green color, bordered by a yellow and red band. As intended, these strikingly vibrant and expressive details juxtaposed the uniformity of the bodily remains.

Provenance Sotheby's, New York, 14 December 1993, lot 367; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 14 December 1993.

Provenance Ex- private collection, Germany, 1955 - 1965; Sotheby's, New York, 12 June 2001, lot 164; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 12 June 2001.

80 — Kohl jar

75 — Kohl Jar

G2001.48 35730

Egyptian, Early Dynastic period, Dynasty 2, ca. 2900 – 2649 B.C. Pink veined alabaster 3.05 cm (1.2 in)

Egyptian, Predynastic Period, Naqada I-II, ca. 3900 – 3300 B.C. Terracotta D: 14.2 cm (5.5 in) Provenance Christies, London, 15 April. 2015, lot 13; The Gilbert collection, Cambridge, Massachusetts, acquired in London, 20 April 2015.

G2001.46 35728

Egyptian, Middle Kingdom, ca. 2030 – 1640 B.C. Anhydrite 2.29 cm (0.9 in) Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 20 June 2001.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 20 June 2001.

76 — Black-top red ware bowl with tripod feet

G2006.3 35772

Provenance Ex- Guy Weill Goudchaux collection; The Gilbert collection, Cambridge, Massachusetts, acquired in London, 6 October 2006.

Provenance Ex- Rosa Valantine private collection, New York; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 19 July 2001

74 — Thueris

G1997.3 35630

Egyptian, Predynastic, Period, Naqada II, ca. 3450 – 3300 B.C. Slate L: 10.2 cm (4 in)

81 — Female figure amulet G2015.3 35684

G1996.5 35502

Egyptian, New Kingdom, ca. 1550 – 1070 B.C. Wood H: 6.7 cm (2.6 in) The woman is standing, wearing a long, very tight dress, which places her feminine forms in relief. Her head is covered by a spherical wig with tiered strands, decorated with a frontal uraeus (a rearing cobra). Her right arm is attached to a vertical plank of the same height as the statuette. Given its size, one can imagine that this figure would have been an amulet. It was unusual for wood pieces to survive.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Zurich, 16 May 1996.

218

219

P. 218

P. 219

82 — Male figure amulet

G1996.4 35501

Egyptian, New Kingdom, ca. 1550 – 1070 B.C. Wood H: 6.7 cm (2.6 in)

87 — Cosmetic container

G2001.66 35746

Egyptian, Middle Kingdom, ca. 2030 – 1640 B.C. Anhydrite H: 5.9 cm (2.32 in) - D: 4.2 cm (1.65 in)

The young man seen here is reproduced in one of the canonical typologies of ancient Egyptian statuaries: he stands in a frontal position with the left leg advanced and his arms firm along the flanks, wearing only a striated loincloth and a short wig decorated with a uraeus in the center of the forehead. The hole pierced into the support pillar allowed this statuette to be hung and used as an amulet. It was unusual for wood pieces to survive.

Provenance Ex- Rosa Valantine collection, New York; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 19 July 2001.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Zurich, 16 May 1996.

88 — Stemless red-figure kylix depicting an Amazonomachy

83 — Macehead

G1997.21 35435

Possibly by Aristophanes Greek, Attic, 4th century B.C. Terracotta H: 6.6 cm (2.6 in) - D: 17.5 cm (6.9 in)

G2000.6 35799

Egyptian, Prehistoric Period, Badarian, ca. 5th millennium B.C. Limestone L: 10.4 (4 in)

This beautifully crafted and extraordinarily preserved kylix, a wine drinking cup, is possibly one of just three additional works by the Greek vase painter Aristophanes.

The use of the red-figure technique exquisitely illustrates an impassioned fight scene between hoplites, or Greek soldiers, in motifs that figure around the entire perimeter of the mouth and interior of the cup. Only the handles and decorative palmette elements are left bare. The well-known scene is an Amazonomachy: Greek warriors fighting savages or locked in combat with a mortally wounded Amazon feature prominently on the exterior of the bowl, while in the tondo, the theme returns with an Amazon on horseback, who threatens his spear at a Greek hoplite sporting a pilos. The hoplite is undoubtedly in a very bad position, with one knee on the ground.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 17 May 2000.

84 — Kohl jar

G2001.67 35745

Egyptian, Middle Kingdom, ca. 2030 – 1640 B.C. Anhydrite H: 4.1 cm (1.61 in) - D: 3.6 cm (1.42 in)

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, p. 62-64, no. 21 (cover piece); Museum of Fine Arts, Houston, Texas, 12 February - 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005; GLUEK, G., From Myth to Life: Images of Woman from the Classical World, The New York Times, August 20, 2004, p. B28.

Provenance Ex- Rosa Valantine collection, New York; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 19 July 2001.

85 — Cosmetic lidded vessel with handles

G2001.61 35740

Egyptian, Middle Kingdom, ca. 2030 – 1640 B.C. Anhydrite L: 4.2 cm (1.65 in) - H: 2.2 cm (0.87 in)

G2001.65 35744

Egyptian, Middle Kingdom, ca. 2030 – 1640 B.C. Anhydrite H: 5.1 cm (2.01 in) - D: 4.1 cm (1.61 in) Provenance Ex- Rosa Valantine collection, New York; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 19 July 2001.

89 — Siana cup

G1995.29 35400

Attributed to the Taras Painter Greek, Attic, 560 B. C. Terracotta H: 13.6 cm (5.3 in) – D: 27.9 cm (10.9 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 19 July 2001.

86 — Kohl jar

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Geneva, 3 July 1997.

This Siana cup is very large, as is typical of Attic objects of this shape produced during the second quarter of the 6th century B.C. Its name derives from the ancient city where it was first found: Siana, on the Greek island of Rhodes. The interior depicts a warrior, naked except for his high-crested helmet, carrying a round shield and spear. He runs left, his feet stepping on the curving line of an ornately colored tondo, with concentric lines and tongues that alternate between purple and black. Purple and white pigments employed elsewhere for design are still visible in the blazons, and on the central horse in a cavalcade of five galloping horsemen in the cup's primary scene. Dressed in short chitons (chitoniskoi), these horsemen prepare to lance their spears.

Interestingly, because of a shortage of space, the final horse is depicted as half-figure. On the B side, three pairs of dueling warriors are all also equipped with high-crested helmets, shields and spears.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Montreal, 6 November 1995.

Exhibited and Published BRIJDER H. A. G., Siana cups I and Komast cups, Allard Pierson Museum, Amsterdam, 1983, p. 252-253, no. 173, pl. 34 a-b, 36 j.

220

221

P. 220

P. 221

90 — Red-figure squat lekythos with Artemis

G1995.2 35394

Attributed to the Painter Oxford 1920 Greek, Attic, ca. 450 B.C. Terracotta H: 15.8 cm (6.2 in), D: 10.1 cm (3.9 in)

Four hoplites, wearing helmets and shields, are embroiled in a bitter battle. One is on the ground, mortally pierced by a spear; this would be Patroclus. The back shows an apotropic eye.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Geneva, 11 May 1997.

An extremely fine quality red-figure lekythos is decorated with Artemis in her role as a huntress. The goddess moves rapidly to the right, bowstring drawn. She wears a long, finely-pleated chiton with an overfall (apoptygma) girdled at her waist and a panther skin draped around her shoulders. Her hair is dressed under a cap (saccos), with an errant lock just in front of her ear. A quiver is behind her, capped at both ends.

Provenance Hesperia Arts Auction, New York, 27 November 1990, lot 119; The Gilbert collection, Cambridge, Massachusetts, acquired in London, 17 February 1995.

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, p. 50, no. 11; Museum of Fine Arts, Houston, Texas, 12 February 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005; GLUEK, G., From Myth to Life: Images of Woman from the Classical World, The New York Times, August 20, 2004, p. B28.

91 — Black-figure neck amphora with Athena and chariot

G1995.1 35483

Attributed to the Dot-band Class, near to the Edinburgh Painter Greek, Attic, ca. 500 B.C. Terracotta H: 22.5 cm (8.8 in)

Side A of the amphora depicts the goddess Athena mounting a four-horse chariot (quadriga) and holding a rein in each hand (with a goad in the right as well). She is helmeted and wears a patterned garment, a transverse himation over a chiton. The B side shows a warrior carrying two spears and holding a shield blazoned with dolphins. He is flanked by elderly, bearded figures dressed in himation, to whom he bids farewell. The neck and surface below the triple-reeded handles are palmettes with stems, some curving up to link with lotus flowers.

Rays spring from the torus foot, offset by double dots above them and a band of short strokes around the shoulder. This ornamentation gives the Dot-band Class its name, close in style to the Edinburgh Painter. White and purple pigment were added to distinguish further details.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 13 January 1995.

G1995.8 35485

Greek, Corinthian, 6th century B.C. Terracotta H: 13.7 cm (5.3 in), D: 17.9 cm (7 in) The stemless cup has an ornamentation on its interior: a figure of a komast, a participant in the komos ritualistic procession. Perhaps a dancer, he moves rapidly across a space filled with small and large rosettes, costume phallos marked in added red. A distinct corkscrew-like symbol is seen between rays spread across the bottom of the back of the cup--a possible maker’s mark.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 30 May 1995.

94 — Kylix with sphinxes Attributed to the Painter of the Boston Polyphemos Greek, Attic, ca. 550 – 540 B.C. Terracotta H: 13.9 cm (5.5 in)

G1997.15 35428

Greek, Corinthian, ca. 560 B.C. Terracotta H: 30.48 cm (12 in)

This very pretty Corinthian oinochoe was finely modeled in beige chamois clay and showcases a figurative ornamentation using the black-figure technique, with white and red highlights. It could be the celebrated scene pulled from the Trojan War, during the course of which the Greek hero Patroclus is killed by the Trojan Hector.

While horses are illustrated in the background, we find an active combat scene at the center of the vase.

G1995.14 35486

The cup on the pedestal foot has a reserved band on each side in a frieze-like composition (one side fragmentary).

Two addorsed sphinxes stride toward palmettes on voluted stems springing from the handles, their tails raised and their wings spread. Their large, almond-shaped eyes are marked in added white, as they flank a Greek inscription which reads, Χ Α Ι Ρ Ε Κ Α Ι Π Ι Α Ι Ε Τ Ν Δ Ε: "Rejoice and Drink!"

Provenance Sotheby’s, New York, 1 June 1995, lot 72.

The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 1 June 1995.

95 — Eye cup with Dionysos’ masks

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, p. 56-57, no. 17; Museum of Fine Arts, Houston, Texas, 12 February - 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005.

92 — Black-figure oinochoe with a battle scene

93 — Kylix with komast

G1996.1 35403

Attributed to Near the Group of Walter’s 48.42 Greek, Attic, mid 6th century B.C. Terracotta H: 8.8 cm (3.4 in), D: 22.8 cm (8.9 in) The drinking cup features two pairs of large eyes on each outer side in applied white and purple, a design intended to ward away evil. Two masks, prominently placed between the eyes, represent the god of wine, Dionysos, incised with his beard, moustache, and long locks of hair. The rest of the space is filled with the outstretched branches and heavy grape clusters of vine stems; their intricate pattern is perfectly symmetrical, even at the handles. The interior has no decoration inside beyond a few concentric circles. The eyes are rare as being a representation of female eyes. The whole pattern shows a face as one drank from the cup.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 21 January 1996.

222

223

P. 222

P. 223

96 — Medaillon with the head of a Maenad

G1996.10 35504

Greek, 350 B.C. Bronze with silver inlays L: 7.9 cm (2.8 in)

G1996.2 35404

Attributed to Skythes Greek, Attic, late 6th – early 5th century B.C. Terracotta H: 13 cm (5.1 in) – D: 33 cm (12.9 in)

On this bronze medallion, with silver inlays for the eyes and earrings, is the left profile of a young maenad, identified by her hair crown of vines. Acolytes of the satyrs in the Dionysian procession, the maenads were the devotees of the god of wine and ecstasy, Dionysus, and participated in his orgiastic rites. She is clothed in the Greek female tunic par excellence, the peplos; one may admire the hook affixed to the top of her shoulder.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 21 June 1996.

The decoration of this kylix, a wine drinking cup, is reduced to a tondo representing a single figure of a young dancer. She shakes the cymbals (krotales), rapidly moving to the right as her head turns back towards the raised arm holding the instrument. The liveliness of the action is stressed by her bare leg, uncovered from the folds of the long chiton. Her bracelets and hairband are marked in added purple.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 21 January 1996.

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, p. 71, no. 26; Museum of Fine Arts, Houston, Texas, 12 February 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005.

97 — Black-figure kyathos with Dionysos and satyr

99 — Red-figure kylix with a dancer

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, p. 53, no. 14; Museum of Fine Arts, Houston, Texas, 12 February 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005.

G1995.9 35396

Attributed to the Group of Vatican G.57 Greek, Attic, ca. 525-500 B.C. Terracotta H: 7.9 cm (3.1 in)

100 — Lekanis

The thinly potted kyathos, a cup-shaped ladle with one long looped handle, is decorated with a figural group of Dionysos and a satyr. The god of wine reclines on a sofa beneath a branched vine which dangles large bunches of grapes. He offers a large-handled drinking cup, a kantharos, to a naked satyr with a long equine tail approaching him in a dancing gesture. Two apotropaic eyes flank the scene, with a panther behind each eye forming a heraldic design at the handle. Aside from the incision lines, additional white and purple were employed by the vase painter to mark the details: grapes, animal fur, the satyr’s tail, himation stripes and patterns, and beards.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 17 December 1996.

G1996.24 35627

Greek, Laconian, 6th century B.C. Terracotta H: 11.3 cm (4.4 in)

Provenance Ex- Captain E. G. Spencer-Churchill, M. C. (1876 – 1964) collection, Northwick Park, Gloucestershire, England; Christie's London, 22 June 1965, lot 319, pl. 19; Christie's London, 28 April 1993, lot 6; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 31 May 1995.

Published BEAZLEY J.D., Attic Black-Figure Vase-Painters, Oxford, 1956, p. 611, no. 14.

BEAZLEY J.D., Paralipomena: Additions to "Attic Black-Figure Vase-Painters" and to "Attic Red-Figure VasePainters", Second edition, Oxford, 1971, p. 305.

98 — Pygmy

G1996.19 35507

101 — Red-figure kylix fragments

G1996.22 35508

Attributed to Douris Greek, Attic, ca. 480 B.C. Terracotta L: 15.2 cm (6 in)

Four joints combined with a single kylix fragment, are painted on both sides. Inside, a tondo enclosed by a wide band with Greek key presents two standing figures: a barefoot bearded man dressed in a himation and holding a walking stick meets a young woman dressed in a chiton and himation, wearing soft boots and a sakkos (a woven cap) on her head. The remains of the inscription “kallos” (beautiful), which refers to a man’s name, are seen above their heads. On the exterior there is a procession of several men coming from a banquet (a komos), some carrying wine vessels or playing a lyre. Their long and short mantles are wrapped around the shoulders, leaving the bodies naked.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 17 December 1996.

Greek, Hellenistic, 3rd – 2nd century B.C. Bronze H: 6.7 cm (2.4 in)

102 — Cup

G1996.11 35787

This charming little bronze depicts a pygmy, clearly identified by the proportioned dwarfism when comparing the size of his head to the rest of the body. Highly detailed in terms of anatomy and musculature, the Negroid figure brandishes the left arm upward in a gesture reminiscent of boxing, an effort underscored by the tensed muscles and tendons at the wrist. As a tribe evoked in Greek mythology, pygmies often appear grotesque in Hellenistic art, underscored in this case by the oversized phallus.

Minoan, Middle Minoan II, ca. 1800-1700 B.C. Terracotta H: 7.3 cm (2.8 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 11 December 1996.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 8 September 1996.

This cup, from Crete, is a an example of Kamares ware.

224

225

P. 224

P. 225

103 — Cup with chariot race

G1996.26 35510

Greek, ca. 400- 350 B.C. Bronze H: 8.4 cm (3.3 in)

Chariot racing was an extremely popular spectator event in the ancient world. It consisted of elaborate rules and regulations. For some games, one heat would consist of six teams of two or four horses driving out from the righthand side of the track wall, rushing along it as far as the end-post, then back down the left side to the starting post seven times before hurtling off the course.

This repoussé cup depicts one such chariot race in detail. A flat base features concentric circles below the globular body with its narrow shoulder and a high flaring mouth. On the body, modeled in repoussé, two quadrigas led by youths race left to the end-post. Each chariot is decorated with a palmette and double scroll, and the youths wear tunics with long hair flowing in the wind. The image is created by raising the metal by hammering inside.

Provenance Sotheby’s, New York, 17 December 1996, lot 102.

The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 17 December 1996.

Exhibited and Published Games for the Gods: the Greek Athlete, Museum of Fine Arts, Boston, July 20, 2004 - November 28, 2004, p. 113, ill. and drawing, p. 181, no. 86.

104 — Mastoid

G1996.29 35512

Attributed to the Haimon Group Greek, Attic, ca. 500 B.C. Terracotta H: 9.2 cm (3.6 in) The mastoid is a drinking cup in the form of a breast, with a slightly concave base and flared rim. Each side of the body is painted with a pair of apotropaic eyes flanking leaves and grapevines, which feature pupils marked in an accent red. These eyes were believed to protect against evil.

106 — Red-figure pyxis with erotic drinking scene Attributed to the Chaire Painter Greek, Attic, ca. 490 – 480 B.C. Terracotta H: 7.45 cm (2.9 in)

The shape, banded decoration, and subject matter of this pyxis is very rare. On the cover, the painting is energetic and spirited, presenting the fully frontal nude female figures in considerable anatomical detail, characteristically awkward in their rendering. Completely naked women are rarely seen in a mixed drinking scene; presumably, these are hetairae participating in the game of kottabos, popular from the early 6th century B.C. onwards.

Kottabos consisted of spinning a cup or kylix around the index finger and aiming the wine dregs, or even the cup itself, at a candelabrum or other metal target placed in the center of the floor. The target could also be smaller cups floating in a larger water-filled cup, in what was known as "sinking ships".

Games were central to Athenian society, and the element of competition was key: although originally the winner was rewarded with sweetmeats, eggs and cakes, there were sexual overtones to the game; in time, the winners came to be rewarded with sexual favors from youths or hetairae.

Provenance Ex- European private collection, Paris, 1950’s; Christie's, London, 5 July 1995, lot 170; The Gilbert collection, Cambridge, Massachusetts, acquired in London, 5 July 1995.

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, pp. 79-81, no. 31; Museum of Fine Arts, Houston, Texas, 12 February 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005.

BEAZLEY, J.D., Attic Red-Figure Vase-Painters, Second edition, Oxford, 1963, p. 145; Beazley Archive Pottery Database 201287 ; FRONTISI-DUCROIX F., Du Masque au Visage, Paris, 1995, p. 121, fig. 87.

