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Art of the Ancient World Greek, Etruscan, Roman, Eg yptian, & Near Eastern Antiquities

Celebrating our 66th Anniversary

Volume XIX - 2008

royal-athena galleries new york


No. 85 - Art of the Ancient World - Vol. XIX - January 2008 We are pleased to issue this catalog celebrating our 66th anniversary of dealing in classical numismatics and our 54th year of dealing in ancient art. It illustrates in full color 240 selected antiquities priced from $1,500 to over $2,000,000. This publication is one of a continuing series primarily illustrating new acquisitions featured in our New York and London galleries, where over two thousand fine works of art are on permanent display. All of the antiquities in this catalog are displayed at our New York gallery, the largest and most extensive collection of the ancient arts ever exhibited for sale. In addition to the many masterworks of ancient art, there is a wide variety of fine items on display priced from $100 to $1,000 and up, including Greek and Roman coins, Old Master prints and drawings, and antique Egyptian prints and photographs, perfect for the beginning collector or for that very special gift. A few of the pieces illustrated may not be available since they were sold while the catalog was in preparation, but a number of other newly acquired objects will be on display in our New York gallery and on our website:, updated weekly.

We unconditionally guarantee the authenticity of every work of art sold by Royal-Athena Galleries. ©2007 Jerome M. Eisenberg, Inc. Composed and printed in the United States of America.

Every object purchased by our galleries has been legally acquired. If imported by us into the United States, we have done so in compliance with all federal regulations and have given full consideration to all international treaties governing objects of cultural importance. Antiquities priced at $10,000 or more are now checked and registered with the Art Loss Registry in London. All of our objects are clearly labeled with complete descriptions and prices. Condition reports on all the objects are available upon request. We encourage browsing and are happy to assist and advise both the amateur and the serious collector. We urge our prospective clients to ‘shop around’, for we are proud of our quality, expertise, and competitive pricing. Appointments may be arranged outside of regular gallery hours for clients desiring privacy. Updated price lists for our catalogs are available upon request. For terms and conditions of sale see the inside back cover. COVER PHOTOS Attic red-figure column krater by the Suessula Painter. Ca. 420-390 BC. H. 17 1/4 in. (44 cm.); p. 59, no. 128. Back cover: Large Roman bronze Men Ca. 2nd Century AD Total H. 16 1/8 in. (41 cm); p. 28, no. 55. Text and catalog design by Jerome M. Eisenberg, Ph.D., and F. Williamson Price Photographs by Brent M. Ridge

We will be exhibiting at Palm Beach! Fine Art & Antique Fair, Palm Beach, February 1-10, 2008 TEFAF, The European Fine Arts Fair, Maastricht, The Netherlands, March 7-16, 2008 BAAF Brussels, The Brussels Ancient Art Fair, Brussels, Belgium, June 5-10, 2008 BAAF Basel, The Basel Ancient Art Fair, Basel, Switzerland, November 7-12, 2008 (Check our website to confirm the dates)

royal-athena galleries established 1942 153 East 57th Street New York, NY 10022 Tel.: (212) 355-2034 Fax.: (212) 688-0412 Monday-Saturday, 10 - 6

Jerome M. Eisenberg, Ph.D. Director

VISIT OUR WEBSITE, updated weekly with our latest acquisitions:

Royal-Athena at Seaby 14 Old Bond Street London W1S 4PP UK Tel.: (44) 207-495-2590 Fax.: (44) 207-491-1595 Monday-Friday, 10 - 5

Art of the Ancient World Greek, Etruscan, Roman, Byzantine, Eg yptian, & Near Eastern Antiquities

Table of Contents CLASSICAL ART Greek Marble Sculptures Roman Marble Sculptures Roman Mosaics Greek Bronze Sculptures Etruscan Bronze Sculptures Roman Bronze Sculptures, etc. Images of Warfare, Helmets, and Arms Ancient Bronze Vases Greek Terracottas Etruscan and Roman Terracottas Early Greek Vases Attic Black-figure Vases Attic Red-figure Vases South Italian Vases Etruscan and Roman Vases Roman Glass Classical Gold & Silver Objects Classical Gold Jewelry

2 5 20 23 24 25 39 42 43 44 46 49 53 60 63 65 66 69


70 71 73

EGYPTIAN ART Egyptian Stone Sculptures and Reliefs Egyptian Bronze Sculptures Egyptian Wood Egyptian Terracotta Egyptian Faience Egyptian Ushabtis Egyptian Gold & Silver Egyptian Varia NEAR EASTERN ART

75 82 85 87 87 88 89 90 91

COLLECTING ANCIENT ART 94 ROYAL-ATHENA GALLERIES 94 Expertise and Ethics 95 Royal-Athena Galleries Catalogs Inside back cover

Photos above: Roman marble statue of Aphrodite. 1st-2nd Century AD. H. 55 in. (140 cm); p. 6, no. 10. Roman marble head of Odysseus. 1st-early 2nd Century AD. Total H. 19 1/2 in. (49.5 cm.); p. 10, no. 17.


1 GREEK MARBLE HEAD OF A YOUNG WOMAN OR MAENAD wearing a fillet across her brow, her hair wrapped in a sphendome; ears pierced. Asia Minor, 4th-3rd Century BC. H. 5 1/8 in. (13 cm.) Ex Mavrogodato family collection (1870-1948), Istanbul and Therapia (Tarabya), Turkey.

Greek Marble Sculptures

2 HELLENISTIC MARBLE HEAD OF ALEXANDER THE GREAT, his very long curly hair centrally parted with an anastole; with a rounded face and a serious expression. The head has a small hole with traces of metal remaining, indicating that he once had a diadem or wreath attached. Ca. 2nd Century BC. H. 6 3/4 in. (17.2 cm.) 3 HELLENISTIC MARBLE CYBELE, ENTHRONED The Great Mother Goddess holds a patera in her right hand, a tympanon at her left. She wears a polos on her head, a belted chiton, and a himation. A lion reclines on her lap. 3rd-2nd Century BC. H. 5 in. (12.7 cm.) Ex Maurice Nahman collection, Paris, ca. 1953.


4 LIFE-SIZE HELLENISTIC MARBLE HALF STATUE OF A GODDESS, PROBABLY PERSEPHONE OR DEMETER, wearing a chiton, her himation over her head (capite velato). Asia Minor, ca. 325-250 BC. H. 35 3/8 in. (90 cm.) Ex Gregoire Couturier collection, DelĂŠmont, Switzerland, acquired before 1960.9Persephone was the daughter of Zeus and Demeter, goddess of agriculture.


5 HELLENISTIC MARBLE HEAD OF AN ATHLETE, his head turned to the right; from a relief. 2nd-1st Century BC. H. 4 1/2 in. (11.5 cm.) Ex Jean-Marie Talleux Collection, Grand Fort Philippe, France. Published: J. Eisenberg, Art of the Ancient World, vol. IX, 1997, no. 11. 6 HELLENISTIC MARBLE HEAD OF A GODDESS, PROBABLY ISIS, wearing a fillet. 3rd-2nd Century BC. H. 3 1/2 in. (9 cm.) Ex old French ambassadorial collection. Isis was the protectress and patroness of women and the model of conjugal love and motherhood. 7 HELLENISTIC MARBLE HEAD OF APHRODITE (VENUS), goddess of erotic love. 1st Century BC. H. 4 1/2 n. (11.4 cm.) Ex French collection 8 HELLENISTIC MARBLE HEAD OF APHRODITE ANADYOMENE from a statue depicting her wringing her hair as she emerges from the sea. 3rd-2nd Century BC. H. 4 1/8 in. (10.5 cm.) Ex French collection, acquired ca. 1970.


Roman Marble Sculptures 9 ROMAN MARBLE NUDE AMPHITRITE RIDING A HIPPOCAMP She is seated upon a himation which billows up behind her like a wave. 1st-2nd Century AD. H. 15 1/4 in. (39 cm.); L. 22 1/2 in. (57.5 cm.) Acquired in Italy in the later 18th century by the Duke of Arenberg, Brussels; ex collection of Prof. Michel de la Brassine, L端ttich, Belgium; M.B. collection, Westlake Village, California. Published: M端nzen und Medaillen, Basel, XII, 1961, no. 28; J. Eisenberg, Art of the Ancient World, vol. XV, 2004, no. 28. 18th Century restorations, probably by the workshop of Bartolomeo Cavaceppi, include the head of the hippocamp, its tail fin, and its forelegs. Amphitrite was one of the sea nymphs known as Nereids. She was the daughter of Nereus and Doris and wife of Poseidon.


10 ROMAN MARBLE NUDE APHRODITE (VENUS), wearing a diadem; a swag of drapery falling behind and onto the tree trunk support. 1st-2nd Century AD. H. 55 in. (140 cm.) Ex French private collection; John Kluge collection, Charlottesville, Virginia. Published: J. Eisenberg, Art of the Ancient World, vol. IV, 1985, no. 238 . Antique restorations.