Minerva, International Review of Ancient Art and Archaeology, vol. 6, no. 5, September/October 1995, p. 31, fig.24.

107 — Red-figure pyxis with three labors of Heracles

Provenance Sotheby’s, New York, 17 December 1996, lot 326; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 17 December 1996.

G1995.16 35397

GXXX.1 35472

Greek, Attic, late 6th – early 5th century B.C. Terracotta H: 4.3 cm (1.69 in) - D: 7.5 cm (2.95 in)

Greek, South Italian, 5th century B.C. Terracotta H: 12.1 cm (4.7 in)

The body of the vessel is decorated with three scenes, painted in the black-figure technique, taken from a great mythological story recounting the tasks (“Labors”) that Heracles, the most famous Greek hero, had to perform as an atonement for the unintentional killing of the children he had had with Megara, his first wife.

Among the twelve canonical Labors of Heracles, the painter chose to represent the hero fighting the Nemean Lion, the Erymanthian Boar and the Cretan Bull.

This head of a young woman was probably an ex-voto. Her slight smile, almond eyes, and prominent chin are framed; her soft wavy hair parted in the center--features characteristic of female representations during the Classical period.

Provenance Ex- Thetis Foundation collection, Geneva, acquired before 1970; The Gilbert collection, Cambridge, Massachusetts, acquired in Geneva, 8 May 2016.

105 — Head of a koré

G1996.3 35500

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 20 March 1996.

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, p. 40, no. 4; Museum of Fine Arts, Houston, Texas, 12 February 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005.

226

227

P. 226

P. 227

108 — Red-figure fish plate

G1997.20 35432

Attributed to the Bloomington painter Greek, South Italian, Apulian, 4th century B.C. Terracotta H: 8.8 cm (3.4 in), D: 21.5 cm (8.4 in)

111 — Enthroned Poseidon

G1997.27 35524

Greek, South Italian, Tarentine, 4th century B.C. Terracotta H: 10.2 cm (4 in)

Three men row a boat with a pointed prow and an apotropaic eye, while the fourth steers with a flat paddle.

White and yellow paint are extensively used for a pictorial effect, as brushstrokes indicate streams of water below the stern to create the effect of a rapidly moving boat. The turned down rim of the round plate is decorated with the wave pattern, while the central depression (used for sauce or oil) includes a variety of aquatic animals, such as fish and cuttlefish. Though these creatures are typically illustrated on this kind of Greek tableware, the boat iconography is unique. There are six other known examples by the Bloomington painter, but none with a boat.

A votive plaque depicts the sea-god Poseidon seated on the throne, beset by two giant coiled serpents. Thought to have once held a trident in his left hand, he raises his right arm with open palms in a gesture of greeting. An ample himation with several undulating folds covers his lower body, exposing the perfectly built musculature of his upper torso. His frame is complemented by a detailed head of thick hair, a beard and mustache. Remains of applied stucco suggest the surface was initially painted.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 29 July 1997.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 23 June 1997.

Exhibited Games for the Gods: the Greek Athlete, Museum of Fine Arts, Boston, 20 July 2004 – 28 November 2004.

112 — Maiden

109 — Idol seated on a throne

A young woman is shown in three-quarter view running to the right, her left leg advancing forward while her head turns back across her shoulder. She wears a girded peplos with a long overfold, pulling her ample mantle towards her head as it billows out behind her. This figure in a vigorous motion could be part of a scene represented on a series of plaques Illustrating a tale from mythology, such as that of Cassandra or Iphigenia.

The molded plaque retains traces of applied stucco, a preparation for painting with pigments.

G1996.8 35503

Mycenaean, Late Helladic IIIA – IIIB, 14th – 13th century B.C. Terracotta H: 10.2 cm (4 in) This object features a woman on a three-legged chair, with numerous details painted in red. Only her bust and head are visible, as the rest of the body has been molded into the back of the seat. The woman is rendered quite succinctly: head in the shape of a bird and modeled in the round, her circular body reminiscent of contemporary figurines in phi. While seated Mycenaean figurines are very rare, they are also well known. Their function, rather religious and/or funerary, should not differ from that of statuettes in psi, phi or tau.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 27 May 1996.

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, p. 37, no. 2; Museum of Fine Arts, Houston, Texas, 12 February 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005.

110 — Phi “Idol”

G1997.18 35520

Mycenaean, Late Helladic IIIA – IIIB, 14th – 13th century B.C. Terracotta H: 13.6 cm (5.4 in) The statuette, modeled by hand, represents a woman with abstract forms: the face is obtained by pinching the clay between two fingers and the body is a disc; the legs and arms are invisible, covered by the dress. On her head, the woman wears a triangular headdress (a polos). Mycenaean figurines of this type are classified according to the form of the letter of the Greek alphabet which they reproduce: in tau (T-arm), in psi (raised arms) or in phi (with a circular body). Their signification is certainly related to the religious sphere.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 22 May 1997.

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, p. 36, no. 1; Museum of Fine Arts, Houston, Texas, 12 February 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005.

G1997.29 35526

Greek, South Italian, Tarentine, 4th century B.C. Terracotta H: 10.2 cm (4 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 29 July 1997.

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, p. 67, no. 23; Museum of Fine Arts, Houston, Texas, 12 February 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005.

113 — Fighting Athena

G1997.28 35525

Greek, South Italian, Tarentine, 4th century B.C. Terracotta L: 10.2 cm (4 in) This plaque depicts a figure of Athena striding left, poised in movement with military prowess. A helmet pushed back surmounts her head, and the folds of her chiton and peplos fold and flow around her as if in rapid motion.

She is armed with the spear and shield decorated with a gorgoneion--often seen as a Medusa and known as a protective pendant worn by both Zeus and Athena, intended to ward off evil spirits. An additional snake-like fragment on Athena's left side may indicate the scene as gigantomachia: the fight of the Olympian gods against the giants. Retained traces of applied stucco suggest that the plaque was initially painted.

Provenance The Gilbert Collection, Cambridge, Massachusetts, acquired in New York, 27 July 1997.

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, p. 60, no. 19; Museum of Fine Arts, Houston, Texas, 12 February 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005. GLUEK, G., From Myth to Life: Images of Woman from the Classical World, The New York Times, August 20, 2004, p. B28

228

229

P. 228

P. 229

114 — Lekanis with panthers, a sphinx, and harpies

G1997.31 35527

Greek, Corinthian, ca. 600 – 575 B.C. Terracotta H: 9 cm (3.5 in)

G1998.10 35451

Attributed to the Underworld Painter Greek, South Italian, Apulian, ca. 350 B.C. Terracotta H: 22.2 cm (8.7 in)

The lekanis has twin spurred handles on either side of a shallow footed bowl, decorated by three rows of red pomegranates along the rim and a series of red, black, and clay colored bands below. Narrow concentric red bands continue in the black-glazed interior, and on the outer bands of the lid. The lid features a frieze with a foliate design of palmettes, tendrils, and lotus buds heraldically flanked by two panthers behind a sphinx and two harpies. A star pattern on the concave knob radiates outward from a red medallion, while rosettes and rings of sunburst dots fill the field.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 29 July 1997.

115 — Red-figure calyx krater with Lycurgus

117 — Red-figure askos with Dionysos and Ariadne

G1999.4 35453

Greek, Apulian, 4th century B.C. Terracotta H: 42.5 cm (16.7 in)

The askos (a flask with a handle over the top) is intricately decorated with various ornamental and figural motifs.

Below the spout, the neck is embellished with an ivy garland, ovae, and pearl pattern that extends to the sides with grape-cluster vines. The back of the vessel is entirely covered with a typical design of palmettes, scrolls and tendrils, arranged in an impressively symmetrical order. At the front, white male and female panthers carry the chariot riding up to haven of Dionysos with a thyrsus, and Ariadne, preceded by a water-bird. An ecstatic maenad with a tambourine and a silenos playing the auloi (double-flute) appear beside a thymiaterion (candelabrum-shaped incense-burner). The meander below supports the linings of the ground on which the figures are placed. On the other side, a maenad playing the flutes accompanies a dancing satyr holding a large calyx krater. Red and white for all details add an extraordinarily vibrant quality to the depiction.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 22 April 1998.

Exhibited and Published Museum of Fine Arts, Boston, 1998–2003.

This large calyx crater with a mythological scene was colored according to the red figure technique. The main side presents Lycurgus, the legendary king of the Edonians, from Thrace, at the point of killing his own son Dryas under the eye of his wife imploring him to stop. But after having offended the god Dionysus, Lycurgus was effectively driven mad and committed the irreparable crime. The scene is probably illustrative of a lost play.

The secondary scene is more traditional. A young nude woman holds a jewelry box and faces a young man. The presence of sticks with garlands resembling thyrsus (an attribute of Dionysus), could connect this scene to the Dionysian world of maenads and satyrs.

118 — Red-figure mug

G1999.6 35539

Greek, Apulian, 4th century B.C. Terracotta H: 9.2 cm (3.6 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Geneva, 16 May 1999.

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, pp. 100-101, no. 42; Museum of Fine Arts, Houston, Texas, 12 February - 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005.

116 — Six technique stamnos with two satyrs

From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, pp. 65-66, no. 12; Museum of Fine Arts, Houston, Texas, 12 February - 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005.

G2000.44 35463

Bands of wave and egg-and-dart patterns surround a scene depicting two adorned figures, divided by a floral bush on the ground. A woman clad in a belted chiton is bedecked in bracelets, a necklace, earrings, and a radiate stephane, as well as a saccos with ribbons on her head. She moves to her left while carrying a large cista. Facing her is Eros, seated on a rock, with a similar hair arrangement and jewelry. He holds floral branches in one hand and a wreath in the other. Below the looped handle, a decorative palmette motif circles the mug.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 25 May 2019.

Greek, Attic, ca. 510 B.C. Terracotta H: 20.8 cm (8.1 in)

119 — Squat lekythos This is a rare example of a stamnos storage jar (sometimes lidded) with no handles. Two ithyphallic satyrs are depicted running in opposite directions. One faces a prancing goat while the other attempts to mount a second goat from behind. A leafless tree is rendered between the goats, and there are three brief nonsense inscriptions in the field. Rather than the red figure technique, it is decorated in what is known as Six’s technique, a polychromy named for Dutch scholar and collector J. P. Six. This method features both red and white details incised into a black glaze. In the case of the current example, color has also been added to a fillet to separate the stamnos’ lower body and foot.

G2001.13 35722

Greek, ca. 350 B.C. – 300 B.C. Bronze H: 10.2 cm (4 in) Provenance Sotheby's, New York, 17 December 1997, lot 132; Christie's, New York, 8 June 2001, lot 165;.

The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 8 June 2001.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 21 October 2000.

230

231

P. 230

P. 231

120 — Strainer

G2000.84 35571

Greek, 5th – 3rd Century B.C. Bronze H: 28 cm (11 in) Strainer with bowl of shallow rounded form and domed strainer finely perforated with a pattern of swirling lines around a rosette, the handle terminating in the head of a duck with concentric circle eyes, and finely engraved on both sides with volute palmettes.

Provenance Sotheby’s, New York, 8 December 2000, lot 66; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 8 December 2000.

121 — Aryballos

123 — Red-figure kylix with a hetaira Attributed to the Hermaios Painter Greek, Attic, ca. 510-500 B.C. Terracotta H: 7.6 cm (2.9 in), D: 19.2 cm (7.5 in)

G2000.16 35469

A hetaira, or Greek woman of pleasure, is featured in the tondo of this Kylix. She is nude except for a cap (a sakkos) in her hair and disk-shaped earrings. In her right hand she holds a large olisbos (dildo), secured to her wrist by a strap added in red. With her left hand, she reaches towards its tip. The graceful movements of her body suggest that the young woman may be performing a dance to entertain symposiasts.

Provenance Ex- Elie Borowski (1913-2003) collection, Canada, prior to 1984; Christie’s, New York, 13 June 2000, lot 73.

The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 13 June 2000.

G1999.14 35540

Greek, Corinthian, ca. 600 - 575 B.C. Terracotta H: 17.1 cm (6.7 in) Many details of this aryballos are marked by fine incision lines and in added red and white pigment. Two painted cocks flank a palmette-lotus complex on a globular body, and a walking goose seen depicted beneath the handle. Ornamental motifs fill the rest of the plane, with rosettes and radiating tongues placed around the orifice, on the shoulder and underneath the base.

Provenance Sotheby’s, New York, 5 June 1999, lot 137; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 10 June 1999.

122 — Young girl dressed as a bear

Exhibited and Published The Royal Ontario Museum, Toronto, 18 December 1984 - 30 June 1985.

From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, p. 82-83, no. 32; Museum of Fine Arts, Houston, Texas, 12 February 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005.

LEIPEN N., et al., Glimpses of Excellence, A Selection of Greek Vases and Bronzes from the Elie Borowski Collection, Toronto, 1984, p. 13, no. 9.

KILMER M.F., Greek Erotica on Attic Red-Figure Vases, Duckworth, 1993, pp 99 and 242, no. R180.

DIERICHS A., Erotik in der Kunst Griechenlands, Mainz am Rhein, 1983, p. 103, fig. 186.

124 — Odysseus

G1998.23 35535

Greek, 4th century B.C. Terracotta H: 9.5 cm (3.7 in)

This charming young girl wears a long chiton and mantle, with her head covered by the mask of a bear. Her body dances, mimicking the movements of the animal. This image is probably related to the rites held at the sanctuary of Artemis at Brauron in Attica, created after a bear's wrongful death. There, young girls were initiated as "the little bears of Artemis".

Provenance Sotheby’s, New York, 17 December 1998, lot 372; The Gilbert collection, Cambridge, Massachusetts, acquired in 17 December 1998.

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, p. 47-49, no. 10. ; Museum of Fine Arts, Houston, Texas, 12 February 31 July, 2005; Tampa Museum of Art, Florida,18 September - 3 December 2005; GLUEK, G., From Myth to Life: Images of Woman from the Classical World, The New York Times, August 20, 2004, p. B28; COSTELLO, K., Feminine mystique: Ancient objects provide look at roles of women throughout time, Herald Tribune, September 16, 2005, p. 27; HENRY, A., Designing Women, The Tampa Tribune, September 18, 2005, p.11-12.

G2000.55 35565

Greek, Hellenistic, 2nd – 1st century B.C. Bronze H: 8 cm (3.1 in) A terrified Odysseus attempting to approach the Cyclops Polyphemus, hoping to get him drunk and escape from the cave where he and his companions are held prisoner. He steps forward in a lively posture, holding a stake now missing from his right hand. A tunic falls from his left shoulder, a wineskin is on his back, and a situla hangs from his left forearm. His expressive face features a long and pointed beard with a full mustache, and wavy hair surmounted by a conical traveler’s hat known as a pilos.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Paris, 22 October 2000.

Exhibited and Published ANDREAE B., Odysseus, Mythos und Erinnerung, Munich, 1999, p. 148 no. 61.

125 — Core-formed amphoriskos Greek, Hellenistic, 1st century B.C. Glass H: 16.2 cm (6.3 in)

G2000.41 35467

The tall neck, large body, and vertical handles indicate a small storage amphora. Made in a core-formed technique, the applied threads of red, black, and white glass are arranged in the festoon pattern. Though the combination of translucent and opaque material was an often employed treatment in glass making, the opaque red thread design is very rare. Due to the pointed bottom, a small stand made of glass or gold was required for the vessel to stand.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 19 October 2000.

232

233

P. 232

P. 233

126 — Head of a woman

G1999.15 35461

Greek, Magna Graecia, ca. late 4th century B.C. Marble H: 35 cm (13.8 in) This large and very finely sculpted marble head appears to be a young girl, as one can read from the grace of her delicate characteristics. She tilts her head slightly to the left. Her arched eyebrows are demarcated, with eyes set back, a delicate nose, all as fine as the small lips. Her hairstyle is charming, pulled towards the back in small bands, then tucked into a hairnet known as the saccos.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 7 October 1999.

127 — Black-glaze mug

G2000.76 35717

Greek, 4th century B.C. Terracotta H: 6.8 cm (2.7 in)

130 — Plaque with a divine chariot Greek, ca. 560 B.C. Bronze H: 10.3 cm (4 in)

Three mounting holes at the top indicate that this plaque was once attached to a larger object. It depicts a chariot, with two charioteers leading four horses and a man and woman facing one another. As suggested by the presence of sirens placed above the chariot, they could be a divine couple--likely either Zeus and Hera, or Hades and Persephone.

The composition is masterfully arranged in symmetrical order, including the positions of the central horseheads, which echoes those of the humans. A very finely repousseed relief distinguishes the wheels, trappings, and anatomical parts, while the treatment of the horses' manes imbues the piece with a decorative artistic quality.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 10 February 2000.

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, p. 98, no. 40; Museum of Fine Arts, Houston, Texas, 12 February 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005.

Provenance Christie's, New York, 7 December 2000, lot 487; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 7 December 2000.

131 — Pair of bracelets with lion heads 128 — Horse

G2001.16 35580

Greek, Hellenistic, 3rd – 2nd century B.C. Silver L: 5.1 cm (2 in) The spirited horse is superbly modeled, depicted rearing up on its hind legs. The forelegs are bent back, his head is lowered and turns to the right. Open-mouthed, the horse's eyes bulge and nostrils flare expressively, the mane a series of flowing locks.

Provenance Christie’s, New York, 8 June 2001, lot The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 8 June 2001.

129 — Quatrefoil aryballos

G2000.2 35470

A pair of bracelets features smooth hoops that taper slightly toward plain collars, terminating in finely detailed lion heads. The beasts are open-mouthed, with furrowed brows and ferocious expressions, while their beautiful manes are composed of curling strands.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 19 June 2001.

132 — Amphoriskos

G2000.25 35523

Attributed to the Liebighaus Group Greek, Corinthian, ca. 600 - 575 B.C. Terracotta H: 7.6 cm (3 in)

G2001.34 35588

Greek, 4th century B.C. Silver L: 8.1 cm (3.1 in)

G2001.24 35437

Greek, Hellenistic, ca. 3rd – 2nd century B.C. Rock crystal H: 6.3 cm (2.5 in) This amphoriskos has a slightly convex, cylindrical body, with two flat angular handles emerging from its sides.

The body tapers to a pointed base, suggesting the vessel was carried attached to a chain or a thread.

The cylindrical neck connects the sloping shoulder to everted rim, where a lid or cork once kept the precious contents of the amphoriskos, likely perfume or ointment, from spoiling.

A small aryballos in a globular shape features a floral quatrefoil design of lotus calyxes with petals and large leaves, completed by a dense cross-hatching pattern. The broad discoid rim is similarly cross-hatched, while the orifice receives the rosette design. Above a star motif on the handle is a female head in profile, likely a goddess.

Provenance Sotheby’s, New York, 12 June 2001, lot 94; The Gilbert collection, Cambridge, Massachusetts, acquired in London, 17 February 1995.

Provenance Sotheby’s, New York, 4 June 1998, lot 96; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 15 July 2000.

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, pp. 96-97, no. 39; Museum of Fine Arts, Houston, Texas, 12 February 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005.

234

235

P. 234

P. 235

133 — Squat lekythos with nude woman

G2003.6 35608

Greek, South Italian, Gnathian, ca. 350 B.C. Terracotta H: 20 cm (7.8 in)

A single figure of woman is painted in white features on the front side of the vessel. Added yellow is used for anatomical details and the mass of long wavy hair tightened at the nape. Her face turns up as she focuses on juggling sticks, naked body seen in slight profile, exposing a portion of her back.

the king of Ochalia, Eurytos, had promised his daughter in marriage. It was the Greek hero par excellence, Heracles, who was victorious, but in the end, the king refused to give him his prize. Eurytos then drove the victor from the palace with the aid of his sons. On face A of the vessel, Iole and his father the king are seen on the left. One of the sons stands between them and Heracles, clad in his lion skin, bending his bow after striking the heart or Iole with a love arrow. On the B side, the three sons of Eurystheus prepare to arm their bows with arrows. The marks left by the artist's charcoal underdrawing are faintly visibile, showing that the figures were drawn nude and then clothed in the black glaze.

Provenance Ex- private collection, acquired prior to 1973; Munzen und Medaillen, Basel, 1986, lot 208; The Gilbert collection, Cambridge, Massachusetts, acquired in Geneva, 10 July 2000.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 2003.

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, pp. 41-42, no. 5; Museum of Fine Arts, Houston, Texas, 12 February 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005.

Exhibited and Published ISLER-KERÉNYI, C., Stamnoi, Corner Bank, Lugano, 1976 - 1977, pp. 36-42; Stamnoi, J. Paul Getty Museum, Los Angeles, 1980, No. 9; From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, pp. 89-91, no. 36; Museum of Fine Arts, Houston, Texas, 12 February - 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005.

134 — Hound rhyton

BROMMER, F., Vasenlisten der griechischen Heldensage, Marburg, 1973, p. 55, B 5; Kunstwerke der Antike: Munzen und Medaillen, catalog 70, Basel,1986, pp. 45-6, no. 208; Lexicon Iconographicum Mythologiae Classicae, IV, pl. 62, EURYTOS I 7 (side A).

G2001.14 35578

Greek, South Italian, Tarentine, 4th century B.C. Terracotta L: 20.6 cm (8.1 in) The rhyton, a wine drinking vessel, was molded in the form of a Laconian hound’s head, noted for its characteristic long narrow muzzle and wide projecting ears. The sculpture of the animal is separated from the cylindrical bowl by a ridge with an everted mouth, and the bowl of the vessel is supported by a looped handle.

The unglazed surface was intended for a polychrome decoration.

Provenance Ex- British private collection, 1985; Ex- private collection, New England; Christie’s, New York, 8 June 2001, lot 184; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 8 June 2001.

137 — Lidded askos

G2001.41 35590

Greek, 4th century B.C. Marble H: 14 cm (5.5 in) This very rare biconical askos shape was carved entirely in marble and set on a ring base. An elongated lid and upper and lower moldings were added separately, while the handle was set at the shoulder, decorated with ridges in geometric, circular forms.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 20 June 2001.

135 — Ram rhyton

G2001.15 35579

Greek, South Italian, Tarentine, ca. mid-4th century B.C. Terracotta L: 20.6 cm (8.1 in)

138 — Black-glaze askos

The rhyton was molded in the form of a ram’s head; its curling fleece framing the face with short curving horns between long projecting ears. The sculpted head is separated from the cylindrical bowl by a ridge with an everted mouth, and the vessel is supplied with a loop-like handle.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 20 June 2001.

Provenance Ex- British private collection, 1985; Ex- private collection, New England; Christie’s, New York, 8 June 2001, lot 184; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 8 June 2001.

136 — Stamnos with Heracles and Iole

G2001.40 35727

Greek, ca. 350 B.C. Terracotta H: 8.1 cm (3.19 in)

139 — Lidded Jar

G2000.23 35393

G2007.5 35775

Greek, 3rd - 2nd century B.C. Rock crystal H: 4.32 cm (1.7 in) - D: 4.57 cm (1.8 in)

Attributed to the Eucharides Painter Greek, Attic, ca. 480 B.C. Terracotta H: 37.2 cm (14.6 in)

This skillfully carved vessel in a material as precious as rock crystal was certainly a luxury good and intended for use by a noblewoman in a very wealthy and high ranking household. It was probably used to hold perfumed oil or perhaps kohl or red pigment. The lid is threaded and screws on tight.

A masterpiece in Greek red-figure ceramics, this stamnos was skillfully executed by the Eucharides painter. This container for liquids, features red figures in an episode of Greek mythology. It is the archery contest wherein

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 27 July 2007.

236

237

P. 236

P. 237

140 — Necklace

G2001.42 35662

Greek, Hellenistic, 2nd century B.C. Gold, cornelian, jet L: 33.5 cm (13.1 in) The necklace consists of fine loop-in-loop chain set with reel-shaped miniature jet beads; the terminals are decorated with caprid heads in cornelian.

Provenance Ex- Daniels private collection; The Gilbert collection, Cambridge, Massachusetts, acquired in London, 20 June 2001.

141 — Red-figure pyxis with animals and fantastic beasts Greek, Attic, ca. 375-350 B.C. Terracotta H: 10.9 cm (4.3 in) - D: 18.5 cm (7.3 in)

G2002.14 35424

The flask is figured into an actor wearing a comic mask with a wreath, nude except for a chlamys, a short mantle, and sandals. The pug nose, arched brows and megaphone-like mouth of the figure suggest he was a runaway slave, seated on an altar seeking refuge from his persecutors. A cord around the actor's back holds a travel flask shaped as panther’s head that cleverly acts as the tiny spout to pour oil into the lamp, filled at the small inlet above the looped handle.

Provenance Ex- van der Elst private collection; The Gilbert collection, Cambridge, Massachusetts, acquired in London, 16 October 2002.

G2001.74 35433

144 — Oinochoe

On the lid of this vessel, five figures intermingle the worlds of animals and mythological beasts: a lion and two panthers join with a sphinx and a griffon. They fit well within the frieze-like composition of decorative palmettescroll motifs, and a wave ornamentation decorates the exterior. Though each raised forepaw and expressive face suggests they may be poised to attack, the action is simply symbolic.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 8 August 2001.

142 — Votive relief dedicated to Persephone

143 — Magenta ware flask of an actor Greek, Hellenistic, 2nd – 1st century B.C. Terracotta, purplish-pink pigment H: 11.5 cm (4.5 in)

G2001.39 35434

Greek, South Italian, Locrian, ca. 470 – 440 B.C. Terracotta, blue and red pigments H: 25.4 cm (10 in)

A female figure is dressed in accordance with Classical period styles, wearing earrings, a peplos and a cap (sakkos) covering her hair. Above the woman, two vessels, a lekythos and kantharos, are suspended from the wall. She leans forward to put away a pile of folded linen in a rectangular wooden chest, the structural elements of which are decorated with finely executed meander and palmettes ornamentation. Underneath are tablets with figural scenes: the left shows Athena attacking a giant falling before her onslaught, and the right shows the embrace of a maenad and satyr. The plaque, modeled in relief, was originally painted, traces of which remain.

Many similar reliefs were ex-votos dedicated to the goddess Persephone, protector of fertile marriage, in her famous sanctuary at Locri.

Provenance Ex- old private collection, labeled no. 57 on reverse; The Gilbert collection, Cambridge, Massachusetts, acquired in London, 20 June 2001.

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, pp. 84-85, no. 33; Museum of Fine Arts, Houston, Texas, 12 February 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005; GLUEK, G., From Myth to Life: Images of Woman from the Classical World, The New York Times, August 20, 2004, p. B28.

G2001.95 35598

Greek, Proto-Corinthian, ca. 710 – 700 B.C. Terracotta H: 22.3 cm (8.7 in) The oinochoe has a low conical bulging body and a flat base. A tall narrow neck terminates with a trefoil lip; a broad ribbon handle is attached to the lip and shoulder. The handle is embellished with a snake-like line flanked by lozenges, painted red and brown. Complex ornamentation continues on the body of the vessel: triangles and thin close-set horizontal lines combine with a broad band of inverted rays at the shoulders. The neck received a similar decoration of five horizontal thin bands, separated by an alternating vertical zig-zag pattern.

Provenance Ex- Private collection, UK; Ex- Dr. Jean Lauffenburger collection, Geneva; The Gilbert collection, Cambridge, Massachusetts, acquired in London, 16 October 2001.

Published CHAMAY, J. & MAIER, J-L., Ceramiques Corinthiennes, Hellas et Romas III, Geneva, 1984, pp. 16-17; BOARDMAN, J., Early Greek Vase Painting, 11th - 6th century BC, London, 1998, and p. 49, fig. 113

145 — Black-figure olpe with animal frieze

G2000.85 35447

Attributed to the Painter of Vatican 73 Greek, Corinthian, 640 – 625 B.C. Terracotta H: 33 cm (13 in)

Olpe with low splayed foot and triple handle with rotelles at the rim, the body painted in four registers with friezes of confronted seated sphinxes, striding grazing deer and gazelles, striding rams, swans, striding bulls, and lions, dotted rosettes in the field, rays above the foot, concentric circles underneath, the details in added red and white.

Provenance Sotheby’s, New York, 8 December 2000, lot 72; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 8 December 2000.

238

239

P. 238

P. 239

146 — Skyphos with frieze of animals

G2002.3 35603

Greek, Proto-Corinthian, ca. 670 – 650 B.C. Terracotta H: 10.7 cm (4.2 in)

150 — Mirror cover with Herakles and Princess Auge

G1999.26 35466

Greek, late 4th century B.C. Bronze D: 15.4 cm (6 in)

This very thin-walled skyphos has a flat bottom and two horizontal handles. The lower part of the cup is decorated with radiating rays, the rest is divided by concentric lines into three zones: a band of stars, a frieze of animals, and an upper portion occupied by rows of geometric patterns. The frieze alternates between feline figures (lions or panthers) and bulls. Their elongated silhouettes are painted red, then incised to mark anatomical details.

The circular mirror cover was rendered with applied repoussé relief and three-dimensionally modeling of the figures of Auge, daughter of King Aleus of Tegea, and the hero, Herakles. The perfection of both human forms, as well as the clarity and balance of the figural composition, suggest that the artist may have copied a sculptural group. Herakles reclines on his lion skin in full nudity, revealing his well-trained muscular body, as a quiver and club lay in the foreground.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 21 March 2002.

The complex and masterfully designed composition explains the story: in a drunken state, supporting his heavy body on his left arm, Herakles leans forward, removing Auge's finely detailed chiton, curled at the hem. He is attempting to seduce her in a maneuver which ultimately proves successful: the product of the union between Herakles and Auge is Telephos, the Greek hero who, after being raised by a hind, marries a Trojan princess and becomes King of Mysia.

147 — Almond-shaped amphoriskos

G2007.3 35613

Greek, ca. 4th century B.C. Terracotta H: 6 cm (2.4 in) - W: 2.8 cm (1.1 in)

The amphora vase with two handles attached to the neck and shoulder is known as an amphoriskos. The body of the vessel quite faithfully imitates an almond in the shell, with its pointed bottom and rough surface reproduced by making tiny dents in a raw clay before the firing. It was intended to hold perfumed oil.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 31 January 2007.

148 — Lydion

Provenance Ex- Galerie Segredakis, Paris, 1951; Ex- Christos G. Bastis (1904-1999) collection, New York; Sotheby’s New York, 9 December 1999, lot 122; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 9 December 1999.

Exhibited and Published Antiquities from the Collection of Christos G Bastis, The Metropolitan Museum of Art, New York, 1987, pp. 109110, no. 109, cover illus.; From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, pp. 86-87, no. 34; Museum of Fine Arts, Houston, Texas, 12 February - 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005.

G2001.99 35669

151 — Bell-krater

East Greek, first half of the 6th century B.C. Terracotta H: 12.3 cm (4.8 in) Provenance Sotheby’s, New York, 7 December 2001, lot 271; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 7 December 2001.

149 — Mother goddess

G1997.37 35433

Greek, South Italian, Gnathian, ca. 330 B.C. Terracotta H: 33 cm (12.9 in) This bell-krater with two handles shaped as lion-masks features framing panels decorated with suspended garlands of grapevine and ivy. In the central field is the painted head of a woman: her hair is drawn up into a topknot and bound in a red fillet with a strand of pearls in the hair, a necklace around her neck and pendant earrings to complete her elaborate outfit. Traces of a fish and other marine creatures appear on either side of the vessel, while ornamental bands of meander and egg-and-dot patterns run below the rim.

G2002.4 35604

Aegean, 5th – 4th millennium B.C. Marble H: 6.7 cm (2.6 in)

Provenance Sotheby's New York, 17 December 1997, lot 153; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 17 December 1997.

This figurine depicts a woman standing nude, with her arms crossed over her stomach. This type of sculpture, often referred to as steatopygous (from the Ancient Greek for pronounced buttocks), is characterized by the abstract and exaggerated voluminous forms, as well as by the accentuation of the sexual parts of the female body (breasts, thighs, and pubic triangle). As accounted for in the Anatolian, Greek and Balkan worlds during the entirety of the Neolithic period and the beginning of the Bronze Age, these images are generally placed in relation to the beliefs and rituals of fertility and fecundity.

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, pp. 69-70, no. 25; Museum of Fine Arts, Houston, Texas, 12 February 31 July, 2005;Tampa Museum of Art, Florida, 18 September - 3 December 2005.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 16 May 2002.

240

241

P. 240

P. 241

152 — Aphrodite hairpin

G2000.49 35458

Greek, Hellenistic, 1st century B.C. Gold H: 14.6 cm (5.7 in) This long and elegant gold hairpin is adorned with a charming figurative scene: positioned at the top of a Corinthian capital featuring an abundance of acanthus leaves, a small Eros offers the necessary support to the goddess Aphrodite who rests above him, her foot balanced over a dolphin. Eros holds a mirror in his hands as the nude goddess appears to adorn herself, adjusting one of her anklets to complement the snake-shaped arm bracelets she already wears. With further fine incisions decorating the entire length of the pin, this luxury object can be clearly linked to its use as a stylish ornamentation.

155 — Pithos

G2000.75 35716

Minoan, 1550 B.C. – 1500 B.C. Steatite H: 6.35 cm (2.5 in) Provenance Christie's, New York, 7 December 2000, lot 398; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 7 December 2000.

Provenance Christie's Jewelry Auction, New York, 8 December 1999, lot 42; The Gilbert collection, Cambridge, Massachusetts, acquired in Geneva, 21 October 2000.

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, p.44 , no. 7; Museum of Fine Arts, Houston, Texas, 12 February 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005; GLUEK, G., From Myth to Life: Images of Woman from the Classical World, The New York Times, August 20, 2004, p. B28; COSTELLO, K., Feminine mystique: Ancient objects provide look at roles of women throughout time, Herald Tribune, September 16, 2005, p. 25; HENRY, A., Designing Women, The Tampa Tribune, September 18, 2005, p.11-12.

153 — Head of a griffin

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, p.44 , no. 7; Museum of Fine Arts, Houston, Texas, 12 February 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005; GLUEK, G., From Myth to Life: Images of Woman from the Classical World, The New York Times, August 20, 2004, p. B28.

156 — Situla

G2001.23 35723

Greek, 4th century B.C. Silver H: 4.8 cm (1.89 in) Provenance Sotheby's, New York, 12 June 2001, lot 77; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 12 June 2001.

G2001.96 35430

Greek, ca. 7th century B.C. Gold H: 4 cm (1.5 in)

157 — Gorgoneion

Masterfully executed sculptural jewel of monumental quality, representing a griffin, the hybrid mythological animal with the body of a lion and the wings and head of an eagle. It is the creature which projects strength in its duality. The gold-guarding griffins were associated with gold deposits in the Black Sea region. Indeed, as Pliny the Elder wrote: "griffins were said to lay eggs in burrows on the ground and these nests contained gold nuggets." This miniature masterwork would have been attached to a small gold ceremonial cauldron.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Geneva, 13 November 2001.

G2000.71 35448

Greek, Hellenistic, 3rd century B.C. Gold H: 5.4 cm (2.1 in) This stunning figurine was originally suspended from an earring. It represents Nike, the goddess of victory, shown with her hair tied in an elegant double knot at the top of her head. She wears a diaphanous chiton falling off her right shoulder to expose her breast, moving forward with her right leg protruding through a vertical fold.

Her right hand holds the end of her mantle outward, while her left holds a palm branch curving above.

Provenance Christie’s, New York, 6 December 2000, lot 63; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 6 December 2000.

Unlike the faces of her three sisters, this rounded appliqué of Gorgon’s face appears more subdued than terrifying. A Gorgon's gaze typically turned mortals into stone, but these facial features are classically regular and finely cast. Sensitive lips are slightly parted; the iris and pupil of the eyes are modeled; the expression is calm. Nevertheless, abundant waves of the snake-like strands of hair radiate from the face, providing a more fearsome contrast.

Provenance Sotheby’s, New York, 8 December 2000, lot 206; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 8 December 2000.

Exhibited Museum of Fine Arts, Boston, 2002 - 2014.

154 — Nike pendant

G2000.86 35572

Greek, 4th century B.C. Bronze H: 6 cm (2.3 in)

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, p. 61, no. 20; Museum of Fine Arts, Houston, Texas, 12 February 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005.

158 — Mask of Silenus

G1999.27 35545

Greek, late 4th – 3rd century B.C. Bronze H: 7.4 cm (2.9 in) This mask served as an attachment to a large vessel, such as a lantern or situla used to carry water or wine. The two rings flanked by the volutes accommodated the double swinging handles; a similar attachment would have been placed on the opposite side of the vessel’s rim. The mask of Dionysus’ companion, an old Silenus, displays

242

243

P. 242

P. 243

his characteristic features: high arched eyebrows, a snub nose, bald head, and long curling beard and mustache.

The details of the wreath (ivy leaves and berry clusters), dotted pupils, and incised irises of the eyes and hair strands were all chiseled after casting.

Provenance Sotheby’s, New York, 10-11 June 1983, lot 82; Sotheby’s, New York, 9 December 1999, lot 131; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 9 December 1999.

163 — Aryballos Attributed to the Warrior Group Greek, Corinthian, late 7th century B.C. Terracotta H: 6.4 cm (2.5 in)

G1994.1 35476

The spherical aryballos depicts two hoplite figures in combat, flanked on one side by a seated sphinx and a horseman on the other. Rosettes and amorphous shapes decorate the remaining planes, with many details painted in red throughout. Tongues adorn the top of the rim and shoulder, zig-zags band along the handle, and a whirl with recessed center features on the underside.