11 ROMAN OVER LIFE-SIZE MARBLE STATUE OF AN EMPRESS AS DEMETER, wearing a chiton and a himation draped about her shoulders, and a diadem upon her head. The physiognomy and coiffure are very much like those of Domitia, the wife of emperor Domitian, of whom this is most probably a likeness. Ca. AD 80-96 H. 75 in. (190 cm.) Ex Collection of HSH the Prince of Liechtenstein; Dino Fabbri, Milan-Paris; John Kluge collection, Charlottesville, Virginia. The surface of the garments was reworked in the 19th century. Published: J. Eisenberg, Ancient Roman Marble Sculpture, 1983, p. 4; Art of the Ancient World, vol IV, 1984, no. 258; Art of the Ancient World, vol IX, 1997, no. 4. Cf. the portrait of Domitia in V. Poulsen, Les portraits romains, Glyptotheque Ny Carlsberg, Copenhagen, 1974, vol. 2, no. 13.

Domitia Longina, born ca. AD 53, was the youngest daughter of a Roman General and Consul, Gnaeus Domitius Corbulo. Before AD 70, she married Lucius Aelius Plautius Lamia Aelianus, but Domitian, according to Suetonius, became infatuated with her and forced her to divorce and then married her. In AD 81, upon the death of his brother Titus, Domitian became Emperor and Domitia was granted the title of Augusta. Always referring to herself as the emperor’s wife even decades after Domitian’s death, she remained an important personality in Rome until her death sometime before AD 126 when a temple was dedicated to her in Gabii.


12 ROMAN MARBLE DEEP BUST OF A TRITONESS being grasped from above by the hair by a giant. From a large group sculpture. Ca. 2nd Century AD. H. 14 1/8 in. (36 cm.) The tritoness was a sea creature with the head of a woman, her torso ending in two fish tails. 13 ROMAN MARBLE STATUE OF PIETAS SACRIFICING, at her right is a columnar altar with flames. In her left hand is a small incense box. She wears a tall polos over her long flowing hair. A chiton is belted at her waist and a himation is wrapped about her body. 1st-2nd Century AD. H. 26 3/8 in. (67 cm.) Ex German private collection since the mid-1970s. Pietas was the personification of piety and religious devotion. 14 ROMAN MARBLE HEAD OF A YOUTH carved from Thasian marble, with thick, wavy hair. 1st Century AD. H. 10 5/8 in. (27 cm.) Ex Van der Burgh collection, the Netherlands. Cf. J. Herrmann, Thasos and the Ancient Marble Trade: Evidence from American Museums, Getty Museum, 1990, pp. 87-90, fig. 27.


15 ROMAN MARBLE HEAD OF ALEXANDER THE GREAT, his expression upward and to his left. His luxuriant hair of tosselled locks and the open mouth give an impression of pathos. 2nd Century AD. H. 11 1/4 in. (28.5 cm.) Ex English private collection since 1980. Cf. a similar head from Pergamon in the Archaeological Museum in Istanbul, inv. no. 1138.

16 ROMAN MARBLE HEAD OF ALEXANDER THE GREAT wearing a fillet; a hole in the top for the insertion of an attribute. 2nd Century AD. H. 3 1/2 in. (9 cm.)


17 ROMAN MARBLE HEAD OF ODYSSEUS (ULYSSES), bearded and wearing an ornately decorated pilos helmet. This relief decoration starts at the top with a rosette, then a corona of rays, a frieze of rosettes, a frieze of erotes, and a frieze of palmettes and lotus blossoms. Late 1st-early 2nd Century AD. Total H. 19 1/2 in. (49.5 cm.) Ex collection of Lord Bristol, acquired in the 18th century; Elderay collection, ca. 1920. The significant 18th Century additions include the nose, the rear left part of the face, part of the helmet, the bust, and the base. They were probably done by Bartolomeo Cavaceppi (1716-1799) or his studio. Odysseus was the Greek king of Ithaca and a hero of the Trojan war. He figures prominently in Homer’s Illiad, and the tenyear adventurous return home from that war to his faithful wife Penelope is the subject of Homer’s epic, the Odyssey. Reknowned for his resourcefulness, Homer uses the epithet ‘the cunning’ in both poems.

A magnificent drawing by the celebrated German artist Johann Heinrich Wilhelm Tischbein (1751-1829), now in the Deutsches Literaturarchiv in Marbach, depicts seven heroes celebrated by Homer in the Iliad and the Odyssey. These heroes were drawn after ancient busts that Tischbein saw during his lengthy stay in Naples at the end of the 18th century. The bust, which is identified as Odysseus in a description published in 1801, is in the center of the composition shown at right. Tischbein based his painting of ‘Odysseus and Penelope’ (1802) on this sculpture, then in the possession of Lord Bristol, who allowed Tischbein to draw it at that time. Our thanks to the Deutsches Literaturarchiv in Marbach for allowing us to reproduce this drawing.



18 ROMAN MARBLE HEAD OF ATTIS He wears a Phrygian cap over his filleted curly hair. Ca. 1st Century AD. H. 12 1/2 in. (32 cm.) Ex collection of Pierre Vérité, Paris, begun in the 1920s; by descent, the collection of Claude Vérité, his son. Cf. a pilaster relief representing the god Attis, 2nd AD, from Toul, in the Musée Lorrain, Nancy, France. A life-death-rebirth deity, he was the consort of Cybele and driver of her lion-drawn chariot. 19 ROMAN MARBLE DEEP BUST OF THE ATHENIAN PHILOSOPHER SOCRATES, 469-399 BC. Depicted late in life, bearded and balding, wearing only a himation draped loosely over each shoulder. 1st-2nd Century AD. H. 24 in. (61 cm.) Ex old French collection. 20 ROMAN MARBLE BUST OF A BEARDED PHILOSOPHER, his head crowned with vine leaves. Ca. 2nd Century AD. H. 18 in. (45.7 cm.) Ex Sir Francis Sacheverell Darwin, Sydnope Hall, Two Dales, Matlock, Derbyshire, England, acquired in the early 19th century. F. S. Darwin authored a book: Travels in Spain and the East: 1808-1810, last published by Cambridge University Press in 1927.


21 ROMAN MARBLE HEAD OF A YOUTH, POSSIBLY AN EARLY DEPICTION OF NERO being crowned emperor by his mother, Agrippina the younger, her fingers visible behind his right ear, or a victorious athlete being crowned. Mid-1st Century AD. H. 8 3/4 in. (22.2 cm.) Ex French collection; private collection, Woodland Hills, California. 22 ROMAN MARBLE HEAD OF AGRIPPINA, THE ELDER, WIFE OF GERMANICUS, and mother of Caligula; daughter of Agrippa and Augustus’ daughter Julia. Born in Greece in 14 BC, she married Germanicus in AD 5; he died in AD 19. In AD 26 the emperor Tiberius refused to allow her to leave Rome, had her arrested, and then exiled her to the island of Pandotoria, where she was starved to death in AD 33. Ca. AD 20-40. H. 5 1/2 in. (14 cm.) Ex German collection.


23 ROMAN MARBLE PORTRAIT HEAD OF MENANDER, ca. 342-293 BC, the comic playwright. He has short hair falling in curls at his forehead, deep-set eyes, and strong, angular jaw. Reputedly from Ostia. Later 1st Century AD. H. 9 3/4 in. (25 cm.) Ex Jovy Collection, Cologne. Published: W. R. Megow, Antiken aus Rheinischem Privatbesitz, Rheinisches Landesmuseum, Bonn, 1973, no. 359, pl. 164. Lacking the back of the head; possibly from a relief. Menander was one of the founders of the so-called New Comedy. His first play was ‘Ogre,’ written in 321 BC, and over the next 20 years he wrote 100 additional comedies. Though not greatly appreciated in his lifetime, his reputation grew throughout the early Roman Imperial period. Plutarch wrote of him, Plautus and Terence imitated him, and Ovid thought him “worthy of immortality.”

24 ROMAN MARBLE HEAD OF THE SPINARIO (‘THORN-PULLER’) after a Hellenistic prototype of the 2nd century BC. 1st-2nd Century AD. H. 6 1/4 in. (15.9 cm.) Ex French private collection, acquired ca. 1970. For a bronze herm bust of the same type see: J. Eisenberg, Gods and Mortals II: Bronzes of the Ancient World, 2004, no. 55. See also similar heads in the Antikenmuseum, Basel, and the Allard Pierson Museum, Amsterdam.


25 ROMAN OVER LIFE-SIZE MARBLE HEAD OF THE EMPEROR DOMITIAN (AD 81-96.) Sensitively carved of Greek marble with large open eyes, over-hanging upper lip, small lower lip, and delicate curls. Lacking ears, which were inserted separately. Greece or Asia Minor, later 1st Century. H. 15 3/4 in. (40 cm.) Very fine style. Ex old European collection, 19th century or earlier; J.B. collection, Switzerland, acquired in the 1970s. Titus Flavius Domitianus was a member of the Flavian Dynasty, being the son of Vespasian by his wife Domitilla, and brother of Titus, whom he succeeded on 14 October, AD 81, at the age of 30. Born in Rome, as a child he studied rhetoric and literature, publishing some of his writings on law and administration. In his biography Suetonius describes him as a learned and educated adolescent, with elegant conversation. Unlike his brother, Titus, who was much older, Domitian did not join his father's campaigns in the African provinces and Judaea. As emperor he proved to be a poor administrator, lackluster military commander, and a notorious womanizer.