159 — Chous

G1998.3 35832

Greek, Attic, 4th century B.C. Terracotta H: 6.2 cm (2.4 in) This miniature Chous, with a child drinking from a small chous in red outline is rather like a Six technique vase.

This is part of the celebration of the Anesteria, in Athens: a several day celebration in which each person had his own Chous of wine, so that he could drink without sharing, going back to the myth of Orestes. The miniature Chouses were given to children so that they could join in.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 24 February 1998.

Provenance Ex- Thetis Foundation collection, Geneva, prior to 1987; Sotheby’s, New York, 8 June 1994, lot 72; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 8 June 1994.

Exhibited and Published ZIMMERMAN J.-L., Collection de la Fondation Thétis : développements de l’art grec de la préhistoire à Rome, catalogue of the exhibition at the Musée d'art et d'histoire, Geneva, 1987, no. 55.

164 — Aryballos

G1997.25 35807

Greek, Proto-Corinthian - Early Corinthian, ca. 650 B.C. Terracotta H: 6.3 cm (2.4 in)

160 — Black ware jar

G2010.1 35682

Cycladic, ca. 2700 – 2200 B.C. Earthenware H: 5.2 cm (2 in)

A small aryballos presents an early form of the quatrefoil design of lotus calyxes with petals and large leaves. A dense cross-hatching pattern is employed to decorate the body, rim and handle.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 12 July 1997.

Provenance Sotheby’s, New York, 9 December 1999, lot 61; The Gilbert collection, Cambridge, Massachusetts, acquired in Zurich, 20 October 2002.

165 — Aryballos

Exhibited Ancient art of the Cyclades, Katonah Museum of Art, New York, 1 October - 31 December, 2006.

161 — Black-glaze mug

G1998.4 35531

Attributed to the Rider Painter Greek, Laconian, ca. 570 – 560 B.C. Terracotta H: 6.3 cm (2.5 in) G1997.16 35632

Greek 4th century B.C. Terracotta H: 10.5 cm (4.1 in)

The ample bodied oil flask has a ring foot at the base, and a pronounced rim at the top. The rim's angled profile is divided from the rest by a narrow and short neck, connected to the shoulder by a broad handle. Decorative bands with lines, tongues, and dots frame the main frieze, occupied by a central interlaced lotus-palmette complex and flanked by a heraldic composition of two sphinxes on either side. These standing beasts are large; their long bodies allow the artist to spread their impressive wingspans with distinctly incised feathers, filling the entire height of the flask.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 22 May 1997.

162 — Xenon ware oinochoe with swan Greek, Apulian, 4th century B.C. Terracotta H: 7.3 cm (2.8 in)

Xenon ware oinochoe with decoration in red paint showing a swan over black glaze.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 24 February 1998.

G2000.35 35652

Exhibited and Published The Centaur’s Smile: The Human Animal in Early Greek Art, Princeton University Art Museum, 11 October 2003 – 18 January 2004; Museum of Fine Arts, Houston, Texas, 22 February – 16 May 2004; PADGETT J.M., et al., The Centaur’s Smile: The Human Animal in Early Greek Art, Princeton, 2003, pp. 270-271, no. 66.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 1997.

244

245

P. 244

P. 245

166 — Aryballos

G1997.24 35522

Greek, Early Corinthian, ca. 625 – 600 B.C. Terracotta H: 10.5 cm (4.1 in)

170 — Hydrolic vase

G2002.21 35674

Greek, Attic or Boetian, ca. 6th – 5th century B.C. Terracotta H: 13.7 cm (5.3 in)

A supple figure of a dancer is central to the globular shape of this aryballos vase. Painted in black with purple accents, her moving figure spreads large, body twisted, gesticulating hands spread across both sides as her legs stretch under and around. The rest of the composition is decorated with painted dots and rosettes.

This hydrolic vase was used for spreading water or wine. Holes in the base allow liquids to flow in, and they are held in place by stopping up the hole at the top of the stem with one's finger.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Zurich, 20 October 2002.

Provenance Christie’s, New York, 30 May 1997, lot 124.

The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 16 June 1997.

171 — Xenon ware oinochoe 167 — Single-handled cup

G1994.11 35557

Mycenaean, ca. 1375 – 1325 B.C. Terracotta H: 5.4 cm (2.1 in)

G1996.31 35629

Greek, South Italian, Apulian, ca. 375 – 350 B.C. Terracotta H: 13.7 cm (5.4 in)

These cups are wheel turned. The handle is tilted for use in the right hand.

Provenance Sotheby’s, New York, 17 December 1996, lot 331; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 17 December 1996.

Provenance Sotheby’s, New York, 14 December 1994, lot 52; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 14 December 1994.

172 — Xenon ware kylix

G1996.30 35628

Greek, South Italian, Apulian, ca. 375 350 B.C. Terracotta D: 23.8 cm (9.4 in)

168 — Vessel in the form of a spinning top

G2000.57 35656

Greek, Attic, 6th century B.C. Terracotta H: 8.2 cm (3.2 in)

Provenance Sotheby’s, New York, 17 December 1996, lot 331; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 17 December 1996.

A very rare votive vessel in the form of a spinning top. The decoration is in black-figure; the upper surface has six jumping dolphins, the concave side has spiral motives and around the sharply pointed base is a zone with pointed rays.

173 — Aryballos

G2001.21 35582

Greek, ca. 550 – 525 B.C. Terracotta H: 11.4 cm (4.4 in)

Provenance Ex- European private collection; The Gilbert collection, Cambridge, Massachusetts, acquired in Amsterdam, 27 October 2000.

The aryballos is modeled in the form of a man’s left foot wearing a sandal, knotted below the shin and marked by red color. Toenails are painted white, and a row of black dots is placed along the edge of the sole, while the disk rim is painted with black glaze rays and white dots. A tongue pattern is seen below the neck.

169 — Cotyle

G1997.7 35517

Greek, Proto- Corinthian, ca. 750 B.C. Terracotta H: 11.4 cm (4.3 in)

Provenance Sotheby’s, New York, 12 June 2001, lot 5; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 12 June 2001.

This cotyle, a small cup for drinking wine, is typical of the ceramic production of the Proto-Corinthian period.

It is assumed to have been created using the black figure technique, a figured decoration using diluted clay that should fire to black in a reducing atmosphere and incised details. Decorative elements here are still very linear and geometric, even if we discern a succession of birds with long completely stylized legs (a type of crane) along the lip. Lines executed with great rigor and regularity allow for an elegance of the form and a decorative finesse, which together imbue the small vase with all its charm. It is misfired so that one side has reoxidized to red in the third firing.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 27 February 1997.

174 — Cup

G1999.19 35646

Greek, Laconian, 6th century B.C. Terracotta H: 7.4 cm (2.9 in) Provenance Christie’s, New York, 9 December 1999, lot 282; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 9 December 1999.

246

247

P. 246

P. 247

175 — Olpe with panthers and geese

G1995.3 35484

Attributed to the Painter of Christchurch 58/60 Greek, Corinthian, ca. 615 – 605 B.C. Terracotta H: 24.1 cm (9.4 in) The jar on a flanged foot has a handle comprised of two conjoint strips, supported by rotelles joining the lip. A frieze is decorated with panthers resting back on their haunches, facing one another between a goose, while another bird is seen below the handle. Color has been added to the panthers' necks, chests and ribs, and to the plumage and necks of the geese. The field is completed with incised rosettes of varying sizes, a fan palmette, lotus flowers and a zig-zag motif. Just above the foot, an additional area is encircled by rays. On the lower bowl, black is framed by a band of red between narrow bands of white. A distinct corkscrew-like symbol is seen between the triangles above the foot--a possible maker’s mark similar to that of the Corinthian kylix #93 and is also soon on the vase Christchurch 58/60.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 10 January 1995.

176 — Gnathian skythos

180 — Black-glaze mug

G1998.22 35642

Greek, South Italian, Apulian, mid-4th century B.C. Terracotta H: 10.9 cm (4.2 in) Provenance Sotheby’s, New York, 17 December 1998, lot 314; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 17 December 1998.

181 — Black-glaze askos in the form of a knucklebone G1998.21 35641

Attributed to the Rose Painter Greek, South Italian, Apulian, ca. 350 B.C. Terracotta H: 9.2 cm (3.6 cm)

182 — Black-glaze pyxis

G2002.11 35759

G2001.75 35664

Greek, Attic, ca. 500 – 450 B.C. Terracotta H: 9.4 cm (3.7 in) - D: 10.9 cm (4.3 in)

Greek, ca. 250 B.C. Terracotta D: 7.62 (3 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 8 August 2001.

Provenance Ex- Moustaki private collection; The Gilbert collection, Cambridge, Massachusetts, acquired in London, 16 October 2002.

183 — Black-glaze mug

178 — Gnathian skythos

G1998.20 35640

G2001.94 35668

Greek, Attic, 5th century B.C. Terracotta H: 6.86 cm (2.7 in) - D: 10.41 cm (4.1 in)

Attributed to the Rose Painter Greek, South Italian, Apulian, ca. 350 B.C. Terracotta H: 9.2 cm (3.6 cm)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 16 October 2001.

Provenance Sotheby’s, New York, 17 December 1998, lot 309; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 17 December 1998.

184 — Black-glaze Salt with stamped decoration and ridged edge

179 — Black-glaze aryballos

G2001. 92 35667

Greek, Attic, 5th century B.C. Terracotta H: 8.6 cm (3.4 in) - W: 13.7 cm (5.4 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 16 October 2001.

Provenance Sotheby’s, New York, 17 December 1998, lot 309; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 17 December 1998.

177 — Pomegranate

Exhibited and Published Games for the Gods: the Greek Athlete and the Olympic Spirit, 20 July 2004 – 28 November 2004, Museum of Fine Arts, Boston, pp. 133 and 184, no. 112.

G1996.18 35689

Greek, Attic, 400 B.C. Terracotta L: 4.1 cm (1.61 in) - W: 6.70 cm (2.64 in) G2000.45 35654

Greek, Attic, early 5th century B.C. Terracotta H: 11.9 cm (4.6 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 8 September 1996.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 21 October 2000.

248

249

P. 248

P. 249

185 — Xenon ware kylix

Greek, South Italian, Apulian, 4th century B.C. Terracotta D: 21.6 cm (8.5 in)

189 — Votive double axe Greek, Laconian, 7th – 6th century B.C. Gold L: 1.8 cm (0.4 in)

This type of Apulian ware, distinguished by added matte red decoration over black glaze, is named after a vessel inscribed with the name XENON. The stemless kylix is covered with black glaze and has a single male figure painted in red placed in the tondo. His short stature, disproportionally thin arms and legs, big belly and pronounced skull suggest he may be a dwarf or African pygmy. He uses a walking stick to move rapidly to the left. Aside from its comically exaggerated proportions, the exotic image was believed to be endowed with the apotropaic powers.

The double miniature ax was a well-known cult object during the Bronze Age. The everyday tool began to appear as a revered motif unto itself. The object here, created in a thin gold leaf, attests to the duration of its interest as a recurring symbol, not least due to the possible preciousness of the material used and its rich ornamentation. The entire surface is occupied on each side by drop and triangle geometrical patterns that fit together. Shapes were created by applying miniscule gold granules side by side--a truly remarkable decorative technique.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 3 December 2002.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 31 November 2002.

G2002.15 35607

186 — Stemless kylix with Arethusa

G1998.11 35533

Greek, South Italian, Sicilian, 4th century B.C. Terracotta H: 5.6 cm (2.2 in) - D: 17.8 cm (7 in)

G2002.7 35605

190 — Cosmetic spoon

G2004.4 35678

Roman, 2nd – 3rd century A.D. Gold L: 12.4 cm (4.9 in)

The black-glazed kylix is stemless, decorated with series of diagonal notches, stamped palmettes and concentric circles to frame the central tondo, which contains a molded relief. The interior depicts the profile of the water nymph Arethusa: she is adorned with an earring, necklace and a wreath of reeds as four dolphins appear around her head. Her perfectly proportionate and symmetrical features are extremely beautiful--likely reproducing the reverse of a Sicilian coin from the late 5th – early 4th century B.C.

Provenance Gorny & Mosch, Munich, 25 March 2004; The Gilbert collection, Cambridge, Massachusetts, acquired in Munich, 25 March 2004.

Provenance Christie’s, New York, 12 June 1998, lot 237; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 12 June 1998.

191 — Aryballos

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, p. 52, no. 13; Museum of Fine Arts, Houston, Texas, 12 February 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005.

187 — Coin with head of Athena

G1999.7 35694

Greek, 6th – early 5th century B.C. Silver D: 2.5 cm (1 in)

Image of Athena on obverse and an image of an owl on reverse.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 28 May 1999.

188 — Circular mirror

The aryballos, a small vessel used to contain oil and ointments, is shaped in the form of the head of a warrior wearing an Ionian helmet glazed in black, with a flaring neck guard and two cheek pieces. On one of the two cheek pieces, white dotted decoration remains. The frontlet is incised with a honeysuckle palmette, and his almond-shaped eyes with prominent eyelids appear from the aperture.

Provenance Sotheby’s Parke-Bernet, New York, 5-9 June 1979, lot 1011; Ex- Mathias Komor (1909-1984) collection, New York, 1965; Ex- Benjamin Sonnenberg (1901-1978) collection, New York; Sotheby’s, New York, 29 May 1987, lot 68; Sotheby’s, New York, 9 December 1999, lot 81; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 9 December 1999.

192 — Seated dog

G1997.39 35636

Greek, ca 6th – 5th century B.C. Bronze D: 16.6 cm (6.5 in)

G1999.25 35544

Greek, early 6th century B.C. Terracotta H: 6.9 cm (2.7 in)

G2000.62 35711

Mycenaean, ca. 1350 B.C. Terracotta H: 6.9 cm (2.72 in) Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 30 October 2000.

Provenance Sotheby’s, New York, 17 December 1997, lot 383; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 17 December 1997.

250

251

P. 250

P. 251

193 — Mouse shaped vase

G1996.32 35513

Attributed to the Randazzo Group Greek, South Italian, ca. 450-410 B.C. Terracotta H: 4.5 cm (1.7 in) The vase is shaped as a mouse standing on four nub feet. The mouth of the vessel is placed in the center of the back, flanked on both sides by a pair of string holes, each painted with black ivy to appear hanging in suspension. The ears, eyebrows, and neck fringe at the top of the string holes are also painted in black, as is the mouth and tapering spout above the tail. These may have been used as drinking vessels for babies.

G1995.15 35618

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 3 June 1995.

197 — Red-figure pyxis with winged hippocamp

G2015.4 35616

Greek, South Italian, Apulian, ca. 340 – 320 B.C. Terracotta D: 14.5 cm (5.7 in)

Provenance Ex- Lady Margaretta Jamieson estate; Christie’s, New York, 18 December 1996, lot 115; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 18 December 1996.

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, pp. 69-70, no. 25; Museum of Fine Arts, Houston, Texas, 12 February - 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005; GLUEK, G., From Myth to Life: Images of Woman from the Classical World, The New York Times, August 20, 2004, p. B28.

194 — Koré

196 — Black-glaze kylix Greek, South Italian, Campanian, Teano, 4th century B.C. Terracotta D: 12 cm (4.7 in)

The lid of this pyxis is ornamented with alternating circles and lines placed at the rim, while the vessel body received a banded key. Waves enclose the tondo depicting a winged hippocamp in its interior, whose sinuous tail is detailed in white and red.

Provenance Christie’s, London, 15 April 2015, lot 110; The Gilbert collection, Cambridge, Massachusetts, acquired in London, 20 April 2015.

G1995.36 35494

198 — Leg of a horse

Greek, Archaic, 6th century B.C. Terracotta H: 8 cm (3.15 in)

G1998.1 35530

Greek, 4th century B.C. Bronze H: 19.5 cm (7.7 in) - W: 8.9 cm (3.5 in)

This protome of a young woman is well known among the archaic Greek statuary under the name of kore.

Presented frontally and symmetrically coiffed, the young woman wears a diadem and earrings, on which one can still admire the polychrome today. The archaic smile the young woman proudly displays is characteristic of the period, inviting her spectator to join in the happiness of contemplation..

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 18 January 1998.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 24 November 1995.

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, pp. 38-39, no. 3; Museum of Fine Arts, Houston, Texas, 12 February 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005.

195 — Red-figure pyxis fragment

This lower leg of a horse is hollow cast and was probably part of a statue. It faithfully represents the principal anatomical parts, the hoof and fetlock with extra hair on the back of it. The hair above the hoof was once chased.

G1996.23 35509

Possibly by Skythes, near Euthimides Greek, Attic, ca. 520 – 510 B.C. Terracotta H: 4.5 cm (1.7 in)

199 — Fibula

G2007.1 35679

Greek, 4th – 2nd century B.C. Silver L: 13.4 cm (5.3 in) Provenance Sotheby’s, London, 9 January 2007; The Gilbert collection, Cambridge, Massachusetts, acquired in London, 9 January 2007.

200 — Spoon

G2007.1 35679

The fragment of the top of a pyxis represents two men, one clad in a himation, preparing cocks for a cockfight.

The rim of the piece is decorated with the running motif of a cross-wind symbol pattern in the meander separated by boxes with black rectangle centers.

Greek, 4th – 2nd century B.C. Silver L: 16 cm (6.3 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 17 December 1997.

Provenance Sotheby’s, London, 9 January 2007; The Gilbert collection, Cambridge, Massachusetts, acquired in London, 9 January 2007.

252

253

P. 252

P. 253

201 — Herakles

G1995.30 35401

Graeco-Roman, 1st century B.C. – 1st century A.D. Silver H: 12.7 cm (5 in)

204 — Splashed glass amphoriskos

G2001.7 35442

Roman, 1st century A.D. Glass H: 12 cm (4.7 in)

The composition of this exquisite statuette presents the apotheosis of Herakles: after his superhuman deeds, the hero was accepted to the eternal feast of the Olympians. He wears a fillet in the hair, a sign of divinization, and he holds a drinking cup in his right hand, as well as his usual attributes in the left, the club and Nemean lion’s skin. Although the expression of weariness appears on his finely modeled face, his trained body is in excellent shape. The exaggerated muscular forms and proportions are those of a professional mature athlete reminding us also of the famous Farnese Herakles statue from the Palazzo Farnese in Rome.

This beautiful miniature amphora from the Roman era is blown glass in a stunning shade of blue. The handles of the vase were fashioned separately prior to being applied onto the body and the neck. Its color composition, blue with some splashes of either opaque or bright white, recalls the composition of other noteworthy splashed glass in the Corning Museum.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Geneva, 7 June 2001.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 22 November 1995.