16 26 ROMAN MARBLE HEAD OF A WOMAN, possibly a portrait of Marcia Otacilia Severa, wife of Philip I, or a contemporary. Ca. AD 245-250. H. 10 5/8 in. (27 cm.) Ex old collection of M. de W., France. Severa was a member of the ancient gens Otacilius who were people of consular and senatorial rank. Severa’s father was Otacilius Severus, who served as Roman Governor of Macedonia and Moesia. In AD 234 she married Marcus Julius Philippus who became emperor, as Philip I, in AD 244. He had great respect for the Roman Senate and bestowed Severa with the honorific title of Augusta. 27 ROMAN MARBLE HEAD OF A BEARDED MAN wearing a fillet, knotted in front; from a relief. Ca. 3rd Century AD. H. 10 3/4 in. (27.3 cm.) Ex collection of Sir Francis Sacheverell Darwin, Sydnope Hall, Two Dales, Matlock, Derbyshire, England, acquired in the early 19th century. F.S. Darwin authored a book: Travels in Spain and the East : 1808-1810, last published by Cambridge University Press in 1927.

28 ROMAN MARBLE HEAD OF THE EMPEROR HADRIAN (AD 117-138) Earlier 2nd Century AD. H. 14 1/8 in. (36 cm.) Cf. Glories of the Past, Ancient Art from the Shelby White and Leon Levy collection, Metropolitan Museum of Art, New York, 1990, p. 211, no. 152; K. de Kersauson, Catalogue des portraits romains, vol. II, MusĂŠe du Louvre, Paris, 1996, p. 117 - 131, nos. 48 - 54. Ex French collection. Hadrian was a man of extraordinary talents; certainly one of the most gifted emperors that Rome ever produced. He became a fine public speaker, and was a student of philosophy and other subjects, who could hold his own with the luminaries in their fields. He wrote both an autobiography and poetry but it was through his passion for architecture that he left his greatest mark. Hadrian was probably the most traveled emperor spending so little time in Italy, compared with abroad, that his governmental policies at home play a lesser role in consideration of his entire principate.


29 ROMAN MARBLE HEAD OF ATHENA (MINERVA), the virgin goddess of wisdom, of war, and of the arts and crafts, wearing a helmet of Attic type, the high crest supported by two winged lions. 1st-2nd Century AD. H. 5 5/8 in. (14.5 cm.) Ex Belgian private collection, acquired ca.1950; French private collection. 30 ROMAN MARBLE HEAD OF FLORA, goddess of flowers and the season of spring. 2nd Century AD. H. 11 1/4 in. (28.6 cm.) Ex private collection, Amityville, New York. Her festival, the Floralia, was held in April or early May and symbolized the renewal of the cycle of life, marked with dancing, drinking, and flowers. Her Greek equivalent was Chloris. Flora was married to Favonius, the wind god.


31 ROMAN MARBLE MONOPODIUM (TABLE LEG) OF A ROARING PANTHER emerging from a palmette. 2nd Century AD. H. 15 7/8 in. (32.7 cm.) Ex American collection; English collection. 32 ROMAN MARBLE STELE OF A WOMAN RECLINING UPON A COUCH (kline). Her hair is set in tiers of tight curls in the style of Julia Titi, daughter of the Emperor Titus. She wears a long chiton, and in her left hand she holds a wreath. Inscribed in Greek: Leontos' (wife) age 33, farewell. Ca. AD 80-100. H. 15 3/4 in. (40 cm.) Ex Swiss collection, acquired in 1980. 33 ROMAN MARBLE RELIEF OF HERAKLES STEALING THE CATTLE OF GERYON, one of his twelve Labors. The nude hero brandishing a club is flanked by two bulls. Ca. AD 270. L. 38 1/2 in. (93 cm.); H. 33 7/8 in. (83 cm) Ex Lepine collection, 19th century; M. M. collection, Paris, acquired in 1975.


34 ROMAN MARBLE CINERARIUM COVER, the corners carved with palmettes, the central triangular pediment with a relief of Eros riding a hippocamp. 1st-2nd Century AD. H. 5 7/8 in (15 cm); W. 12 1/2 in. (32 cm); D. 11 7/8 in. ( 30 cm.) Ex French collection.

Roman Mosa ics

35 ROMAN ROUND MOSAIC DEPICTING THE HEAD OF DIONYSOS (BACCHUS) within a floral tondo. 2nd-3rd Century AD. D. 26 in. (66 cm.) Ex collection of Henri Boucher (1847-1927), France, Minister of Commerce from 1886-98.


36 ROMAN MOSAIC PANEL CENTERING THE HEAD OF DIONYSOS (BACCHUS) god of wine and vegetation. 2nd-3rd Century AD. L. 47 1/2 in (120.7 cm.); H. 18 1/4 in (46.4 cm.) Ex H.W. collection, New York 37 ROMAN MOSAIC: ZEUS AS AN EAGLE ABOUT TO ABDUCT GANYMEDE The eagle, with spread wings, grasps the nearly nude Trojan prince, who holds the god’s spear, from off a rocky outcrop. North Africa, 2nd Century AD. H. and W. 31 1/8 in. (79 cm.) Ex English private collection, acquired in the 1960s.


38 GREEK GEOMETRIC BRONZE COLT Olympia, ca. 750 BC. L. 2 3/4 in. (7.2 cm.) Ex Eric de Kolb collection, New York; acquired 1984. Cf. W.-D. Heilmeyer, Olympische Forschungen XII, 1972, pl. 42, no. 346.

Greek Bronze S cul ptu res

39 GREEK BRONZE CRESCENTIC FORM APPLIQUE with griffin head termini, the summit of the arch surmounted by a handle-shaped scroll flanked by birds of prey with incised feather detail; one griffin head restored. Late 7th Century BC. W. 4 in. (10cm.) Ex German private collection assembled in the 1980s. 40 HELLENISTIC BRONZE HEAD OINOCHOE with a trefoil mouth, depicting a young woman, hair swept back, and wearing a chain diadem; eyes originally inlaid. Found near Beirut, Lebanon (ancient Berytus, Phoenicia). 1st Century BC - 1st Century AD. H. 4 7/16 in. (11.3 cm.) Published: J. Eisenberg, Art of the Ancient World, vol. IV (1985), p. 105, no. 298. 41 HELLENISTIC BRONZE HERAKLES, NUDE, WRESTLING THE NEMEAN LION, the animal’s forepaws grappling the hero about the waist, its head firmly gripped under his left arm. Probably from Alexandria, early 2nd Century BC. H. 4 in. (10.2 cm.) Published: J. Eisenberg, Art of the Ancient World, vol. IX, 1997, no. 43.


42 HELLENISTIC BRONZE NUDE HERAKLES. The hero, weary after completing his Labors, is depicted leaning against a support. Ca. 1st Century BC. H. 6 7/8 in. (17.6 cm.) Ex French collection. After the original by Lysippos in the 4th Century BC. The support is a modern addition. 43 HELLENISTIC BRONZE ROUNDEL OF A GODDESS, PROBABLY ARTEMIS (DIANA), goddess of the hunt. The laureate head, in high relief, turning to the right, the chiton clad bust bears a baldric diagonally across her chest. North Africa, 2nd-1st Century BC. H. 5 in. (12.7 cm.)


Etruscan Bronze Sculptures 44 ETRUSCAN BRONZE RECUMBENT RAM Probably from a tripod. 6th Century BC. L. 3 1/8 in. (8 cm.) Ex English antiquarian.

45 UMBRIAN BRONZE KORE (TURAN) Hands to her sides, wearing a chiton and a conical cap with wavy hair flowing over her back. Early to mid-6th Century BC. H. 3 1/2 in. (8.8 cm.) Rare type. Olive green patina. Ex collection of Dr. David Landau, Newton, Massachusetts; acquired in Boston, January 1992. Published: J. Eisenberg, Art of the Ancient World, vol. VIII, 1995, no. 30. 46 UMBRIAN BRONZE KORE (TURAN) wearing a conical headdress, left hand on hip, right hand outstretched; long loose garment incised with dots. Ca. 500 BC. H. 3 1/8 in. (7.9 cm.) Ex English collection; J. S. collection, Shelby, Michigan. Exhibited: Picker Art Gallery, Colgate University, 1986-2003; George Mason University, 2003-2007. Published: J. Eisenberg, Gods & Mortals, 1989, p. 10, no. 25. 47 ETRUSCAN BRONZE SPHINX SEATED ON HER HINDQUARTERS probably a vessel foot; both left paws are restored. Very fine style. Ca. 4th Century BC. H. 3 in. (7.6 cm.) Ex P. Richardson collection, Waterford, Michigan. Exhibited: Ball State University Art Museum, 1996-99.


48 ETRUSCAN BRONZE CISTA HANDLE OF TWO NUDE YOUTHS, PROBABLY THE DIOSCUROI, standing frontally, each with one arm on the other’s shoulder. Possibly from Palestrina. Late 5th Century BC. H. 3 3/8 in. (8.7 cm.) Ex French collection.

Roman Br onze Sculptures

49 ROMAN BRONZE PEDIMENT FROM A LARARIUM with a pyramidal crown above a dentil cornice. Atop the apex is a figure of a draped youth wearing a fillet, above each corner, an eagle. Right eagle restored. 1st-2nd Century AD. W. 17 in. (43 cm.); H. 11 3/8 in. (29 cm.) Ex Georgiades family collection, London, formed in the 1970s. Published: J. Eisenberg, Art of the Ancient World, vol. XII, 2001, no. 80. The lares were the personification of the spirit of the household and images of them along with those of the master and mistress of the house would be displayed beneath this pediment for veneration.


50 ROMAN BRONZE ARES (MARS), god of war, wearing full armor and holding a shield and spear. 2nd-3rd Century AD. H. 2 3/4 in. (7 cm.) Ex French collection. 51 ROMAN BRONZE MARS ULTOR, wearing a helmet and full armor, his raised left hand once held a spear. In fine style. Based upon the statue in the Temple of Mars Ultor in the Roman Forum. 1st-2nd Century AD. H. 3 1/2 in. (9 cm.) Ex German collection. 52 ROMAN BRONZE NUDE HERMES (MERCURY), messenger of the gods, patron of travelers, athletes, and merchants, wearing a winged petasos, a chlamys on his shoulder, and holding a money purse. Hermes was not only the messenger of the gods but also the god of business and commerce. Anatolia, 2nd Century AD. H. 3 in. (7.6 cm.) Ex J. F. collection, Loveland, Ohio, acquired from Royal-Athena in 1986. Exhibited: Ohio State University, 1986-90; Picker Art Gallery, Colgate University, 1990-2007.


53 ROMAN BRONZE NUDE ZEUS (JUPITER), HOLDING A THUNDERBOLT; in his left hand he once held a scepter. A himation is draped over his left shoulder and he stands with his weight on his right leg; after the original Greek sculpture by Myron, ca. 450 BC. 1st Century AD H. 4 3/8 in. (11 cm.) According to the 1st century BC Greek geographer Strabo (XIV, 637), the original was part of a group depicting Athena recommending to Zeus that the hero Herakles be allowed entry to Olympus. The original was set up on the island of Samos but was removed by Marc Antony; Augustus later returned the Athena and Herakles but set up the Zeus on the Capitoline. While there is a large-size marble copy of the returned pair in the Munich Glyptothek, only small copies of the Zeus remain with the exception of a torso from the Marcellus theater in Rome. See: B. Vierneisel-Schlรถrb, Glyptothek Munich. Catalog of the Sculptures 2, 1979.


54 ROMAN BRONZE STANDING NUDE ZEUS, his right leg advancing, and his right arm outstretched to support an eagle. His raised left hand once clenched a spear or thunderbolt; on ancient bronze spindle base. 1st Century AD. H. 6 7/8 in. (17.5 cm.) Superb olive green patina. Ex European collection acquired in the 1970s. This work is based on a Greek original ca. 420 BC.

55 LARGE ROMAN BRONZE MEN, THE ANCIENT MOON GOD OF ANATOLIA; lacking the lunar crescent tips on his shoulders. His right arm is raised to support a spear, his extended left hand holding a pine cone, and his foot resting upon the severed head of a bull, with an eagle, separately cast, at his feet; all resting upon the original bronze pedestal base. He wears a Phrygian cap, an ankle-length, long-sleeved garment tied at the waist, and a long cloak; his eyes are inlaid with silver. A superb sculpture. Ca. 2nd Century AD. H. of figure 10 1/4 in. (26 cm.); with stand 16 1/8 in. (41 cm.) Ex J.-P. A. collection, Brussels. The spear is a later replacement.


Sculptural depictions of this deity are extremely rare. For a cruder version see a similar statue in the Rijksmuseum, Leiden, Netherlands, published in J. Godwin, Mystery Religions in the Ancient World. Men was worshipped as far back as the 3rd millenium BC. One of the Men cult's most important centers was the ancient city of Antiocheia. The temple there can be dated to the 4th century BC.


30 56 ROMAN LARGE BRONZE FITTING APPLIQUE: ATALANTA AND MELEAGER during the hunt for the Caledonian boar. She is depicted nude, holding a spear, and standing by her horse. At the right is Meleager, nude but for a chlamys, also holding a spear. The metaphor alluded to here is fated love. The pair are flanked by the griffins of Nemesis. Small rivet holes for attachment remain. 3rd Century AD. L. 11 3/8 in. (29 cm.) A very rare mythological subject, especially in bronze. Atalanta was a hunting companion of Artemis (Diana). Meleager, son of Oeneus, King of Calydon, was one of the fabled Argonauts; it was he who killed the Calydonian boar. 57 GALLO-ROMAN BRONZE ROSMERTA OR MAIA, consort of Esus/Hermes, the goddess standing and holding a phiale filled with fruit in her right hand, and wearing a long chiton with overfold, and himation, her eyes with recessed pupils and remains of silver overlay, her wavy hair parted in the center, bound in a diadem, tied in a chignon, and surmounted by wings and a stephane. A very rare deity. Ca. 2nd Century AD. H. 6 1/16 in. (15.5 cm.) For two related bronze figures of a goddess, each with wings emerging from her hair, a very rare feature on representations of female deities, see Musée Bargoin, Clermont-Ferrand, inv. no. 57-54-1 (S. Boucher, "Quelques figurines de bronze: Rosmerta, parèdre de Mercure, et autres divinités gauloises,” Alba Regia, vol. 21, 1984, p. 35, no. 1, pl. 17.1; G. Bauchhenss, ‘Rosmerta,’ LIMC, vol. VII, p. 647, no. 27); Musée Rolin, ‘Autun’, inv. no. 333 V 91 (P. Lebel and S. Boucher, Musée Rolin, Bronzes figurés antiques, Paris, 1975, p. 61, no. 89; S. Boucher, op.cit., pl. 17.2, idem; Récherches sur les bronzes figurés de Gaule pré-romaine et romaine, Rome, 1976, p. 162; Bauchhenss, op. cit., p. 647, no. 28).

58 ROMAN BRONZE ATHENA PROMACHOS, in archaistic style, striding and wielding a missing spear in her right hand, a shield formerly held in her left hand, and wearing a long chiton, a himation draped over her right shoulder and across the aegis, and a Corinthian helmet with fragmentary crest, her hair falling in two tresses over the front of the shoulders and in a long plait down the back. 1st Century AD. H. 4 11/16 in. (12 cm.) Ex American private collection, acquired prior to 1980. 59 ROMAN BRONZE ATHENA (MINERVA), GODDESS OF WISDOM wearing her aegis with gorgoneion and a mantle over a long peplos, and high crested helmet; her right hand originally held a spear and, perhaps, an owl in the left hand. 1st-2nd Century AD. H. 5 3/4 in. (14.7 cm.) Ex J. F. collection, Loveland, Ohio. Published: J. Eisenberg, Art of the Ancient World, vol. IV, 1985, p. 102, no. 285. Exhibited: Ohio State University 1985-90; Picker Art Gallery, Colgate University, 1990-07. For a nearly identical example see H. Walters, Catalogue of the Bronzes in the British Museum, 1899, pl. 29, no. 1042. 60 ROMAN BRONZE STATUETTE OF TYCHEFORTUNA, goddess of fortune and destiny, wearing a diadem with a tall polos, and holding a cornucopia; her right hand once held a rudder. 1st-2nd Century AD. H. 4 1/4 in. (10.8 cm.) Ex J. F. collection, Loveland, Ohio, acquired from RoyalAthena in 1987. Exhibited: Miami University Art Museum, 1988-1995; Ball State University Art Museum, 1995-2005; George Mason University Art Museum, 2005-2007.


61 ROMAN BRONZE DEEP BUST OF A PANISKOS, a young version of Pan, the god of fertility and sexual power, with long curly hair, a top knot, and wearing a faun skin across his body. In his left arm he holds a lagobolan, a throwing club for hunting, and in his right hand he holds a garland. 2nd Century AD. H. 5 7/8 in. (15 cm.) Ex collection of Dr. A. L. Austria, acquired at the Dorotheum, Vienna, June 6, 2000. Probably from a lectica, a type of portable bed. The lectica became an increasingly popular mode of transportation for the wealthy classes during the late Republic, becoming more elaborate during the Empire. 62 ROMAN BRONZE BALSAMARIUM IN THE FORM OF A BLACK LANTERNARIUS or lantern-bearer, seated in a pensive attitude on a high molded base with his right hand on his knee and his left hand against his chin, his garment draped around his lower body, a lantern by his left foot, a fragmentary loop on each shoulder for the attachment of the now missing handle. Ca. 2nd Century AD. H. 4 5/16 in. (10 cm.) Ex collection of Susette Khayat, New York; Dr. Robert Waelder (1900-1967). Lanternarius balsamaria with negroid features are scarce; for an example in the Bibliothèque Nationale, see E. Babelon and A. Blanchet, Catalogue des bronzes antiques de la bibliothèque nationale, Paris, 1895, p. 442, no. 1014.


63 ROMAN BRONZE STEELYARD WEIGHT OF A DIADEMED FEMALE BUST, probably an idealized portrait of Antonia Minor, daughter of Mark Anthony, a veil on the back of her head and falling to her shoulders. Her right shoulder is bare and the bust is covered by a sensuously draped chiton. Ca. AD 30-50. H. 6 7/8 in. (10 cm.) Ex Austrian private collection. Cf. W. Megow, Cameos from Augustus to Alexander Severus,1987, pl. 7 D 13 - D 18. Antonia was one of the most prominent Roman women, celebrated for her virtue and beauty. She was the youngest daughter of Octavia Minor and Mark Antony. She was also the favorite niece of her mother’s youngest brother, the emperor Augustus. Cf. The Ludovisi Juno, considered to be a portrait of Antonia Minor, in K.Dahmen, Investigations in Form and Function of Small Portraits of the Roman Emperial Period, 2001, nos. 77 and 78. 65 ROMAN BRONZE APPLIQUE BUST OF ATHENA (MINERVA) The goddess wears a breastplate with an elaborate aegis, and a helmet with three plumes and an eagle. The mouth, eyes, and nostrils are pierced. Presumably from an equine parade mask. 2nd Century AD. H. 7 7/8 in. (20 cm.) Ex private German collection, acquired in the mid-1970s. Cf. J.Garbsch, Römische 33 Praderüstungen, 1978 - 1979, pl. 42.