205 — Amphoriskos 202 — Splashed glass jug

G2000.43 35465

Roman, 1st century A.D. Glass H: 20.3 cm (8 in)

This unusually large jug with a broad strap handle was blown in dark turquoise using an opaque white splash technique. Achieved by applying speckles of different-colored glass to the matrix, then heated again to further widen the vessel, such methodology sought to imitate the delicate effect of mosaic. Combed ridges extend into sharp fins along the handle, adding a pleasing sculptural effect. In ancient Roman times, this specific category of glass was known to be produced in northern Italy.

G2001.17 35438

Roman, 1st century B.C. – 1st century A.D. Rock crystal H: 5.4 cm (2.1 in) The amphoriskos seen here is a small container used for perfume oil or ointment. Thin walls are well-hollowed, and a slightly tapered cylindrical body features straight sloping shoulders, a short cylindrical neck and disk-rim on a concave disk base, with two angled handles on concave sides. The vessel was carried attached to a chain or thread, with a lid or a cork to prevent the precious content from spoiling.

Provenance Christie’s, New York, 8 June 2001, lot 269; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 8 June 2001.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 21 October 2000.

206 — Lamp in the shape of Silenus 203 — Victoriola

G2001.44 - 35591

Roman, 1st century B.C. – 1st century A.D. Bronze, silver H: 8.9 cm (3.5 in) The young goddess of Victory is represented flying forward with her right knee extended and her wings spread behind. The three-dimensional figure is artfully composed and finely detailed: individual feathers of her wings are chased, and the recessed eyes retain traces of silver inlays. She is semi-nude except for an ample mantle covering the lower body, folds billowing with her rapid movement. Her long wavy hair is parted in the middle, collected into a bun, and crowned with the diadem according to Classical fashion. A wreath (cast separately) was crafted for her right hand, while she carries a platter with fruit in her left--a reference to her commonly seen attribute, the cornucopia.

G2009.2 35614

Roman, 1st century B.C. – 1st century A.D. Terracotta H: 7.8 cm (3.1 in) - W: 13.7 cm (5.4 in) The reclining nude Silenus represented here received a grotesque treatment: drinking from a cup which he holds in both hands, his feet comfortably rest on the sides of his enormous phallus, which was intended to serve an apotropaic function. Cleverly designed for practical use, the aperture on the top of the phallus in the cup constitutes the nozzle to fill the lamp with oil, while another served for the wick. The testicles form the base of the lamp, supplied with a stem-like handle looped at Silenus’ shoulders and head. The finely modeled relief indicates body hair, a beard and moustache; the eyes and nostrils are pierced.

Provenance Ex- Meulenberg collection, The Netherlands; The Gilbert collection, Cambridge, Massachusetts, acquired in London, 30 October 2009.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 20 June 2001.

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, p. 43, no. 6; Museum of Fine Arts, Houston, Texas, 12 February 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005.

207 — Young Satyr

G1998.19 35534

Roman, 1st century A.D. Bronze H: 9.8 cm (3.8 in) This expressive young satyr has pointed animal ears and small horns at the forehead, poking through unruly curly locks of hair that spiral from the crown. He turns to the left, his face cast upwards, highlighting finely incised fur is visible on the goat skin tied at his shoulder. The bust's rounded shape indicates the piece was the terminal of a fulcrum, once attached to a sofa.

254

255

P. 254

P. 255

211 — Marsyas Roman, 2nd century A.D. Pavonazzetto marble H: 33 cm (12.9 in)

Provenance Sotheby’s, New York, 17 December 1998, lot 153.

The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 17 December 1998.

208 — Mercury and Mars

G2000.77 35566

Roman, 2nd century A.D. Bronze H: 10.2 cm (4 in)

The janiform herm comprised part of a candelabrum stand that was cast in separate sections. One side depicts the head of bearded Mars with thick locks of hair curling on his forehead under his military helmet. The other side is modeled as the head of Mercury, with his cap surmounted by a pair of wings and short wavy locks beneath. The recessed eyes received silver inlays.

Provenance Christie’s, New York, 7 December 2000, lot 586; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 7 December 2000.

209 — Baby boy

G1999.2 35538

Old Marsyas is shown here hanging from a branched tree. He is being flayed as punishment for when he lost the music competition to Apollo, further indicated by the double flutes hanging alongside him in a case. Marysas' torso has the skin stripped off, dangling over the hips. The sculpture was carved in Pavonazzetto marble, with purple stone from the quarries of Asia Minor, chosen to look like blood in the veins. This shade of purple was often used for columns, sarcophagi, basins, and the plaques in opera sectilia (stone inlays). This particular figure comprised part of the sculptural group called The Punishment of Marsyas, which also included Apollo seated with his kithara and the figure of a Scythian slave sharpening the knife at his feet.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 22 March 1999.

212 — Isis-Fortuna

G1996.13 35506

Roman, 2nd century A.D. Bronze H: 10.8 cm (4.2 in) G2001.3 35574

Roman, 1st – 2nd century A.D. Bronze H: 7.6 cm (2.9 in) This baby boy is rendered in a lively pose, characteristic of a charming infant: his left hand plays with his toes while he sucks the fingers of his right. His long hair in braided in the middle of head, known to be a very popular child’s hairstyle during the Late Classical period aimed at keeping hair from falling across the forehead.

Originally, the type of such a figurine would be created for an ex-voto, dedicated by parents in the shrine of a protective deity. The hollow bronze of this figure was later filled with lead to be used as a weight.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 7 June 2001.

Isis was the syncretic Roman-Egyptian goddess of good fate and prosperity. A crown composed of a lunar disc between feathers and horns reminds of the goddess’ Egyptian origin. Yet she is clearly depicted as a Roman matron, dressed in a long tunic and wrapped in an ample mantle that covers her head as a partial veil. Its thick folds create an impressive pattern cascading on the left side. In her left arm, she carries a double cornucopia, a symbol of abundance. In her right, she holds a ship’s rudder: a reference to her rule over human destiny.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 1996.

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, p. 46, no. 9; Museum of Fine Arts, Houston, Texas, 12 February 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005..

213 — Pottery fragment with erotic scene

210 — Venus

G1999.29 35546

Roman, 1st century A.D. Terracotta H: 69.8 cm (27.4 in) Venus, the goddess of love, beauty and sexuality, stands with her weight on her left leg. Her elaborate coiffure is parted in the center, bound in a chignon surmounted by a stippled and rayed stephane from behind, as four long corkscrew tresses fall over her shoulders. A diaphanous chiton descends from her right shoulder, leaving her left breast bare. In her right hand, she lifts the hem of her himation as the fabric falls in long folds behind her, flowing around the sides, while in the left hand, she holds a pomegranate.

Provenance Sotheby’s, New York, 10 December 1999, lot 312; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 10 December 1999.

G2001.18 35429

Roman, late 1st century B.C. Terracotta H: 6.9 cm (2.7 in)

The fragment preserves a lovemaking scene of Hercules with a woman, probably Omphale or a nymph. The woman reclines on a sofa, elegantly resting her left elbow on a folded pillow. She is naked except for a snake bracelet and a diaphanous lion's skin of the hero draped over her left shoulder. Her left knee is raised and her right hand lowered as she assists her lover, pressing his torso forward toward her.

Provenance Ex- Prof. Prospero Sarti collection, Rome, 1906; Christie’s, New York, 8 June 2001, lot 292; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 8 June 2001.

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, p. 88, no. 35; Museum of Fine Arts, Houston, Texas, 12 February - 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005; Galleria Sangiorgi, Catalogo della collezione oggetti di scavo del fu Prof. Prospero Sarti, Rome, 1906, p. 56, no. 308. GLUEK, G., From Myth to Life: Images of Woman from the Classical World, The New York Times, August 20, 2004, p. B28.

256

257

P. 256

P. 257

214 — Cuirass relief with Jupiter and Mars

G2000.3 35471

Roman, early 1st century A.D. Bronze H: 24.1 cm (9.4 in) – L: 19.6 cm (7.7 in)

This relief belonged to the left front of a cuirass on a larger than life-size figure, which indicates that the bronze statue could represent a Roman emperor or a deity. Executed in a very high cast, the relief depicts two figures, Jupiter and Mars, placed on a rocky ground line which refers to the Mount Olympus. The supreme god’s majestic figure, half-naked and clad in a broad cloak, with a fillet tied around his hair, is seated on a high throne which side is shaped as a griffin. In his right hand, he is holding out an eagle to Mars, who stands on the left. The god of war is dressed as a Roman general, with a high-crested helmet, short cloak, cuirass, which form repeats a well-shaped muscular torso, and high boots; the hilt of the sword is visible in his left hand. Jupiter has a stern, bearded face while Mars is young and beardless. It has been suggested that Mars may represent the emperor Tiberius, being charged by Zeus with recovering the standards.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 10 February 2000.

217 — Fresco with a gazelle Roman, 1st century A.D. Stucco, pigments H: 21.9 cm (8.6 in)

G2001.90 35665

The decorative wall painting includes a vertical framed border, designed as part of a larger rectangular panel.

This grotesque composition is placed against the black background. It is filled with miniature figures, including a gazelle surrounded by birds among the S-curved grapevines (known as acanthus scrolls). Such realistic depictions of plants and animals treated with vivid colors became popular ornamental motifs during the Second Style of the Roman wall painting.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Paris, 16 October 2001.

218 — Perfume flask

G1999.23 35543

Roman, 1st century A.D. Glass H: 23.5 cm (9.2 in)

215 — Candelabrum with Jupiter-Ammun and Bacchus

G2001.25 35583

Roman, 2nd century A.D. Bronze H: 88 cm (34.6 in)

This elegant container for perfumed oil was free blown into a long narrow neck with a globular swelling in the middle. The tapered end was blown into a rounded rim that first turned outward, then folded in. The combination of white opaque bands on the opaque blue matrix composes a mosaic design intended to imitate veined or color-banded stones.

This portable tripod candelabrum comes apart into three sections: the three cast sandaled feet are hinged together as a base, then the rectangular shaft, which terminates with a double herm (one of the herm's ribbed arms loops into an attachment). Finally, two bearded masks are modeled in the Archaistic style. One is JupiterAmmun with his ram’s horns and ears, decorated with the diadem of ivy leaves and clusters of berries. Another head depicts Bacchus with a long mustache and hair arranged in twisted locks at the sides. Bacchus' high coiffure is bound in a fillet, the ends of which fall down his shoulders. The heads support a finial with baluster stem and overhanging rim, decorated with egg-and-dart and beading.

Provenance Ex- French private collection; Sotheby’s, New York, 12 June 2001, lot 103; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 12 June 2001.

216 — Fresco panel with an idealized portrait Roman, 1st century A.D. Pigments, gesso H: 20.4 cm (8 in) L: 18.9 cm (7.4 in)

219 — Patera with ram head handle Roman, 1st – 2nd century A.D. Bronze L: 20.32 cm (8 in)

G1995.25 35834

Patera with fluted handle terminating in a ram's head. It is decorated inside and underneath the foot of the bowl with lathe-turned concentric circles in relief.

Roman numerals are scratched in the foot that read, “XXXXIV and XXIX".

G2000.30 35551

This fresco panel displays the head of a young man with short hair. Only a single large almond-shaped eye remains, but paired with a straight nose and oval face, which suggests idealized features.

Provenance Ex- French private collection; The Gilbert collection, Cambridge, Massachusetts, acquired in Paris. 23 June 2000.

Provenance Christie’s, New York, 9 December 1995, lot 475; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 9 December 1995.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 7 July 1995.

220 — Skyphos

G2002.2 35602

Roman, 2nd century A.D. Obsidian D: 8.9 cm (3.2 in) The skyphos, an drinking cup, has a fine and elegant shape, with horizontal handles carved in a very stylized and attractive manner. The material itself: obsidian, a vitreous volcanic rock, displays beautiful veins in colors ranging from brown-black to white-beige. Depending on the brightness, the veins can even become translucent.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 28 January 2002.

258

259

P. 258

P. 259

221 — Specillum

G2000.46 35563

Roman, 1st – 2nd century A.D. Bronze H: 14.9 cm (5.9 in) This tool features a curved rasping plate on the end, with multiple notches to retain the substance on its surface.

It is best identified as a specillum (a probe) used to mix and apply medicines, though similar instruments were also used by dyers and painters to mix colors. Along the handle, sections are decorated in club and foliage motifs associated with Hercules.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 21 October 2000.

226 — Marbled dish Roman, mid–1st century B.C. Terracotta D: 11.6 cm (4.5 in)

G1995.44 35620

These marbled objects were made in Gaul during a brief (about 50 year) period at La Graufesenque.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 17 February 1995.

227 — Bust of Serapis

G2001.4 35575

Roman, 2nd century A.D. Bronze H: 11.4 cm (4.4 in)

222 — Ring

G2000.27 35701

Roman 2nd – 3rd century A.D. Porphyry D: 2.54 cm (1 in)

The god of abundancy and resurrection is mounted on a concave base, fixed from behind by a decorative support shaped as conjoining acanthus leaves. His evenly-featured face is framed by a thick, curly beard with a wavy moustache and long hair with thick locks, characteristically arranged in separate strands overshadowing his forehead. The head is then surmounted with the attributes of a kalathos (a woven basket) and a modius (grain measure), decorated with lush plants. Both the incision lines and the details were modeled three-dimensionally to give this bust an imposing look.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Paris, 24 June 2000.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 7 June 2001.

223 — Plutus holding a money bag

G2000.32 35553

Roman, 1st century B.C. – 1st century A.D. Bronze L: 5 cm (1.9 in)

228 — Micro-mosaic emblema with cat and partridge

A chubby, naked boy is seated but lively, his head thrown back and legs lifted as a counterweight. He holds a large tied satchel in both his hands, raised as if in offering to someone. This could be a representation of a baby Plutus, the god of wealth, holding a heavy bag of money.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Paris, 23 June 2000.

224 — Cobalt blue cup

G1999.22 35542

Roman, 2nd – 3rd century A.D. Glass H: 6.7 cm (2.6 in)

This extremely rare and beautiful animalier scene was realized with technical expertise in opus vermicilatum, utilizing very finely sized and vibrantly colored tesserae made of stone and glass paste. The original black marble frame and ancient mortar that is preserved. It is a moment of discovery, in which a magnificent white cat dangerously faces a partridge. The animal rests on a folding stool, and the scene encapsulates the details of daily life, depicting a comb and a falling glass vase. This is an emblema - a mosaic made on a terracotta tile to be inserted into a wall as a pictorial decoration.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Geneva, 4 December 2000.

229 — Hercules This translucent cobalt blue glass cup was blown and wheel-cut. Its wide globular body tapers to a slightly averted rim and a flat base.

Provenance Christie’s, New York, 9 December 1999, lot 472; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 9 December 1999.

225 — Ring with capricorn

G2001.81 35805

Roman, late 3rd century A.D. Gold, amethyst D: 2.3 cm (0.9 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 31 August 2001.

G2000.65 35454

Roman, 1st century A.D. Tesserae (stone and glass paste) H: 47 cm (18.5 in) - W: 43 cm (17 in)

G1995.17 35399

Roman, 1st century B.C. – 1st century A.D. Bronze, silver H: 13.3 cm (5.2 in) The statuette’s composition presents the apotheosis of Hercules. The hero stands facing right, his head turned against the weight of the body on his right leg and his left knee flexed. His athletic, well-shaped body is nude, save for a lion pelt draped over his bent left arm; his right lowered hand once held a club. This Hercules has a thick, wavy beard and hair tied with a fillet (a sign of his divinization), in which two broad curling ribbons cascade onto his shoulders. The recent silver eye and nipple inlays likely substitute ancient ones.

Provenance Ex- Mrs. James W. Johnson collection; Christie's London, 2 December 1970, lot 78; Christie's London, 5 July 1995, lot 190; The Gilbert collection, Cambridge, Massachusetts, acquired in London, 5 July 1995.

260

261

P. 260

P. 261

230 — Juglet

G2001.102 35600

Roman, 2nd century A.D. Glass H: 10.9 cm (4.2 in) The spherical juglet was free blown in dark turquoise glass. It has a tall neck, pinched trefoil spout, and a strap handle added to the shoulder. The vibrant color is offset with a clear glass trail applied to the base, then wound spirally around the body up to the rim where the handle connects.

234 — Venus Roman, 2nd century A.D. Bronze H: 10 cm (3.9 in)

G2000.87 35573

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 20 December 2001.

Venus, the goddess of love, stands with her weight on the left leg and head turned right, as her hands indicate an attempt to cover her breast and pubis. The composition belongs to a famous sculptural type of Aphrodite Pudica (Modest Aphrodite) which refers to the original marble statue, the first monumental female nude representation created by Praxiteles for the Knidians in the 4th century B.C. This version was created in bronze, with finely engraved wavy hair parted atop her head and collected into a large bun at the back as two locks descend upon her shoulders.

231 — Amphoriskos

Provenance Sotheby’s, New York, 8 December 2000, lot 206; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 8 December 2000.

G1994.7 35481

Roman, 3rd – 5th century A.D. Glass H: 25 cm (9.8 in)

235 — Red-ware jug

The unusually large free-blown vessel is distinctive by its cobalt blue applied handles and collar.

Provenance Sotheby’s, New York, 8 June 1994, lot 471; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 8 June 1994.

232 — Irridescent unguentarium

G1997.17 35579w

Roman, 2nd – 3rd century A.D. Terracotta H: 14.6 cm (5.7 in) The pear-shaped jug with a narrow mouth is very thinly potted and decorated with applied relief. Long feathers and branches with foliage are placed as vertical columns to divide the entire surface into two sections. The first shows a fight scene between a wild panther and a gladiator. The gladiator kneels, using his large rectangular shield as protection, while a triple Janus head mask is placed below. The second section depicts what appears to be a krater above the figure of wild animal running to the right.

G1995.37 35495

Roman, 4th century A.D. Glass H: 10.8 cm (3.9 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 22 May 1997.

This unguentarium with a double-tubular shape, commonly used for scented oils, is rendered in a bluish glass with a sublime rainbow iridescence, caused by its prolonged stay underground and the variations of humidity in contact with the glass surface. This type of small vase, which can also be called a ‘tear glass’, was long considered to be a container for the tears shed by relatives at funerals, as these items were deposited in number in the tombs.

236 — Glazed cup with barbotine animals

G2001.101 35671

Roman, 2nd century A.D. Terracotta H: 8.4 cm (3.3 in) - D: 8.3 cm (3.3 in)

Gently rounded, edged rim and foot. Barbotine animals, deer, bear, bull, and dog are finely modeled with teeth, muscles, and round eyes. Separated by a trial of barbotine dots, the whole cup is covered in a dark brown slip.

Probably from Colchester.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 24 November 1995.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 20 December 2001.

233 — Aubergine jug

G1994.3 35478

Roman, 4th century A.D. Glass H: 14.4 cm (5.6 in)

237 — Diana

This jug, used for cosmetic oils, is a resplendent shade of aubergine. A slender angular handle in pale bluegreen glass was affixed at the top to the body and to the underside of the turned-in rim, providing a beautiful color pairing. The concave base and slender ovoid body are decorated with vertical ribs, as it tapers into a cylindrical neck with a flaring mouth.