64 GALLO- ROMAN SILVER-COVERED BRONZE APPLIQUE BUST OF APOLLO, his long locks falling over his shoulders and chest, and tied in a bow atop his head. A fully modelled bust in very fine style, covered in part with a thick silver sheet. 2nd Century AD. H. 4 1/4 in. (11 cm.) Said to have been found in Normandy, the metal is most probably potin, an alloy of copper, tin, and lead that was most often used by the Gallic tribes. Ex J.S. collection, Paris.

66 ROMAN BRONZE BALSAMARIUM PORTRAIT OF ANTINOUS,COMPANION OF THE EMPEROR HADRIAN The legendary face is depicted surrounded with masses of tiered curls, the expression modelled with alert eyes and incised pupils. From an unusually large and fine vessel. Ca. AD 130-140. H. 4 3/4 in. (12.1 cm.) Ex German collection.

67 PAIR OF ROMAN BRONZE HALF FIGURES OF ANTINOUS, with thick curly hair, each holding a scallop-shell tray. Ca. AD 130-140. H. 4 7/8 in. (12.5 cm.) Probably from a lectica, a portable bed. Very rare. Cf. a similar pair of bronzes in the Hermitage, nos. V866 and V867.


68 ROMAN BRONZE BALSAMARIUM: NUDE PORTRAIT BUST OF ANTINOUS, COMPANION OF HADRIAN, with masses of finely worked, thick locks surrounding his youthful face. His neck is scored to receive an inlaid necklace. The handle terminates in duck heads. Very fine style. Excellent dark green patina. Ca. AD 130-140. H. 4 5/8 in. (11.8 cm.) Ex Austrian private collection. Antinous was born in the town of Bithynion-Claudiopolis, in the Greek province of Bithynia on the northwest coast of Asia Minor around AD 110. Little is known as to how Antinous came to be in the house of Hadrian. It is thought that he was taken to Rome as a page and perhaps entered into the imperial paedagogium, a boarding school for pages. He is first mentioned as the emperor’s favorite during their trip to Greece in AD 128. He was accounted beautiful by all who saw him, and was said to have great intelligence and a sharp wit, as well as being a skillful hunter and athlete.


69 ROMAN BRONZE JANIFORM HERM OF HERMES (MERCURY). One side depicts the young god with feathered wings emerging from thick wavy hair; the other depicts Artemis (Diana) wearing a rayed crown, a quiver emerging from her right shoulder; from a candelabrum. 2nd -3rd Century AD. H. 3 3 /8 in. (8.6 cm.) Ex Sid Port collection acquired in the 1970s; private collection, New York. Cf. A candelabrum with a double herm fitting in J. Ward-Perkins and A. Claridge, Pompeii AD 79, Boston, 1978, p. 160, no. 112a. 70 ROMAN BRONZE YOUNG BOY AS A GLADIATOR. 1st-2nd Century AD. H. 2 5/8 in. (6.7 cm.) A rare subject. Fine reddish brown patina . Ex French collection; J. F. collection, Loveland, Ohio, acquired from Royal-Athena in 1989. Exhibited: Ohio State University Art Museum, 1985-1990; Picker Art Gallery, Colgate University, 1991-2007. 71 ROMAN BRONZE THRAEX GLADIATOR wearing a typical tall helmet with a griffin crest. 2nd-4th Century AD. H. 2 1/4 in. (5.7 cm.) Ex collection of Axel Guttman (1944-2001), Berlin.


72 ROMAN LARGE BRONZE PROWLING LION robustly scupted, with finely worked, thick mane, lively panting expression, large paws, and a long tail. Probably a decorative element from a carriage; on an integrally cast, irregular plinth. Fine green patina. 2nd Century AD. L. 8 1/4 in. (21 cm.) Ex European private collection since the 1980s. 73 ROMAN LIFE-SIZE BRONZE RIGHT FOOT probably from a statue of Aphrodite, with slightly raised heel, the angle turned inward. There is an ancient rectangular repair on the last and another very small one on the the big toe. Extremely fine style. Asia Minor, 1st Century BC/AD. L. 9 in. (22.9 cm.) Ex European collection; S.Z. collection, Bronx, New York, acquired from Royal-Athena in 1969.


74 ROMAN BRONZE INCENSE OR LAMP STAND, architectural in form, each side modelled as a naiskos with male busts and bull heads within arches; surmounted by four eagles. 2nd-3rd Century AD. H. 4 in. (10 cm.) 75 ROMAN BRONZE PROTOME OF PEGASUS, probably once attached to the handle of a lamp. 2nd Century BC/AD. H. 3 1/8 in (8 cm..); L. 2 in. (5 cm.). Ex French collection. Cf. M. Comstock et C. Vermeule, Greek, Etruscan, and Roman Bronzes in the Museum of Fine Arts, Boston, 1971, p. 349, no. 489. 76 ROMAN BRONZE OIL LAMP with a handle in the form of the head and neck of a griffin; with original lid. Ca. 3rd Century AD. L. 7 3/4 in. (19.7 cm) Ex English collection; K. F. collection, Garden City, Michigan, acquired from Royal-Athena in 1987. Exhibited: Picker Art Gallery, Colgate University, 1996-2003; George Mason University, 2003-2007.


Ancient Helmets & Weapons 77 CORINTHIAN BRONZE HELMET with almond-shaped eye cut-outs, spoon-shaped nose-guard, a sweeping skirt, and riveted edges. 2nd half of the 7th Century BC. H. 9 1/2 in. (24 cm.) Ex private collection, Cologne, Germany, acquired ca. 1990; American collection. Cf. a similar in the Museo Nazionale del Melfese in H. Pflug, Antike Helme, Mainz, 1988, p. 86, pl. 24-25. 78 ETRUSCAN BRONZE HELMET OF MONTEFORTINO TYPE Of domed form, the rim is turned out and further peaked at the rear and riveted at the center with two hinged loops preserved on the interior. The crown is topped by a knob finial with a central depression, the separately-made cheekpieces attached by means of hinges riveted to each side and secured by a long pin with a disk-shaped terminal; each cheek-piece with a scalloped outline and floral decoration at the center with a hook at the lower end for attachment of the chin-strap. Attractive mottled blue and green patina. 4th-3rd Century BC. H. 11 3/4 in. (29.8 cm.) including cheekpieces. Ex Kurt Deppert, Frankfurt, 1970s; collection of Florian Walch, Germany. For a similar example, from the Axel Guttmann collection, see p. 57, pl. 7, in M. Junkelmann, Rรถmische Helme: Sammlung Axel Guttmann, 2000. For another similar in the Los Angeles County Museum of Art from the William Randolph Hearst collection, see D. Mitten and S. Doeringer, Master Bronzes from the Classical World, 1968, p. 224, no. 227. The helmet bears a combat dent on the left side.


Send for our Ancient Arms, Armor, and Images of Warfare catalog, 48 pp. - $5 It illustrates 21 additional helmets! 79 ETRUSCAN BRONZE NEGAU HELMET OF THE VETULONIA TYPE with a high domed body surmounted by a median ridge. An unusual feature is the softly rounded edge of the brim. It has holes for the attachment of a chin strap on each side. Two incised workshop or ownership marks can be made out on the forward face of the brim. 5th Century BC. H. 7 in. (18.5 cm.) Ex collection of Axel Guttmann (1944-2001), Berlin. 80 GREEK BRONZE HELMET CHEEK PIECE bearing a relief scene of a cuirass-clad warrior wielding a shield and standing over a well-muscled, nude warrior futilely trying to fend off his attacker with a rounded shield, possibly a representation of Achilles slaying Hector. Ca. 425-375 BC. H. 6 1/2 in. (16.5 cm.) Ex private collection, New York. Cf. Cheek piece in the Antikenmuseum, Berlin with a depiction of Odysseus, published in Pflug, Antiken Helme, Mainz, 1988, p.146, pl. 13. 81 MACEDONIAN BRONZE HELMET OF PILOS TYPE, conical with a narrow flange around the rim with holes for attachment; an indistinct owner’s name inscribed in dots. 5th-4th Century BC. H. 7 1/2 in. (19 cm); diam. 8 1/4 in. (21 cm.) Ex collection of Axel Guttmann (1944-2001) Berlin. Cf. H. Pflug, Antike Helme, Mainz, 1988, p. 174.