Provenance Sotheby’s, New York, 8 June 1994, lot 225; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 8 June 1994.

G1999.1 35537

Roman, 1st century A.D. Bronze H: 7.9 cm (3.1 in) This fulcrum was a decoration mounted at the join between the base and the raised end of a reclining sofa. It shows a bust of Diana, goddess of the hunt: she wears a chiton and mantle, with a quiver on her back for her arrows. Her elaborate hairstyle is arranged with the large knot of hair on the top as she turns her head to the side, her quick glance once fully expressed with inlayed eyes.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 21 February 1999.

262

263

P. 262

P. 263

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, p. 51, no. 12; Museum of Fine Arts, Houston, Texas, 12 February 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005.

238 — Nemesis

Octaviae in Rome mentioned by Pliny, as well as a work by the Bithynian sculptor Doidalsas commissioned for the King Nikomedes around 250 B.C. Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 12 December 1995.

G2000.24 35550

242 — Thetis and baby Achilles riding a Triton Roman, 1st – 2nd century A.D. Bronze H: 3.7 cm (1.4 in)

Roman, 2nd century A.D. Bronze H: 17 cm (6.6 in) Nemesis, the goddess of contests and justice, is seen mounted on an original spool-shaped base. She is enfolded in a himation which also covers her head as a veil, crowned with the diadem. Her right hand is held towards her mouth, her left holds the attribute of a measuring rod. The back is incised with a deeply cut votive inscription in Greek, recording that the statuette was a gift from Metrodoros to the Philoploi (literally “lovers of arms”, an aristocratic group involved in altruistic activities during the 2nd century A.D.). Metrodoros may have gifted the statuette in gratitude for services rendered by the Philoploi.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 15 July 2000.

Exhibited and Published Charles Ede, catalogue 169, no. 11, July 2000. From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, p. 45, no. 9; JONES C.P., A statuette of Nemesis, in Epigraphica Anatolica 33, 2001, pp. 45-47; GLUEK, G., From Myth to Life: Images of Woman from the Classical World, The New York Times, August 20, 2004, p. B28.

239 — Grotesque head pendant

G1996.15 35487

Three figures complete this scene: The baby Achilles, his mother Thetis, and Triton. Thetis, the goddess of the sea is seated on the long curling tail of a Triton, who rides across the invisible waves. He carries her infant son over his shoulder, Achilles, due to become a celebrated Greek hero. Despite its small stature, the sculptural composition is well-structured. One can note the balance of the curvature of Triton’s body and the flows of Thetis’ mantle, as well as the counter-position of the figure of Triton with the baby in relation to Thetis' elevated feminine frame. The spatial arrangements in this statuette were possibly influenced by an elaborate group, such as a fountain sculpture.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 8 September 1996.

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, p. 102, no. 43; Museum of Fine Arts, Houston, Texas, 12 February 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005.

G2002.6 35756

Roman, 1st century A.D. Bronze L: 5.7 cm (2.24 in)

243 — Winged phallus

This bronze head was originally closed with a sliding panel and would have been used to hold spices or drugs.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 26 July 2002.

240 — Penknife

G2004.5 35770

Roman, 2nd century A.D. – 3rd century A.D. Iron and bronze L: 5.59 cm (2.2 in)

G2000.34 35554

Roman, 2nd – 3rd century A.D. Bronze L: 3.6 cm (1.4 in) The amulet is shaped as a phallus with testicles and spread feathered wings. A very popular motif in Roman domestic culture, the phallus was regarded as a sign to protect against evil spirits. It is found on many objects: lamps, drinking cups, terracotta and stone plaques on the walls of the houses, in the pavement, and in the bronze tintinnabula, tinkling bells that hung in doorways. It could swoop down from a suspension hook; otherwise, it stood erect on its own.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 1 December 1998.

A folding iron blade into a bronze handle.

244 — Theater Mask

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Munich, 25 March 2004.

241 — Crouching Venus

G2003.1 35765

Roman, 1st - 2nd century A.D. Bronze H: 2.4 cm (0.94 in) - L: 3.10 cm (1.22 in) G1995.47 35621

Roman, 1st – 2nd century A.D. Bronze H: 5 cm (2 in) - W: 3.3 cm (1.3 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Munich, 7 February 2003.

Venus, the goddess of love, is represented crouching for her bath, raising her arms to arrange her long, wet hair.

The sculptural composition is a variant of one traditionally associated with the famous statue in the Porticus 264

265

P. 264

P. 265

245 — Heart-shaped strainer

G1999.28 35648

Roman, 2nd – 3rd century A.D. Bronze L: 26.3 cm (10.3 in)

249 — Harpokrates

G2004.3 35611

Roman, 1st – 2nd century A.D. Bronze H: 4.3 cm (1.7 in)

Provenance Sotheby’s, New York, 9 December 1999, lot 165; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 9 December 1999.

246 — Red-ware head flask

Harpokrates leans on a tree trunk for support, with his left arm posed holding a cornucopia. The Greek god of silence holds his right index to his lips. The crown of Upper and Lower Egypt identifies his royal status. A statuette of this nature would have been placed in a home shrine, a lararium, to bring the household fertility and abundance. Harpokrates’ iconography was borrowed from of Egyptian god Horus, son of Isis and Osiris, where the gesture was had symbolized childhood, similarly applied to a prominent side position.

G1995.18 35488

Roman, 300 – 350 A.D. Terracotta H: 21.9 cm (8.6 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Munich, 25 March 2004.

This vase is shaped as a satyr's head, identified by his pointed ears. He looks grotesque, with his wide-open stare, thick eyebrows raised high, and wide grin, which exposes two rows of sharp teeth. Nevertheless, the ornamental detail of the locks of hair, short bifurcated beard, and rosettes along the hairband are in complete symmetry.

250 — Red-figure calyx krater with warriors and griffins Faliscan, ca. 375 B.C. Terracotta H: 45.1 cm (17.6 in)

Provenance Sotheby’s, London, 6 July 1995, lot 45; The Gilbert collection, Cambridge, Massachusetts, acquired in London, 6 July 1995.

This large calyx krater of Faliscan origin is illustrated according to the red-figure technique. A mythological scene often illustrated in antiquity is depicted, evoking a battle between warriors and griffins. The fabulous animal is represented with wings, an eagle’s beak, the ears of a horse and the body of a lion. On side A, one armed warrior, and another soldier on his knees, attempt to mortally wound a menacing griffin. On side B, the following scene shows the two warriors in the nude, carrying the dead griffin with a stake.

247 — Eros hairpin

G1995.31 35490

Roman, 1st – 2nd century A.D. Bone H: 8.3 cm (3.2 in) A winged figure of Eros sits cross-legged on the top of this hairpin. He plays the syrinx (or Pan pipes) from his perch on a small rock.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Basel, 24 November 1995.

248 — Hercules mingens

G2004.1 35609

Roman, 1st century A.D. Bronze H: 6 cm (2.4 in)

The apparently drunken hero sways backwards, legs spread wide, barely balanced by a club on his shoulder. He appears to be urinating in what is known as Hercules Mingens (Hercules peeing), a popular subject matter of Roman bronze and marble figures. Larger sculptures of this type were often used as fountain devices. Hercules’ drunkenness also related him to the world of wine god and nature’s fertility: the image appeared on pendants to the images of drunken satyrs carrying the wineskins full of wine as well, and to Bacchus holding a drinking cup. The statuette retains its original circular base.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Munich, 25 March 2004.

G1998.5 35450

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 8 April 1998.

251 — Double head flask with Satyr and Maenad Etruscan, 4th century B.C. Terracotta H: 14.6 cm (5.7 in)

G1996.28 35788

Like a double herm in sculpture, this sculpted vase combines two heads set back-to-back in a single shape, made in two separate molds. Following firing, the vase was then painted; traces of white slip and red paint remain partially preserved. One head is a satyr with pointed animal ears and a full beard of snail-shell curls.

The satyr wears a laurel wreath with berry clusters above his small horns, with a long fillet looping above the wreath and descending in front of each ear. The other head is a maenad, wearing a diadem adorned with the rosettes. Her center-parted hair is tied in bands, with rows of curls covering her ears on either side of an elaborate headdress.

Provenance Sotheby’s, New York, 9 December 1999, lot 436; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 9 December 1999.

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, pp. 72-73, no. 27. Museum of Fine Arts, Houston, Texas, 12 February 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005; GLUEK, G., From Myth to Life: Images of Woman from the Classical World, The New York Times, August 20, 2004, p. B28.

266

267

P. 266

P. 267

252 — Black-figure Pontic kylix

G1995.46 35402

Attributed to the Amphiaros Painter Etruscan, ca. 530 B.C. Terracotta H: 10.1 cm (3.9 in), D: 15.8 cm (6.2 in) The exterior of the drinking cup is decorated with scrolls and palmettes placed on the sides of the handles and below the straight ground line. Inside, the tondo depicts a figural scene of a man and woman riding horses. A woman, colored black, holds the reins in her left hand and a branch in her right, while the man, colored red, reaches his left hand her. They are outlined by concentric lines and tongue ornamentation.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 12 December 1995.

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, p. 99, no. 41. Museum of Fine Arts, Houston, Texas, 12 February 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005.

253 — Dancer

255 — Running figure Etruscan, 5th century B.C. Bronze H: 7 cm (2.7 in)

G2001.9 35576

A rare and exquisitely modeled young woman participates in athletic events. Kneeling, the gestures of the figure suggest she moves rapidly. Her wide-open eyes express the stress of the competition, and cropped hair suggests her young age. Holding up the opposite arm, an attribute may have been held in her right fist. The short tunic she wears is embellished with embroidery in an inverted V pattern along the bottom hem and X’s along the collar. The figure could have been intended a decorative element of a tripod, candelabrum, thymiaterion (incense burner), or a large vessel.

Provenance Ex- Donati collection, Lugano, Switzerland, 1984; Christie’s, New York, 8 June 2001, lot 47; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 8 June 2001.

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, p. 54, no. 15; Museum of Fine Arts, Houston, Texas, 12 February 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005.

G1996.12 35505

Etruscan, 5th century B.C. Bronze H: 11.7 cm (4.6 in)

256 — Fire rake

A young, barefoot dancer stands slightly pigeon-toed, accompanying her dance with the cymbals (castanets) she holds in both of her outstretched hands. She wears a short tunic over a skirt secured by a belt and crossstraps in the bandolier fashion, with hair bound in a broad chignon at the back and held with a fillet. The swirling movement of the skirt is masterfully reproduced to correspond to the evocative rhythmic swing of the dance, a stark contrast to the frontal position of the upper body. The overall effect is one of great precision.

G2001.100 35670

Etruscan, 7th – 6th century B.C. Silver L: 23.6 cm (9.2 in) The deep fluted handle of the fire rake terminates in a stylized human hand which bends acutely at the knuckles, emphasizing the incised nails on elongated fingers.

Provenance Christie’s, New York, 5 December 2001, lot 530; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 6 December 2001.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 8 September 1996.

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, p. 55, no. 16. Museum of Fine Arts, Houston, Texas, 12 February 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005.

257 — Oinochoe

G1996.25 35421

Etruscan, 5th century B.C. Bronze H: 30.4 cm (11.9 in)

254 — Lion

G2001. 10 35577

Etruscan, 6th century B.C. Bronze L: 5.4 cm (2.1 in)

This tall, single-handled jug has a pyriform body and long-beaked spout with an everted rim. The high-fluted, beaded handle terminates in two conical buds at the rim and in an inverted palmette surmounted by a volute foliate motif at the base.

The figurine of a recumbent lion was probably an appliqué attached to a tripod, candelabrum, or vessel. The anatomical parts are rendered both sculpturally and linearly: the face is incised with stippled details, and the mane with an incised flame pattern. There is a lifelike characterization to the animal. The lion's head turns left, the ears are pointed and folded back, and the tail curls between the left leg and up over the flank.

Provenance Sotheby's New York, 17 December 1996, lot 73; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 17 December 1996.

Provenance Ex- Donati collection, Lugano, Switzerland, 1984; Christie’s, New York, 8 June 2001, lot 60.

The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 8 June 2001.

268

269

P. 268

P. 269

258 — Discobolus

G2000.11 35548

Etruscan, late 6th century B.C. Bronze H: 9.7 cm (3.8 in) The athletic youth advances, preparing to throw the discus he holds in his right hand as supported by the left.

His well-developed musculature expresses the tension of the action. His face has a prominent chin and large, wide-set almond-shaped eyes. Long hair is bound in a fillet and falls in a broad flaring plait over his shoulders in the back. Mounted on a circular base, this statuette was probably the finial of a candelabrum or the lid of a cauldron. It is solid cast and superbly cold-worked.

Provenance Ex- Nicolas Koutoulakis collection; Ex- Christos G. Bastis (1904-1999) collection, New York, acquired prior to 1987; The Gilbert collection, Cambridge, Massachusetts, acquired in London, 29 May 2000.

Exhibited and Published Antiquities from the Collection of Christos G.Bastis, catalogue of the exhibition at The Metropolitan Museum of Art, New York, 1987, p. 212, no. 120.

Games for the Gods: the Greek Athlete, Museum of Fine Arts, Boston, July 20, 2004 - November 28, 2004, p.

87 and 176, no. 48.

259 — Antefix representing a dancer

Dioscuri. Known in the Etruscan culture under the names of Castur and Pultuce. They were associated with horsemanship, worshipped as patrons of travelers and sailors, and considered great benefactors. The statuette may have been an ex-voto in their shrine.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 19 December 1995.

262 — Head of a youth Etruscan, 5th century B.C. Terracotta H: 26.9 cm (10.5 in)

G1994.2 35477

The expression seen here is solemn, with full bow-shaped lips below prominently lidded almond-shaped eyes and pigmented black pupils. While the clay was still raw, strands of hair were deeply incised along the front and sides, and a rolled fillet subsequently styled to bind around the head. Other pigments may have colored the rest of the face (given the remaining coloration of the pupils). Despite his straight nose, the slight overall asymmetry of the features suggests the head was portrayed from life. It may have been part of a statue or votive offering to the gods, thus placed in the respective sanctuary or temple.

Provenance Sotheby’s, New York, 8 June 1994, lot 179; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 8 June 1994.

G1997.22 35440

Etruscan, ca. 500 B. C. Terracotta H: 50.3 cm (19.8 in) - W: 26.6 cm (10.5 in)

263 — Standing man

This antefix of Etruscan origin features a rich pigmentation, which granted the piece an element of grace.

The form takes the shape of a young woman who appears to dance: diadem and rich clothes compose her outfit (a coat just behind her head, a shawl with multiple zigzags and long chiton). Her gesture indeed suggests movement, since she raises the sides of her garment with her left hand, while one can assume that her right hand, now lost, would have been straightened upwards.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 3 July 1997.

G2003.2 35676

Italic, Umbro-Picenean, 5th century B.C. Bronze H: 7 cm (2.7 in) Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Cologne, 7 February 2003.

264 — Worshipper

G2001.37 35589

Etruscan, early 5th century B.C. Bronze H: 11.9 cm (4.7 in)

260 — Head of a bull

G1996.6 35623

Villanovan, 10th century B.C. Bronze H: 6.7 cm (2.6 in)

The slim nude figure of a youth has elongated proportions, standing with one leg advanced. He represents a worshipper, as his arms are placed as if making an offer (probably once holding a gift in his right hand). The modeling is fluid while the hair and the hairband are incised. Long tenons beneath his soles correspond to the casting channels, indicating the attachment to the original base was made separately.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Zurich, 16 May 1996.

261 — Horse tamer

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 25 June 2001.

G1995.48 35499

265 — Oinochoe

Etruscan, 6th century B.C. Bronze H: 5.6 cm (2.2 in)

G1995.19 35782

Italic, Villanovan, 7th century B.C. Terracotta H: 26.7 cm (10.9 in)

A rearing horse and his young tamer make for an imposing statuette. The youth is clad in a short tunic while he holds the bridles. His rigid posture provides a strong contrast to the opposing movements, balancing the composition against the joint of the long tail and hind legs of the horse on one side. This duality ensures the equilibrium of the statuette. The tamer can be identified as one of the twin brothers, sons of Zeus (Tinia), called

Provenance Sotheby’s, London, 6 July 1995, lot 49; The Gilbert collection, Cambridge, Massachusetts, acquired in London, 6 July 1995.

270

271

P. 270

P. 271

266 — Worshipper Italic, ca. 700 B.C. Bronze H: 10.8 cm (4.2 in)

G2001.87 35595

the plumage and gives the vase all its volume to illustrate the globular body of this aquatic bird, accustomed to being left to float on the water.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 24 November 1995.

The male figure stands with his head turned upward and his hands projected in the gesture of worship. The shapes are schematically reproduced featuring the elongated torso and disproportional neck. At the top of his head is a polos, headgear shaped as a cylinder, ringed at the summit, with his long hair collected in a tress at the neck. The modeling emphasizes the facial features, with the prominent chin suggesting traces of a lost beard.

Exquisite detail continues with the genitalia and nipples; the fingers and toes are also articulated. Two grooves form a cross on the back, while a vertical one follows the spine to very prominently divided buttocks.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 19 October 2001.

267 — Amphora

271 — Polychrome-painted kyathos Italic, Daunian, ca. 525 – 475 B.C. Terracotta H: 14.7 cm (5.79 in)

G2002.12 35606

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 16 October 2002.

G1995.12 35780

272 — Amulet

Italic, 7th century B.C. Terracotta H: 11.43 cm (4.5 in)

G2001.57 35737

Mesopotamian, ca. 3500 B.C. – 3000 B.C. Alabaster L: 3.1 cm (1.22 cm) - H: 3.1 cm (1.22 cm)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 31 may 1995.

268 — Bucchero olpe

This amulet is made of flat, heart shaped alabaster and pierced vertically. There are two indentations, possibly representing eyes on an abstract animal’s face.

G1995.39 35784

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 20 June 2001.

Etruscan, 7th century B.C. Terracotta H: 24 cm (9.4 in)

273 — Cuneiform tablet

269 — Bucchero oinochoe

G1994.10 35778

Near Eastern, ca. 1865 – 1804 B.C. Clay L: 6.3 cm (2.4 in) – W: 5.1 cm (2 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 24 November 1995.

G1995.13 35781

Etruscan, 7th century B.C. Terracotta H: 17 cm (6.7 in) - W: 13.2 cm (5.2 in)

With 7 lines of Sumerian, which can be translated: "Sin-kashid, Mighty Man, King of Uruk, King of the Amnanum, built his royal palace. A typical propaganda document, issued during the struggle between the city states in the period which followed the fragmentation of the Sumerian empire. Sin-kashid was of Ammorite descent and the Amnanum an Amorite tribe of bedouin.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 8 September 1994.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 31 May 1995.