82 ROMAN BRONZE MILITARY DIPLOMA OF M. SOLLIUS GRACILIS, constituted 22 August 139 under the emperor Antoninus Pius and the suffect consuls L. Minicius Natalis (Quadronius Verus) and L. Claudius Proculus, for the Praetorian Fleet of Ravenna. The recipient veteran was from the tribe of the Scordisci, with the Roman name M. Sollius Gracilis. His fathers name is Zura, a name known from Moesia Inferior in the lower Danube area. The Scordisci were a Celtic tribe living in lower Pannonia - Illyria between the Sava, Drava, and Danube rivers. Copied and checked from the bronze tablet fixed to the wall at Rome behind the temple of the deified Augustus at the shrine of Minerva. The outside face of the reverse tablet lists the names of seven witnesses. The whole comprises two rectangular tablets, each pierced twice for binding. Ca. AD 139. H. 5 1/2 in. (14.2 cm.) x 4 5/8 in. (11.8 cm.) Ex European collection. Repaired, but complete. Soon to be published in Zeitschrift f端r Papyrologie und Epigraphik: "New Diplomas for the Italian Fleets", by Werner Eck and Andreas Pangerl. These diplomas are actually copies of original bronze documents that were kept in an archive in Rome. The copies were distributed to a serviceman upon his retirement as proof of his honorable service and newly acquired citizenship.


83 EUROPEAN BRONZE AGE SWORD, a slender blade with a rounded mid rib on both sides, a riveted grip piece with a flat oval disk pommel, and with remnants of engraved grooved and incised spirals. Bavaria, Germany, ca. 1100 BC. L. 20 7/8 in. (53 cm.) Published: A. Hänsel, Die funde der Bronzezeit aus Bayern, Berlin, 1997, p. 37, fig. 13. 84 CELTIC IRON SWORD BLADE with tapered tang, still in the scabbard. The iron scabbard has three ridges on the obverse side and a decorated chape. There is a rectangular suspension bracket on the reverse side of the locket. La Téne Period, ca. 400-350 BC. L. 27 1/8 in. (69 cm) Ex German private collection. 85 LARGE EUROPEAN BRONZE AGE KNIFE On the blade are two parallel scratch lines, each paired with a dotted line. 12th-10th Century BC. L. 11 7/8 in. (30 cm.) 86 ROMAN BRONZE OLPE WITH RELIEF HANDLE terminating in a relief of the head of a youth in a Phrygian bonnet. 2nd-3rd Century AD. H. 6 1/8 in. (15.5 cm.) Ex French collection; E. B. and K.B. collection, Orion, Michigan. Exhibited: Picker Art Gallery, Colgate University, 1996-2003; George Mason University, 2003-2007. Published: J. Eisenberg, Art of the Ancient World, 1985, p. 110, no. 326. 87 ETRUSCAN BRONZE TREFOIL OINOCHOE, the base of the handle with an applique of a winged siren. Ca. 6th Century BC. H. 8 1/4 in. (21 cm.) Said to have been found near Rheims. With an old label, “No. 104. VIe siècle av. J.-C., Oenochoé de bronze trouvée près de Reims (Marne) travail étrusque.”


88 GREEK TERRACOTTA RELIEF FRAGMENT OF THETIS riding a ketos and carrying the sword and helmet of Achilles; a Greek Terracottas frieze above. Ca. 4th Century BC. L. 3 in. (7.5 cm.) Cf. R. A. Higgins, Greek Terracottas, London, 1967, pp. xxxvi and 104, pl. 47B-C. Ex British private collection, acquired in Paris in the late 1980s. 89 ARCHAIC GREEK TERRACOTTA PROTOME OF A GODDESS, probably Persephone; traces of white slip remaining. Thessaly, 6th-early 5th Century BC. H. 4 5/8 in. (12 cm.) Ex von Driesum collection. 90 ARCHAIC GREEK TERRACOTTA HEAD OF A GODDESS Ca. 6th Century BC. H. 8 in. (20.3 cm.) Ex Phelps collection, La Jolla, California, acquired from Royal-Athena Galleries in 1982.


91 GREEK TERRACOTTA PROTOME: OF A GODDESS, veiled, holding a fan in her upraised right hand; some original paint remaining. Tarentum, later 4th Century BC. H. 7 7/8 in. (21 cm.) Cf. G. Laviosa, ‘Le antefisse fittili di Taranto’, Archeologia Classica 6, 1954, pl. 73. 92 HELLENISTIC POLYCHROME TERRACOTTA PHLYAX AND MAENAD, the actor dressed as a satyr cavorting with a maenad. Canosa, 3rd Century BC. H. 7 1/4 in. (18.5 cm.) Ex Nina Borowski, Paris; estate of a prominent French collector. Published in Architectural Digest, December 1982. 93 HELLENISTIC TERRACOTTA LADY OF FASHION wrapped in a himation, capite velato, and covering her mouth and chin. She stands with her weight on her left foot, her left hand resting on her hip; traces of the white slip remaining. Asia Minor, 3rd Century BC. H. 8 5/8 in. (22 cm.) 94 GREEK TERRACOTTA HAND HOLDING A PYXIS from a votive statue, with remnants of the crimson slip. Ca. 4th Century BC. L. 5 in. (12.5 cm.) Ex English private collection acquired between 1968-78.


E t r us ca n & Ro man Terracottas 95 ETRUSCAN POLYCHROME TERRACOTTA CINERARIUM depicting the battle between Eteocles and Polynices to succeed their father, Oedipus, as king of Thebes; inscribed with the name of the owner. The combatant pair are flanked by two figures. Chiusi, mid-2nd Century BC. H. 11 in. (28 cm.); L. 17 3/4 in. ( 45 cm.); D. 8 1/4 in. (21 cm.) Ex private Swedish collection. Cf. A. Maggiani et al, Treasures from Tuscany - The Etruscan Legacy, p. 136, no. 229, for a similar cinerarium depicting Eteocles and Polynices battling; see: G.Q. Giglioli, l’Arte Etrusca, Milan 1935, pl. CCCCX, 1 and 2; Ines Jucker et al, Italy of the Etruscans,The Israel Museum, Mainz 1991, p. 270, fig. 354 . 97 ROMAN POTTERY RAMP-TOWER (TURRICULA) FOR A GAME OF DICE on which the dice were thrown down the steps. A trapezoid-shaped object with a stamped decoration of circles and a lion protome. The upper side is provided with steps. A rare object. 4th -5th Century AD. L. 5 1/8 in. (13.1 cm.) Cf. M. Fittà, Games and Toys in Antiquity, 1997, p. 110 fig. 201-203. Ex Munich art market, 1990. 98 ROMAN TERRACOTTA TILE depicting in low relief heads of Apollo between plunging dolphins. 1st-2nd Century AD. L. 12 1/2 in. (32 cm.)


96 ETRUSCAN TERRACOTTA VOTIVE HEAD OF A YOUTH Ca. 3rd Century BC. H. 9 1/4 in. (23.5 cm.) Ex French collection.

Earl y Greek Vases 99 MYCENAEAN LARGE POTTERY STIRRUP JAR decorated in black slip with banding, chevrons, and at the shoulder a frieze of tracery. Ca. 13th Century BC. H. 8 5/8 in. (22.5 cm.) Ex French collection. 100 MYCENAEAN POTTERY THREE-HANDLED PIRIFORM JAR Late Helladic IIIA2, ca. 1400 BC. H. 8 in. (20.5 cm.) Ex Dr. Appelboom, collection,the Netherlands, acquired in 1970. Cf. E. Furumark, The Chronology of Mycenaean Pottery, early IIIA2, p. 341, pls. 4-5. 101 MYCENAEAN POTTERY STIRRUP JAR with overall banding and strokes on the shoulder in brownish-orange slip. Ca. 1400 BC. H. 4 1/8 in. (10.5 cm.) Ex Austrian collection.


102 ATTIC GEOMETRIC LARGE POTTERY OLPE, the entire surface decorated in black slip with banding, rows of Greek key designs, and stylized water birds. Earlier 8th Century BC. H. 16 1/2 in. (41.8 cm.) Ex French collection. 103 GREEK GEOMETRIC POTTERY TREFOIL OINOCHOE, the body of spherical silhouette with banding formed of three lines; the trefoil lip, shoulder, and foot with a broad band; the cylindrical neck with a waterbird between vertical wavy lines, bordered by triple-line bands. Possibly East Greek. 8th Century BC. H. 11 in. (27.9 cm.) Ex collection of Dr. W. E., Staufen, Germany, acquired in 1973. 104 CORINTHIAN POTTERY AMPHORA decorated with a central register of lotus buds, palmettes, three panthers, and a stag; rosettes in the field. Early 6th Century BC. H. 6 7/8 in. (17.5 cm.) Ex Dr. Elie Borowski collection, Basel, Switzerland. Published: J. Eisenberg, Art of the Ancient World, vol. XII, 2001, no. 165.


105 EUBOEAN BLACK-FIGURE PLATE CENTERING A COCKEREL, with grooved lip, a ridge defining the floor on the exterior, and a ring-base. The rim is pierced for suspension. The decoration, which makes lavish use of crimson and white, shows a strutting cockerel with, above him, a palmette and, to the right, a spiral supporting a lotus flower on a long stem. Rare. Ca. 600-550 BC. D. 5. 3/4 in. (14.6 cm) 106 GREEK FIKELLURA POTTERY TREFOIL OINOCHOE, with registers of geometric designs Rhodes, 6th Century BC. H. 7 1/2 in. (19 cm.) Fikellura is named after the modern name of ancient Kamiros, Rhodes. Scarce. Ex French collection. 107 GREEK POTTERY ARYBALLOS IN THE FORM OF A SANDALLED LEG Rhodes, ca. 600-575 BC. H 7 7/8 in. (20 cm.) Ex French collection. Cf. similar in the Royal Ontario Museum, published: J. Ducat, Les vases plastiques rhodiens, archa誰ques in terre cuite, Paris, 1966, p. 135, group A 2, no. 1. Rare and in choice condition. 108 BOEOTIAN TERRACOTTA ASKOS IN THE FORM OF A SIREN with a spout projecting from one wing, the neck moulded as a female head wearing a low polos, and a double ridged handle. 5th Century BC. H. 5 1/4 in. (13 cm.) Ex Swedish collection.