274 — Jug

270 — Askos with a duck’s head

G1995.38 35496

Daunian, ca. 550-400 B.C. Terracotta H: 11.5 cm (4.3 in)

The Iapyges, a population which occupied the Apulian part of southern Italy before the arrival of the first Greek settlers, gave us a most interesting ceramic production. Proof is this askos, a vase intended to serve liquids, with a mouth on the top and a large spout with a filter on the side. It features a duck's head, as seen by the shape of the beak, extending to show the tail of the animal along the spout. The rich polychrome still emphasizes

G1995.5 35779

Cypriot, ca. 1800 – 1650 Terracotta H: 14.6 cm (5.7 in) Juglet with spherical body decorated in black, mottled to tan, in Pendent Line Style. The body has groups of four verticals divided by a single wavy line: wide horizontals at shoulder and round neck and a band of zig-zag on the handle.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 16 May 1995.

272

273

P. 272

P. 273

275 — Flask with cut-away spout

G1995.6 35558

Cypriot, ca. 1050 – 950 B.C. Terracotta H: 12 cm (4.7 in)

280 — Torso of a bearded Man

G1995.35 35688

Near Eastern, 2nd millennium B.C. Terracotta H: 7 cm (2.76 in)

Provenance Ex- Ascher collection; The Gilbert collection, Cambridge, Massachusetts, acquired in London, 16 May 1995.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 24 November 1995.

281 — Amulet

276 — Jar

G1995.43 35786

Sumerian, ca. 3000 – 2500 Terracotta H: 9.1 cm (3.6 in)

G2000.61 35710

Sumerian, ca. 3200 B.C. – 3000 B.C. Stone L: 3.8 cm (1.5 in) The base is carved with an image of an Ibis.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 19 December 1995.

277 — Beaker

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 21 October 2000.

G1995.42 35785

282 — Red-polished bowl

Anatolian, ca. 3000 B.C. Terracotta H: 7.3 cm (2.9 in)

G2000.14 35650

Cypriot, ca. 2000 – 1725 Terracotta D: 14 cm (5.5 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 19 December 1995.

278 — Seated lion

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 29 May 2000.

G2000.66 35449

283 — Vessel

Late Uruk, 3300 – 3200 B.C. Pink limestone H: 14 cm (5.5 in)

G1998.6 35793

Sumerian, ca. 3000 B.C. Terracotta H: 6.3 cm (2.5 in) - D: 11.9 cm (4.7 in)

A majestic, powerful statuette of a lion sits with its front legs straightened, appearing stately and impressive despite its small size. The thick mane, whose details were probably painted, surrounds the neck and shoulders.

The forehead, beard and eyes retain black pigment, with some traces of red pigment still around on the mouth.

The precision and realism of the statuette were aided by the fact that lions still populated the near eastern region at that time, and that the artists thus likely had a living example. Parallels include minor Late Uruk pendants and the famous Gebel el Arak knife at the Louvre.

G1999.10 35794

Sumerian, ca. 3100 – 2890 B.C. Marble H: 3.1 cm (1.2 in) Provenance Sotheby’s, New York, 10 June 1999; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 10 June 1999.

284 — Fertility deity

G1994.8 35482

Near Eastern, ca. 2000 – 1800 BC Terracotta H: 13.6 cm (5.4 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 4 December 2000.

279 — Cylinder seal

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 16 August 1998.

Modeled by hand, the eyes, breast and frontal diadem of a woman were rendered by pierced clay pellets. She wears a thick collar and a belt tied on the pubis, standing on tiptoes. This statuette was designed to be placed horizontally or inserted into a support. Many variants of similar votive statuettes included figured deities; others would have been women dedicating their own likeness.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 8 June 1994.

274

275

P. 274

P. 275

285 — Round seal

G1995.41 35619

Bactrian, 3rd – 2nd millennium B.C. Bronze D: 6.7 cm (2.6 in) Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 24 January 1995.

286 — Cuneiform tablet

290 — Kneeling worshipper Late Uruk, ca. 3200 – 2900 B.C. Limestone H: 12 cm (4.72 in)

G2000.47 35462

This rare statuette is a magnificent testimony to the devotion of a woman who lived five thousand years ago.

She holds a flat object in front of her chest as she kneels, wrapped in a long tunic, though the lower part of her legs and her little feet are carved in detail under the body. This worshipper is among the earliest pieces of evidence of a typical Near Eastern cultural tradition to offer one's own image in a sanctuary to perpetually honor a particular deity.

G1994.9 35777

Near Eastern, ca. 1910 – 1840 B.C. Clay L: 3.5 cm (1.3 in) – W: 4.1 cm (1.6 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 22 October 2000.

A legal document of 18 lines, recording that Kishrum-nala owes to Enisharu 15 shekels of silver, 2 sacks of barley and 1 sack of wheat. The debt has to be repaid at the next harvest and the grain must be handed over at "'the meadows of Kunu-il". The shekel was the equivalent of just over 8 grams.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 8 September 1994.

291 — Cylinder seal with a standing man

G1997.14 35792

Akkadian, ca. 1400 – 1100 B.C. Stone H: 2.9 cm (1.1 in)

A standing male figure wearing a long fringed robe and five lines of inscription.

287 — Cylinder seal with a banquet scene

G1997.10 35692

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 29 March 1997.

Sumerian, ca. 2600 B.C. – 2334 B.C. Lapis lazuli H: 2.9 cm (1.14 in) - D: 1 cm (0.39 in)

292 — White slip bowl

G1996.16 35626

Cypriot, ca. 1550 – 1415 B.C. Terracotta H: 10.1 cm (3.9 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 29 March 1997.

'Milk bowl' in White Slip 1 ware with wish-bone handle and palm trees.

288 — Rattle

G2000.79 35718

Hacilar, 6th millennium B.C. Terracotta H: 11.1 cm (4.37 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 8 September 1996.

The hollow rattle is lentoid in form, with a single ring handle along one edge, a small round perforation below the handle, and burnished red and cream-colored decoration of chevrons arranged in a cruciform pattern, with small pebbles on the interior to function as a rattle.

Provenance Ex- Crescent Gallery, Tokyo; Christie's, New York, 7 December 2000, lot 662; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 7 December 2000.

289 — Red-polished ware bowl with a spout

Cypriot, ca. 2000 B.C. Terracotta D: 19 cm (7.4 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 29 May 2000.

293 — Cup

G1998.7 35637

Sumerian, ca. 3000 B.C. Copper H: 8.1 cm (3.2 in) Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 16 April.

G2000.13 35649

294 — Amulet of recumbent bull

G2002.20 35764

Sumerian, ca. 3000 B.C. – 2800 B.C. Marble L: 3.81 cm (1.5 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Munich, 23 October 2002.

276

277

P. 276

P. 277

295 — Seated baboon

G2003.3 35766

Sumerian, 4th – 3rd millennium B.C. Bronze L: 2.54 cm (1 in) - H: 2.3 cm (0.91 in)

Central Anatolia. Before being deposited in the tomb, these precious vessels were used in daily life as drinking vessels or, during certain rites, as cult objects. The vessel is shaped to be held in one hand from the back to pour out liquid.

Provenance Sotheby's, London, 6 July 1995, lot 248; The Gilbert collection, Cambridge, Massachusetts, acquired in London, 6 July 1995.

Weight in the form of a baboon with lead filling.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Munich, 7 February 2003.

296 — Cylinder seal with two seated Gods

300 — Bowl with a spout G1997.12 35790

Akkadian, ca. 2279 – 2255 B.C. Green serpentine H: 3.2 cm (1.2 cm)

Sumerian, ca. 3200 B.C. Marble D: 13.9 cm (5.4 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Paris, 16 October 2001.

Two seated gods and a table with two vessels in between.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 29 March 1997.

297 — Deity or priestess

G2001.91 35666

301 — Macehead G1994.5 35480

Near Eastern, ca. 2000 – 1800 B.C. Terracotta H: 22 cm (8.7 in)

G2000.4 35798

Old Babylonian, 2nd millennium B.C. Haematite H: 4.4 cm (1.7 in) Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 17 May 2000.

This statuette likely represents a woman: larger than average, the head is pointed like a bird’s, the bust is flat, and a tubular body is modeled without demarcations for her legs. A tiara, earrings and the opulent necklace indicate that she was an important female figure—perhaps a deity or a priestess. Mesopotamian votive figurines were characterized by this formal simplicity. As with all objects from this category, it is believed to provide an important account of the Mesopotamian popular devotion of the era.

Provenance Sotheby's, New York, 8 June, 1994 lot 276; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 8 June 1994.

298 — Bowl

302 — Red ware kylix

G2001.12 35659

Cypriot, ca. 750 – 650 B.C. Terracotta D: 30.1 cm (11.8 in) Provenance Christie’s, New York, 8 June 2001, lot 126; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 8 June 2001.

G1995.26 35833

Hacilar, 5th Millennium B.C. Terracotta H: 7.6 cm (2.99 in) - D: 20.9 cm (8.23 in)

303 — Cylinder seal with a contest scene

G1997.13 35791

Akkadian, ca. 2234 – 2154 B.C. Green serpentine H: 3 cm (1.2 in)

Provenance Ex- Sloane private collection; The Gilbert collection, Cambridge, Massachusetts, acquired in London, 7 July 1995.

A contest scene and a rare representation of a hero (hunter) with a bow aiming at a Gazelle in a field.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 29 March 1997.

299 — Phiale with omphalos

G1995.23 35489

Anatolian, Phrygian, 8th century B.C. Bronze H: 15.6 cm (6.1 in)

304 — Amulet of a pregnant woman

This phiale, characterized by hemispheric cuts, and generally without handles, was probably molded and then worked by hammering. Beyond the rounded body, a large omphalos, a highly significant mound, adorns its center. The decoration is simple but very aesthetic, limited to eight thick concentric nets that punctuate the interior of the container. It is a rare type of cut, of which the best parallels come from the Phrygian tumuli of

G2002.19 35763

Sumerian, ca. 3000 B.C. Marble H: 2.54 cm (1 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Munich, 23 December 2002.

278

279

P. 278

P. 279

305 — Cylinder seal

G2000.10 35699

Cypriot, 16th – 14th century B.C. Haematite H: 2.6 cm (1 in)

309 — Frustoconical cup

G2001.104 35601

Bactrian, ca. 2000 B.C. Veined alabaster H: 9 cm (3.5 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 29 May 2000.

306 — Engraved shell with the head of horus

G2000.48 35459

Phoenician, ca. 7th century B.C. Tridacna Shell, garnet and gold inlaid eyes H: 10.2 cm (4 in) - W: 18.1 cm (7.1 in)

The form of the container of this frustoconical cup is supported by a small circular base. Its impressive, perfected shape is due to the very thin walls and vivid decoration, the latter of which is derived primarily from the natural polychrome of the stone. The exterior stonecutting was chosen from a larger alabaster, before digging and scrubbing to arrive at obtaining a magnificent, one-of-a-kind result, impossible to duplicate.

As early as the Neolithic Period, stone vessels occupied a very important economic place in preservation, rituals, and gift exchanges in the Near East and Egypt.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 1 December 2001.

The sensitivity of this engraved shell, most likely used as a luxurious cosmetic palette, is the work of a true master. Maintaining the natural semi-circular shape of the shell, the sculptor gracefully incised the body of the falcon (representing the Egyptian god Horus) concluding with the raptor’s head carved on the umbo, the garnet eyes in gold rims are eyes impressively intact. An exceptional figural scene fills the inner face of the shell, depicting a herd with four rams moving in a Nilotic landscape. This scene is especially spectacular, not least because this portion was almost always treated with exclusively geometric designs. This object is incredibly rare; only a few examples survive, and almost none in this condition.

310 — Cylinder seal with a bird-man

G1997.11 35789

Akkadian, ca. 2279 B.C. – 2255 B.C. Black stone H: 3.4 cm (1.34 in) - D: 2.2 cm (0.87 in)

Carved in monumental style with a bird-man brought before the water god Ea. Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 22 October 2000.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 29 March 1997.

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, pp. 93-95, no. 38. Museum of Fine Arts, Houston, Texas, 12 February - 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005; GLUEK, G., From Myth to Life: Images of Woman from the Classical World, The New York Times, August 20, 2004, p. B28; COSTELLO, K., Feminine mystique: Ancient objects provide look at roles of women throughout time, Herald Tribune, September 16, 2005, p. 27; HENRY, A., Designing Women, The Tampa Tribune, September 18, 2005, p.11-12; Classic Beauties, Tampa Weekly Planet, September 18, 2015, p.6.

307 — Necklace

311 — Lion seal

G1998.14 35638

Bactrian, ca. 2000 B.C. Bronze L: 6.6 cm (2.5 in) Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 18 July 1998.

G2000.70 35658

Bactrian, ca. 2200 B.C. – 1900 B.C. Gold and Turquoise L: 43.8 cm (17.24 in)

312 — Spherical jug

Strung as a necklace composed of small ringlets of gold interspersed with turquoise beads, with two small diskshaped pendants and a drop-shaped pendant.

The jug has a spherical body set on a ring base with a double-reeded handle. Its slender neck tapers slightly to the trefoil lip, encircled with bands. Decoration continues with a complex grouping of concentric circles, the largest intersecting each other and forming panels at the front and sides of the body. At the center of each circle is a group of wider bands supported by miniature versions of the same motif. The frontal panel on the shoulder also contains a fish.

Provenance Christie's, New York, 6 December 2000, lot 20; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 6 December 2000.

308 — Cylinder seal with seated women and eye idols Sumerian, 3200 B.C. – 3000 B.C. Yellow stone H: 3.5 cm (1.38 in) - D: 2cm (0.79 in)

G2000.12 35549

Cypriot, ca. 750 – 600 B.C. Terracotta H: 21.6 cm (8.5 in)

G1997.9 35691

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 29 May 2000.

Bow drilled with two seated women above mats, worshipping eye-idols in a field.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 29 March 1997.

280

281

P. 280

P. 281

313 — Abstract couple

Canaanite, 2nd millennium B.C. Bronze H: 13.3 cm (5.2 in)

318 — Head of a bull Near Eastern, ca. 3000 B.C. Bronze H: 4.3 cm (1.7 in)

The man and woman are characterized by abstract and simple forms without any volume. Despite this stylization and the absence of relief, these few details suffice for the sculptor to accentuate the sexual connotation of the group. The figures stand adjoined at the base: the man passes his left arm behind the neck of his companion, as the woman places her hand on her own chest. Archaeologically speaking, this ensemble is one the rarest examples of groups of two or more people in Levantine bronze figure production from the beginning of the Middle Bronze Age.

The small head, cast in bronze on a core using the lost wax technique, belonged to a larger bull statue that may have been composite. Despite its current state, one can still appreciate the remarkable artistic quality of its many sculptural nuances and finely incised elements. Several Near Eastern sanctuaries would have offered animal figurines, which the faithful dedicated to the different deities as "substitutes" for the animals of sacrifice.

Their presence was considered as a symbolic, perpetual offering to the deity. Some cuneiform lettering is seen on the right shoulder.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 24 November 1995.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 24 November 1995.

G1995.32 35491

314 — Mask of Humbaba the Terrible

G1999.24 35647

Old Babylonian, ca. 1900 – 1750 B.C. Terracotta L: 11.4 cm (4.4 in)

G1997.5 35516

The decoration is unusually complex and covers almost the whole surface. Each side has, at its center, a large rosette, which is surrounded by two bands of elaborate ornament, separated by a circle of guilloche. Under the handle, which is in solid black, is what appears to be yet another, if more stylized, variation of the lotus theme, with a column of three linked flowers, the center of each crosshatched, and the whole pointing downwards. An unusual feature is that the neck is also crosshatched.

G1996.7 35624

Anatolian, ca. 19th – 17th century B.C. Terracotta L: 12.7 cm (5 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 23 February 1997.

320 — Amulet

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 16 May 1996.

316 — Necklace

319 — Flagon

Cypriot, ca. 750 B.C. – 650 B.C. Terracotta H: 34.1 cm (13.43 in)

Provenance Christie’s, New York, 9 December 1999, lot 505, The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 9 December 1999.

315 — Bull head rhyton

G1995.33 35492

G2005.1 35771

Sumerian, ca. 3200 B.C. – 2900 B.C. Aragonite H: 2.54 cm (1 in) G2001.80 35804

Sumerian, ca. 2600 – 2400 B.C. Gold, carnelian L: 38.1 cm (15 in) Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 31 August 2001.

Provenance Christie's, New York, 20 December 2005; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 20 December 2005.

321 — Pazuzu pendant

G2000.74 35715

Neo-Assyrian, 8th – 7th century B.C. Jasper H: 5.1 cm (2.01 in)

317 — Earrings

G2000.68 35713

Near Eastern, 3rd Millennium B.C. Gold L: 4.4 cm (1.73 in)

Provenance Christie's, New York, 6 December 2000, lot 197; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 6 December 2000.

Each made from a tapering wire formed into a loop, one end hammered into a funnel, the other end with a small hook which passes through a perforation at the rim of the funnel.

Provenance Ex- Crescent Gallery, Tokyo; Christie's, New York, 6 December 2000, lot 4; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 6 December 2000.

282

283

P. 282

P. 283

322 — Piglet amulet

G2002.10 35758

Proto-Sumerian, 4th millennium B.C. Limestone L: 5.25 cm (2.07 in) The underside has a representation of two animals.

G2002.8 35757

Phoenician, 6th century B.C. Alabaster L: 5.8 cm (2.28 in) - H: 4.1 cm (1.61 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Geneva, 4 December 2000.

328 — Phiale with incised detailing

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 31 October 2002.

Exhibited and Published From Myth to Life: Images of Women from the Classical World, Smith College Museum of Art, Northampton, Massachusetts, 12 March – 10 October 2004, p. 92, no. 37. Museum of Fine Arts, Houston, Texas, 12 February 31 July, 2005; Tampa Museum of Art, Florida, 18 September - 3 December 2005.

324 — Female statuette

G2000.64 35455

The rectangular base of this exquisite and extremely important masterpiece is decorated as a building with doors, windows and several friezes—an architectural motif sometimes called the hut design due to a resemblance to the large reed huts and mats commonly seen in the marshlands of southern Mesopotamia. On the upper part, a frustoconical stem and two large rings are known as an eye idol. The presence of this idol certainly brings the viewer closer to the ancient religious world, even if its exact delineation is unknown.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 31 October 2002.

323 — Pomegranate

327 — Eye idol atop an architectural structure Proto-Sumerian, 3rd millennium B.C. Chlorite H: 25.4 cm (10 in)

G1995.40 35497

Graeco- Phoenician, 5th century B.C. Terracotta H: 40 cm (15.7 in)

G1994.4 35479

Phoenician, 8th – 7th century B.C. Bronze D: 17.5 cm (6.9 in)

This phiale presented with a tondo, a rounded center, is adorned with a head seen in profile. All decorations are entirely incised and include three friezes of Egyptizing motifs (sphinxes with Nilotic bouquets, rams with arched horns, vultures) which were particularly fashionable among contemporary Phoenician craftsmen. As is often the case with Phoenician precious objects, metallic phiales are scattered throughout the Mediterranean world, from the Levantine coast to the territories of present-day Spain.