Attic Black-figure V ases 109 ATTIC LARGE BLACK-FIGURE TYRRHENIAN AMPHORA BY THE CASTELLANI PAINTER Theseus is shown pursuing four centaurs, his sword drawn and grasping the nearest one by the wrist. The others are fleeing and one prepares to cast a rock. The leading centaur holds a branch. Reverse: Two hoplites are shown in combat at the center. To their right three bearded men, two carrying spears and one a circlet, watch the contest. On the left, two more hoplites are fighting, one down on his knees. Two of the shields have tripod devices and one a bucranium (ox skull). Ca. 560-550 BC. H. 17.9 in. (45.5 cm) Ex. Conradty collection, Nuremburg, Germany.


110 ATTIC BLACK-FIGURE PANEL AMPHORA BY A CONTEMPORARY OF LYDOS Probably a departure scene, depicting a warrior wearing a Corinthian helmet and holding a round shield facing left, flanked by two bearded men. They are flanked by two other men, one bearded. The four wear long striped garments. The reverse is similiar except that the inner pair are semi-nude youths. Ca. 565-535 BC. H. 10 5/8 in. (27.2 cm.) Ex collection of Albert Pilot (1922- 2002), France, acquired circa 1940. 111 ATTIC BLACK-FIGURE PANEL AMPHORA RECALLING THE PRINCETON PAINTER. Both sides depict a footrace. On one side three muscular, nude youths run to the right with arms raised. On the reverse two youths race. Above either panel is a band of zig-zags. Earlier 6th Century BC. H. 11 1/8 in. (28.5 cm.) Ex 19th century German collection, thence by descent.


112 ATTIC BLACK-FIGURE LIDDED NECK AMPHORA. Herakles, at left, attacks the three-bodied Geryon. Eurytion, who having guarded Geryon’s cattle, is mortally wounded and sinks to the ground. Reverse: A warrior arms himself, while a female holds his spears and shield; two hoplites flanking. Ca. 510 BC. H. 16 1/2 in. (42 cm.) Ex 19th century collction; collection of G. Miltner, Bregenz, Austria. Published: H. Jobst, ‘Eine spätschwarzfigurige Halsamphore in Wiener Privatbesitz,’ in Festschrift für Hedwig Kenner, 1985, pp. 191-194, no. 19. 112a ATTIC BLACK-FIGURE HYDRIA A goddess mounts a quadriga with three attendants; below, a stag flanked by two lions. In the predella on the shoulder are two nude boxers flanked by attendants. Ca. 550-525 BC. H. 19 3/4 in. (50 cm.)

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113 ATTIC BLACK-FIGURE EYE CUP. A Gorgon running to right; a mounted warrior riding right, a bird in flight above; a leaping winged dolphin below each handle. Ca. 530-520 BC. H. 5 1/4 in. (13.2 cm); D. 11 1/4 in. (28.4 cm.) Published: A. Pollino, Guerriers et Cavaliers dans le Monde Grec, 1988, pp. 182183; J. Jordan, Attic Black-figured Eye-Cups, Ann Arbor, 1989, no. C198; P. Heesen, The J. L. Theodor Collection of Attic Black-figure Vases, Amsterdam, 1996, no. 48. 114 ATTIC BLACK-FIGURE OLPE BY THE MICHIGAN PAINTER A youth, holding spears, stands beside a horse, flanked by two Scythian archers. Ca. 510 BC. H. 7 7/8 in. (20 cm.) Ex collection of Dr. J. L., Bay City, Texas, acquired from Royal-Athena Galleries in 1988. 115 ATTIC BLACK-FIGURE TREFOIL OINOCHOE BY THE ATHENA PAINTER The bearded Dionysos stands between dancing maenads; grapevines in the field. Ca. 500-480 BC. H. 7 in. (17.8 cm.) Intact. Ex collection of Dr. F. P., New York; Dr. J. L., Bay City, Texas, acquired from Royal-Athena Galleries in 1990. 116 ATTIC BLACK-FIGURE WHITE GROUND LEKYTHOS NEAR THE HAIMON PAINTER Herakles and Apollo scuffle over the Delphic tripod, Athena, at right, watching. Ca. 490 BC. H. 7 1/8 in. (18.3 cm.) Ex French collcetion. 117 ATTIC BLACK-FIGURE WHITE GROUND LEKYTHOS BY THE DIOSPHOS PAINTER Athena, Iolas, and Herakles wrestling with the Nemean lion. Ca. 490 BC. H. 8 in. (20.5 cm.) Ex European private collection, acquired in the 1970s.


At tic Red-figure Va ses 118 ATTIC RED-FIGURE LEKYTHOS FROM THE WORKSHOP OF BRYGOS A bearded man wearing a fillet, and a bordered himation. He leans upon a knotty staff, his right hand resting upon his waist. In his left hand he holds a lyre. Ca. 490-480 BC. H. 10 1/2 in. (26.7 cm.) Ex Swiss collection. 119 ATTIC RED-FIGURE NOLAN AMPHORA NEAR THE OIONOKLES PAINTER, A young hunter moves to the right, holding two spears, a petasos tied with a red cord slung behind his shoulder; a short himation clasped at the opposite shoulder. Reverse: Bearded male wrapped in a himation and holding a staff. Very fine style. Ca. 470-460 BC. H. 13 5/8 in. (34.6 cm.) Ex American private collection.


120 ATTIC RED-FIGURE HYDRIA IN THE MANNER OF THE KLEOPHON PAINTER To the left, a woman in a richly pleated chiton sits on a klismos; to the right, stands another woman. On the floor between them is a kalathos above which hovers a large Eros holding a basket and a small chest. Ca. 430 BC. H. 11 1/8 in. (33.5 cm.) Ex Spink & Sons, William Randolph Hearst, San Simeon, California, sold at Parke-Bernet Galleries, New York, 1-6 April 1963, lot 91. Published: J. Beazley, Attic Red-figure Vase-painters, 1963, p. 115. 121 ATTIC RED-FIGURE COLUMN KRATER BY THE PAINTER OF THE LOUVRE CENTAUROMACHY The capture of Helen. Theseus carrying a spear, a large round shield with a serpent blazon, and wearing a crested helmet runs toward Helen, at left. Another draped female, possibly Clytemnestra, flees to right toward a bearded figure, probably Tyndareus. Reverse: Three draped youths. Ca. 470-460 BC. H. 17 in. (43.2 cm.) Ex French collection, acquired in 1971.


122 ATTIC RED-FIGURE NOLAN AMPHORA BY THE BERLIN PAINTER Athena strides to the right holding a helmet in her left hand and a spear in her right. Reverse: A female with open arms gazes backward while striding right. Ca. 470 BC. H. 13 3/4 in. (35 cm.) Published: J. Beazley, Attic Red-Figure Vase-Painters, 202.77, 1963; J. Boardman, Athenian Red-figure Vases, pl.160, 1775. Ex M. Studer collection, Lugano, Switzerland; private collection, Ascona, Switzerland, acquired from Royal-Athena in 2001.


123 ATTIC RED-FIGURE COLUMN KRATER Standing by her front door, a draped female with her left foot crossed over her right, gazes to right with her right arm extended in a beckoning gesture; kale painted on the stoop. Reverse: A draped youth, striding to right, his arm extended. Ca. 470-460 BC. H. 17 3/8 in. (44.2 cm.) Ex collection of J. R. de Bourgogne, Paris, France, acquired in 1970. 124 ATTIC RED-FIGURE COLUMN KRATER BY THE EUPOLIS PAINTER A helmeted Amazon wearing a high crested helmet, and an oriental style tunic and leggings, holds an axe, a spear, and a large apronned shield with a scorpion device. Reverse: A draped youth striding and holding a torch. Ca. 470-460 BC. H. 15 1/4 in. (38.7 cm.) Published: J. Eisenberg, Art of the Ancient World, vol. XII, 2001, no. 218.


125 ATTIC RED-FIGURE COLUMN KRATER BY THE AGRIGENTO PAINTER Three youths with wreaths at a komos (procession after a carousal). The first carries a barbiton (lyre) and turns towards his singing companions. The central figure holds a staff; the last one holds an amphora and swings a torch. Reverse: Three draped youths. Ca. 460-450 BC. H. 14 1/2 in. (36.7 cm. ) Ex C. R. collection, NordrheinWestfehlen, Germany. The komos was a part of the symposium and a popular motif for wine vessels. For the painter see Corpus Vasorum Antiquorum, M端nchen 2, 2005, 14f. pls. 70-72. 126 ATTIC RED-FIGURE BELL KRATER BY THE CHRISTIE PAINTER A komos procession led by a draped female playing a flute followed by two nude youths, the frst holding a barbiton. Reverse: Three draped youths. Ca. 450-440 BC. H 10 3/4 in. (27.3 cm.) Ex French collection, acquired in 1971.