Provenance Sotheby's, New York, 8 June 1994, lot 258; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 8 June 1994.

This statuette, of which the style and the forms are largely influenced by Greek art, has been shaped in a bivalve mold. She represents a woman in apparent adolsecence, dressed in a long chiffon without a belt, but rich in very elaborate folds. The forearms once extended towards the viewer but are now lost, and certainly carried objects—perhaps offerings. She would have had earrings and a head ornament. The statuette appears to be from an important group of Phoenician terracottas found off the shores of the Phoenician city of Tyre.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 24 November 1995.

329 — Bull head amulet

G2000.58 35707

Sumerian, ca. 2500 B.C. – 2400 B.C. Limestone H: 3.2 cm (1.26 in) Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 21 October 2000.

325 — Necklace

G2000.69 35657

Sumerian, 2nd millennium B.C. Gold, carnelian, banded agate, amethyst L: 49.5 cm (19.4 in)

330 — Acephalus statuette

Provenance Christie’s, New York, 6 December 20000, lot 5; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 6 December 2000.

326 — Lion head seal

G2000.59 35708

Sumerian, ca. 3200 B.C. – 3000 B.C. Green stone L: 4.5 cm (1.77 in) Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 21 October 2000.

G2000.31 35552

Near Eastern, Neolithic, 6000 – 4000 B.C Porphyry H: 8.1 cm (3.2 in) This object is very particular, first and foremost due to the stone used: very hard to carve, porphyry was rarely used during this early era, where the exploitation of metals was just beginning. Perfectly adapted to the grip of a hand, this small stone represents an acephalus, or headless pregnant female body. The head was made separately, and the base is flat, without indication of legs. The accentuation of the rounded forms classify this image within the “idol” category, in relation to beliefs on fertility often evoked for feminine figures of the Neolithic period.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Paris, 23 June 2000.

284

285

P. 284

P. 285

331 — Ceremonial axe

G1997.2 35515

Bactrian, ca. 2000 B.C. Arsenical bronze H: 7.6 cm (3 in)

Despite its small size, this axe is remarkable due to its weight and solidity. Its contour is sinuous and perfectly balanced. The blade is formed in a half-moon with an unsharpened edge, the vertical and elliptical opening serving as the handle, while the heel produces, in a still smaller size, the same shape as the blade.

The tool belongs to an important group attributed to Bactrian workshops, which comprised of linear examples, but also of zoomorphic axes or blades decorated with mythological and figurative scenes. More than real field weapons, these tools are considered votive or ceremonial offerings.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 15 February 1997.

332 — Seated Baboon

regular metal. On the back, the blade is completed by a magnificent carved group representing a man mastering a wild beast, in which one would be tempted to recognize the hero of the Near Eastern mythology, Gilgamesh, fighting against a lion.

Provenance Ex- US private collection, California; Ex- Katz collection, New York; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 15 February 1997.

Exhibited Metropolitan Museum of Art, New York, 1990.

336 — Tripod bowl Syrian, 7th – 6th Millennium B.C. Rock crystal H: 3.5 cm (1.38 in)

G1999.9 35460

G2000.89 35719

Old Babylonian, 2nd millennium B.C. Haematite H: 3.5 cm (1.38 in)

Provenance Ex- Gawaine McKinely collection, London and Paris; Ex- Breitbart collection, New York; Sotheby's, New York, 5 June 1999, lot 86; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 5 June 1999

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 11 December 2000.

333 — Amulet of a bound captive

Exhibited The Metropolitan Museum of Art, New York, 1986-1999 G2001.78 35751

Proto-Sumerian, ca. 3000 B.C. Stone H: 3.7 cm (1.46 in)

337 — Cylindrical bowl

The captive is kneeling, while his hands are bound to his feet behind his back. His arms are broken. Sculpted in the round, in an angular fashion, the head is tilted back, his arms, in relief, are bent backwards and tied to his feet and buttocks, while his belly protrudes in front. His pointed beard and hairstyle (cap) indicate that he is a foreigner. The pupils are drilled. This amulet was probably worn by a high military officer.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 31 August 2001.

334 — Cylinder seal with spiral design

G1997.23 35521

Bactrian, 3rd millennium B.C. Chlorite L: 6.7 cm (2.6 in) Cut with great skill, the bowl is a simple cylinder without handles, then applied to a slightly concave base. It is entirely patterned with scales in slight relief, which represent a mountainous landscape. Identified by what is known as the intercultural style, this container belongs to a large group of vases found throughout the Near East.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 23 June 1997.

G2000.73 35802

Syrian, ca. 1850 – 1700 B.C. Haematite H: 5.7 cm (2.2 in)

338 — The sun goddess, Arinna Hittite, 14th – 13th century B.C. Stone H: 6.4 cm (2.5 in)

Provenance Christie’s, New York, 6 December 2000, lot 196; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 6 December 2000.

335 — Axe with Gilgamesh fighting a lion

G2000.81 35568

G1997.1 35514

Bactrian, ca. 2000 B.C. Arsenical bronze H: 9.2 cm (3.6 in)

This bronze axe should not be considered a weapon but more as a ceremonial object of decoration. It was cast in bronze with arsenic: this technology, relatively common in Western Asia during the third millennium B.C., aimed to either partially or completely replace the tin alloy with arsenic, resulting in a more resistant and

The statuette represents a female figure seated on a large rectangular bench, whose arms move forward as her hands holds two goblets, just in front of her chest. Her eyes, made of another material, show evidence of being present. The forms are generally stylized and a little naive: the circular face of the woman, with the severe expression, is surrounded by a large disk that probably represents the sun. Due to these traits on other similar figurines, we can reasonably recognize in the character of this figure as Arinna, the main Hittite deity, the sun goddess.

Provenance Ex- Crescent Gallery, Tokyo; Christie's, New York, 7 December 2000, lot 695; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 7 December 2000.

286

287

P. 286

P. 287

339 — Duck weight

G2000.39 35561

Babylonian, 8th – 7th century B.C. Green diorite H: 12 cm (4.7 in) - W: 16.5 cm (6.5 in) Weight: 2209.6 g (12.1 lbs) This carved stone weight depicts a duck with a truncated tail, his head turned backward as his bill rests on his back. Many animal species (goats, cattle, hedgehogs, etc.) were used as weights, but since the third dynasty of Ur and throughout the second millennium, the duck became the most frequent form. Despite the minimal difference, this object corresponds to a weight of five mines (a mine is equal to 442 grams). Some examples reveal an inscription indicating the name of a god or king, therefore guaranteeing the accuracy of how much it weighed.

G2001.76 35431

The work is composed of two elements: the frustoconical body and two large rings that justify the name of eye idol attributed to this type. The image of the eye symbolized by these "glasses" would reproduce the wonder of the believer before the sacred appearance of the deity. That their significance was likely aligned with the religious sphere has been discussed since Agatha Christie's husband, archaeologist Max Mallowan, discovered the first copies.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Geneva, 31 August 2001.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 4 August 2000.

340 — Ritual bowl with assembly scene

343 — Eye idol Near Eastern, 3500 – 3000 B.C. Red quartzite H: 14 cm (5.5 in)

344 — Lama figure (Human headed bull) G2002.1 35427

Bactrian, mid- 3rd millennium B.C. Steatite H: 5.8 cm (2.2 in)

This simple cylindrical bowl is decorated with five seated male characters appearing to participate in an assembly. Though four figures are typologically similar (in attitude, fashion and hairstyle), a leader among them differs. Only he is turned left to face the group, wearing a large necklace. The others lift their left arms in his direction as the chief raises his cup to drink.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 28 January 2002.

G2001.6 35444

Sumerian, Early Dynastic, 2500 – 2400 B.C. Indurated limestone H: 7.5 cm (2.9 in) - W: 13.5 cm (5.3 in)

This important figure was modeled in the form of a bull with a human head and the legs folded under the body, and a cubic element which serves to insert it into a statue or the arm of a throne. The ergonomic contour indicates that this was probably the final part of the installation, eventually sculpted for the armrest of a statue. Mesopotamian lama dieties were kind, protective spirits associated with the great sun god Shamash. An Assyrian king called upon lama dieties to "turn back an evil person, guard the steps, and secure the path of the king who fashioned them." They have a long tradition in Sumerian and Akkadian iconography, where it appears most often as protector of herds and as a tree of life.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 7 June 2001.

341 — Torso of a deity

G2001.77 35594

Western Asiatic, 1st millennium B.C. Bronze H: 33.5 cm (13.2 in) This hollow cast bronze woman dressed in a long tunic to her knees, held together by a thick belt folds her arms towards her chest and with her hands she touches her breasts. Her wrist is adorned with bracelets and her neck with a thick necklace. Although there is no precise element to establish the identity of the figure, her hand is positioned in an old iconographic tradition. This gesture suggests the woman was in close touch with the world of fertility, and is therefore possibly a deity.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 31 August 2001.

342 — Anthropoid sarcophagus lid

G2001.19 35660

Canaanite, ca. 14th – 13th century B.C. Terracotta H: 38.1 cm (15 in)

The hand-modeled life-sized head has a pointed chin, a small smiling mouth, and a large nose, the almondshaped eyes within raised lids, the forehead ridged and the ears angled forward, wearing a thick round fillet, his short hair rendered by rows of impressed finger-sized indentations.

Exhibited and Published The Centaur’s Smile: The Human Animal in Early Greek Art, Princeton University Art Museum, 11 October 2003 – 18 January 2004; Museum of Fine Arts, Houston, Texas, 22 February – 16 May 2004; PADGETT J.M., et al., The Centaur’s Smile: The Human Animal in Early Greek Art, Princeton, 2003, pp. 108-110, no. 1.

345 — Seated female deity

G2001.26 35436

Phoenician, 14th – 13th century B.C. Silver H: 14.8 cm (5.8 in) The female figure is seated on a throne, wearing a long rich tunic with a large central fold and belt cinched at the waist. In her left hand, she likely once held scepter. She wears a conical, high tiara decorated with wavy features in which one can discern serpents and stylized horns, thus identifying the woman as a deity. The use of silver is a testament to the importance of this statuette in ancient times, and these statuettes were generally deposited in a sanctuary to either serve as a votive offering or simply as a representational image.

Provenance Sotheby’s New York, 12 June 2001, lot 123; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 12 June 2001.

Provenance Christie’s, New York, 8 June 2001, lot 357; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 8 June 2001.

288

289

P. 288

P. 289

346 — Mask of a composite figure

G2001.1 35445

Sumerian, 3rd millennium B.C. Limestone, lapis lazuli, marble H: 7.4 cm (2.9 in) - W: 6.7 cm (2.6 in)

351 — Cylinder seal Near Eastern, ca. 3200 B.C. Rock crystal H: 2.5 cm (0.9 in)

G1999.12 35796

This stunning mask, which is likely to have belonged to a figure of an orant, a type of religious prayer iconography well-known in Mesopotamian art, has its marble eyes and etched lapis eyebrows made individually and affixed separately (probably with the help of bitumem). The face, of great artistic quality, is sculpted in the round. It shows traits characteristic of contemporary Mesopotamian sculptures, such as the profile of the nose, the shape of the eyebrows, the rounded cheekbones and the slight smile.

Provenance Sotheby’s, New York, 10 June 1999; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 10 June 1999.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 21 June 2001.

352 — Cylinder seal

347 — Hedgehog

G1999.13 35797

Near Eastern, ca. 650 B.C. Stone H: 2 cm (0.7 in) G2000.51 35706

Old Babylonian, ca. 2000 B.C. – 1500 B.C. Haematite W: 2.5 cm (0.98 in)

Provenance Sotheby’s, New York, 10 June 1999; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 10 June 1999.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 21 October 2000.

348 — Grasshopper amulet

353 — Stamp seal G2000.50 35705

Old Babylonian, ca. 2000 B.C. – 1500 B.C. Haematite L: 6.85 cm (2.7 in)

G2001.52 35733

Sumerian, ca. 3500 B.C. – 3000 B.C. Stone H: 2.2 cm (0.87 in) - L: 1.9 cm (0.75 in) Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 20 June 2001.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 21 October 2000.

354 — Stamp seal

349 — Head of a griffin

G1998.8 35532

Assyrian, 1st millennium B.C. Soapstone H: 4.8 cm (1.9 in) The typology and style of this magnificently detailed head recalls the protective demons of Assyrian palaces.

It belonged to a statue of a griffin, a modern term of Greek origin, which is attributed to a mythological hybrid, generally composed of the body of a winged lion and the head of an eagle. Occasionally, the winged human body replaces the form. Appearing in the Near East during the 2nd millennium B.C., the griffin had already been known in the Mycenaean Greek world.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 16 April 1998.

G2001.53 35734

Mesopotamian, ca. 3500 B.C. – 3000 B.C. Marble H: 1.5 cm (0.59 in) Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 20 June 2001.

355 — Stamp seal

G2001.54 35735

Mesopotamian, ca. 3500 B.C. – 3000 B.C. Marble H: 1.24 cm (0.49 in) - D: 3.1 cm (1.22 in) Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 20 June 2001.

350 — Head pendant

G2001.85 35806

Assyrian, 8th – 7th century B.C. Stone L: 2 cm (0.7 in)

356 — Stamp Seal

A roaring lion’s head is carved in low relief. His open mouth memacing, while the lines around his face accentuate his expression.

G2001.55 35736

Mesopotamian, ca. 3500 B.C. – 3000 B.C. Alabaster H: 1.2 cm (0.47 in) - D: 2.2 cm (0.87 in) Beautiful alabaster pierced on the longer diameter and the flat side has a pattern of 10 indentations.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 31 August 2001.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 20 June 2001.

290

291

P. 290

P. 291

357 — Duck weight stamp seal

G2001.56 35838

Mesopotamian, 3500 B.C. - 3000 B.C. Grey chalcedony H: 1.54 cm (0.61 in) - L: 2.18 cm (0.86 in) Pierced under the neck for suspension. Flat base is engraved with abstract image of a tree.

G1997.8 35690

Sumerian, ca. 3200 B.C. – 3000 B.C. Pink marble H: 2.3 cm (0.91 in) - D: 2.4 cm (0.94 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 29 March 1997.

359 — Lion head amulet

G2000.78 35567

The "idol", of miniature size and pierced through the stomach, represents a seated woman, with rounded and abundant forms comparable to those of so-called "steatopygous" figures of the Neolithic era. These were supposed to be in close relation (or to represent) the Mother Goddess, a great mythological figure protecting the fertility of animals and fields alike. She would have been venerated in a region very vast and varied, from the Near East to West-Central Europe.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 20 June 2001.

358 — Cylinder seal with animals

363 — Mother goddess Anatolian, Neolithic, 6th millennium B.C. Stone H: 2.7 cm (1.1 in)

Provenance Christie's, New York, 7 December 2000, lot 661; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 7 December 2000.

364 — Amphora

G1998.9 35693

Sumerian, ca. 3300 B.C. Obsidian L: 3.8 cm (1.5 in)

G1997.34 35634

Western Sichuan, 3rd – 2nd century B.C. Terracotta H: 31 cm (12.2 in) Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in Amsterdam, 26 October 1997.

Black obsidian amulet with a lion head in one direction and an eagle’s beak in the other, pierced for suspension.

365 — Hand of Buddha

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 16 April 1998.

360 — Seal of a Recumbent Lion

G1997.4 35631

Southeast Asian, 13th century Bronze L: 25 cm (9.8 in) G2000.60 35709

Sumerian Stone L: 2.85 cm (1.12 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 15 February 1997.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 21 October 2000.

361 — Cylinder seal

366 — Jar G1999.11 35795

Old Babylonian, 2nd millennium B.C. Haematite H: 2.3 cm (0.9 in)

G1998.18 35639

Chinese, Neolithic, ca. 3000 B.C. Terracotta H : 42.5 cm (16.7 in) Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in London, 20 October 1998.

Provenance Sotheby's, New York, 10 June 1999; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 10 June 1999.

362 — Cylinder seal

367 — Sa Huynh pendant G2000.72 35801

Sumerian, Early Dynastic, ca. 3200 – 3000 B.C. Marble H: 2.8 cm (1.1 in) Engraved with a temple facade with a gateway, a gatepost to the left together with a standing nude hero with a sword in one hand, holding a small quadruped in the other, to their left a stag.

G1999.17 35695

Vietnamese, 5th – 1st century B.C. Stone W: 5.08 cm (2 in) Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 17 October 1999.

Provenance Christie’s, New York, 6 December 2000, lot 192; The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 6 December 2000.

292

293

P. 292

P. 293

368 — Bracelet

G1999.5 35644

Southeast Asian, ca. 1500 – 500 B.C. Jade D: 16.8 cm (6.6 in) This large jade flanged bracelet had remnants of ancient repair, and would have been worn both as decoration and as a weapon.

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 25 May 1999.

369 — Earrings

Credits G2001.58 35738

Southeast Asian, Thailand, 4th – 1st century B.C. Glass H: 4.1 cm (1.61 in) - L: 4.7 cm (1.85 in)

Selection of objects Walter and Celia Gilbert, Cambridge, Massachusetts

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 18 April 2001.

Project manager Alexander Gherardi, New York

New York

Hicham Aboutaam Alexander Gherardi Alexander V. Kruglov

Research Phoenix Ancient Art, Geneva Antiquities Research Center, New York 370 — Earring

G1999.18 35696

Southeast Asian, ca. 1st millennium B.C. Jade H: 5.2 cm (2.05 in)

Photography Stefan Hagen, New York

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 17 October 1999.

371 — Earrings

Graphic design mostra-design.com, Geneva

G2000.38 35704

T +1 212 288 7518 F +1 212 288 7121 E info@phoenixancientart.com

Geneva

Printing CA Design, Hong Kong

Southeast Asian, Thailand, 4th – 2nd century B.C. Glass L: 6.7 cm (2.64 in)

Electrum, Exclusive Agent for Phoenix Ancient Art S.A. 47 East 66th Street New York, NY 10065, USA

Ali Aboutaam Michael C. Hedqvist

Print run 600 English

Phoenix Ancient Art S.A. 6, rue Verdaine - P.O. Box 3516 1211 Geneva 3, Switzerland

ISBN 978-0-9906200-3-7

T +41 22 318 80 10 F +41 22 310 03 88 E paa@phoenixancientart.com

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 2 August 2000.

www.phoenixancientart.com ©2019 Phoenix Ancient Art SA

372 — Bead in the shape of a monkey

G2000.63 35712

Vietnamese, Bronze Age, 1000 B.C. Rock crystal L: 1.9 cm (0.75 in)

Provenance The Gilbert collection, Cambridge, Massachusetts, acquired in New York, 26 October 2000.

294

295

P. 294

P. 295

296

P. 296