127 ATTIC RED-FIGURE COLUMN KRATER BY THE PAINTER OF THE LOUVRE CENTAUROMACHY Dionysos, holding a thyrsos and a kantharos, looks to the left at a maenad playing a lyre; to the right a nude satyr grasps a maenad. Reverse: Three draped youths. Around the lip are black-figure bulls and felines. Ca. 450 BC. H. 14 1/8 in. (36 cm.) Ex collection of J.-M. R., Dijon, France, acquired in 1970. Cf. J. Beazley, Attic Red-figure Vasepainters, pp. 1088-89 for other column kraters with satyrs and maenads by this painter.


128 ATTIC RED-FIGURE COLUMN KRATER BY THE SUESSULA PAINTER Quadriga driven by a female wearing a decorated Phrygian cap and ornate costume, an equally ornately attired bearded male stands in the car with her. In front, about to be run down, is an ornately attired youth or female holding a hand axe. Reverse: Three draped youths. Ca. 420-390 BC. H. 17 1/4 in. (44 cm.) Ex collection of J.-M. R., Dijon, France, acquired in 1970. (Cover photo) Cf. the column krater, Naples 146740, in J. Beazley, Attic Red-figure Vase-painters 1345.9; Notizie degli Scavi 1935, pl. 15.4; also: New York 44.11.12, in J. Beazley, Attic Red-figure Vase-painters 1344.3; Lexicon Iconographicum Mythologiae Classicae, I, pl. 485, no. 329.


129 APULIAN RED-FIGURE PLATE BY THE DARIUS PAINTER Tondo: The battle between Athena and Pallas. Athena wears a belted chiton and plumed helmet, holding the Argolic shield on her left side with the head of Medusa, and her golden staff, her right arm outstretched brandishing a flaming torch. The winged giant Pallas is depicted with an animal skin over his left shoulder, his legs encased in two pouches with snakes emerging on either side. A rare and unusual depiction. Ca. 320 BC Diam. 11 in. (27.9 cm.) Ex private Swiss collection, prior to 1975. Published: C. Aellen, A. Cambitoglou, and J. Chamay, Le Peintre de Darius, 1986, p. 234. 130 APULIAN RED-FIGURE RECTANGULAR FISHPLATE FROM THE HIPPOCAMP GROUP A mullet, two-banded bream, striped bream, and a star-gazer (uranoscopus scaber) are positioned around a cental depression. Ca. 340-320 BC. 7 1/2 in. (19.1 cm.) x 8 1/8 in. (20.6 cm.) Non-circular fishplates are very rare.


Sout h Ita lian Va ses 131 APULIAN RED-FIGURE HYDRIA BY THE BALTIMORE PAINTER Within an Ionic naiskos, a woman seated on a stool, wearing a chiton and a red himation, holds the hem in her right hand. Before her stands another draped female holding a fan in her left hand. The naiskos is framed by four female offering bearers. Ca. 330-320 BC. H. 22 1/4 in. (56.5 cm.) Ex F. D. collection, New York. Published: K. Schauenburg, "Zu Grabvasen des Baltimoremalers," in Jahrbuch des Deutschen Archaeologischen Institute, 105, 1990, p. 69, pls. 5-8; A.Trendall and A. Cambitoglou, Second Supplement to The Red-Figured Vases of Apulia, part II, London, 1992, no. 27/52e, pl. LXXIV,2; J. Eisenberg, Art of the Ancient World, 1997, no. 118. 132 LARGE CANOSAN POTTERY VOLUTE KRATER, the body decorated with opposed equestrian warriors in combat, the horses with their forelegs raised, the naked riders with their cloaks flapping behind them, holding spears. Reverse: In profile the head of female her hair dressed with a kekryphalos. Ca. 3rd Century BC. H. 20 1/2 in. (52 cm.) Ex private Belgian collection, inherited in the 1950s; probably acquired between 19201940.


133 APULIAN RED-FIGURE PELIKE BY THE HOPPIN PAINTER A standing nude male, wearing a diadem and holding a cloak, is addressed by a seated, draped female holding a mirror. Reverse: Two youths. Ca. 380-360 BC. H. 11 7/8 in. (30.2 cm.) Ex J. M. collection, Emblem, Belgium, acquired from J. Billen in the 1980s. Published: A. Trendall and A. Cambitoglou, Red-figured Vases of Apulia. Suppl. 2, 1992, ch. 5, no. 46b. 134 APULIAN RED-FIGURE TREFOIL OINOCHOE BY THE SNUB NOSE PAINTER A nude youth is seated upon drapery and is holding a patera and a grape cluster. Ca. 370 BC. H. 7 1/4 in. (18.6 cm.) Ex Belgian private collection, acquired in the 1980s. 135 LUCANIAN RED-FIGURE PELIKE BY THE AMYKOS PAINTER A nude youth holding a staff is chased by a draped female holding a mirror. Reverse: Two youths. Ca. 420-400 BC. H. 10 3/4 in. (27.2 cm.) Ex Belgian private collection, acquired in the 1980s. Published: A.Trendall, Red-figured Vases of Lucania, Campania, & Sicily, Suppl. 2, 1973, no. 263a.


Etrus ca n & Ro man Vas es 136 ETRUSCAN IMPASTO VOTIVE IN THE FORM OF A KILN OR OVEN with a tapering cubic bottom section with two sides incised with zig-zags and the other sides with a cut-out square in the midst. This is topped with a tapering cylindrical neck with everted lip. Latium, 9th-8th Century BC. H. 6 1/8 in. (15.6 cm.) Ex English collection; acquired in 1983. Very rare. 137 ETRUSCAN POTTERY TREFOIL OINOCHOE: PANKRATIASTS The combatant at right, having fallen, looks back at the victor. Both are nude, their hands and wrists bound with meilichai. Ca. 5th Century BC. H. 8 7/8 in. (22.5 cm.) Ex H. H. collection, Zurich, Switzerland1973. 138 ETRUSCO-CORINTHIAN POTTERY PIRIFORM ARYBALLOS in the manner of the Castellani Painter, with a frieze of two running dogs. Ca. 620-580 BC. H. 3 3/4 in. (9.5 cm.) Ex Tollmann collection, Cologne, acquired in the 1970s. Published: J. Szilรกgyi, Ceramica Etruscocorinzia Figurata II, 1998, p. 706, no. 13; pl. 261c.


139 HELLENISTIC POTTERY HEMISPHERICAL BOWL OF THE MEGARIAN CLASS with fine molded designs in relief of an Amazonomachy, a Centauromachy, and a Greek warrior fighting against a Persian. The Megarian bowls were patterned after contemporary metal bowls. Rare subjects for this pottery. South Italy, earlier 4th Century BC. H. 5 1/2 in. (14 cm.) Ex Austrian private collection. 140 ROMAN TERRA SIGILLATA BOWL DEPICTING ULYSSES AND THE SIRENS With appliques of Ulysses bound to his ship’s mast and leaping dolphins. Circe told the hero, who desperately wanted to hear the sirens’ song, to be bound to the mast, after ordering his men to block their ears with wax. Very rare. Eastern Mediterranean, 3rd-4th Century AD. H. 5 1/2 in. (14 cm.) Ex English private collection. 141 ROMAN POTTERY LAMP: DISCUS WITH HERMES (MERCURY) RIDING A RAM He holds a caduceus and a ring-shaped object; on the bottom is a workshop signature in the form of three branches. Loeschcke VIII type, with a heart-shaped spout. 1st-2nd Century AD. L. 4 1/2 in. (11.4 cm.) Unusually fine style. Ex English private collection. 142 ROMAN GREEN GLAZED POTTERY LAMP of Loeschcke IX type, the handle surmounted by an eagle; conical ribbed foot. Figurative glazed lamps are rare, especially in this well preserved condition. 3rd-4th Century AD. L. 4 5/8 in. (12 cm.); H. 4 1/2 in. (11.5 cm.) Ex German private collection.


143 ROMAN YELLOW GLASS BARREL BEAKER of irregular R oman G lass cylindrical profile, rounded at the base with wheel-cut bands around the body.. Eastern Mediterranean. 1st Century AD. H. 4 1/8 in. (10.5 cm.) Ex J.Camper collection, Pennington, New Jersey. 144 ROMAN AUBERGINE GLASS TWIN-HANDLED BOTTLE with a splayed foot, slender body with indented sides, cylindrical neck, everted, rounded rim, and applied handles; some iridescence. 2nd-3rd Century AD. H. 4 1/8 in. (10.5 cm.) 145 SIDONIAN MOLD-BLOWN PURPLE GLASS AMPHORA with globular body blown into a two-part mold, decorated with a central band of scrolls between gadrooning with two small heavily weathered glass handles. Ca. 1st Century AD. H. 2 3/8 in. (6.2 cm.) Collection of Dr. Carle Kempe (1884-1967), Ekolsund, Sweden. 146 ROMAN IRIDESCENT GREEN GLASS HONEYCOMB PATTERN JAR Cylindrical, with rounded base, and rolled lip. Eastern Mediterranean, 4th Century AD. H. 3 1/2 in. (8.9 cm.) Ex collection of Julius Carlebach (1909-1964), New York; thence by descent. 147 ROMAN TRANSLUCENT OLIVE GREEN CUT GLASS BOWL with three rows of staggered elongated hexagons around the body; slight narrowing toward the neck; narrow horizontal edge to the rim.. Ca. 4th-5thCentury AD. H. 1 7/8 in. (4.7 cm.); Diam. 2 1/2 in. (6.4 cm.)


Classical Gold Objects 148 EARLY IRON AGE GOLD BRACELET consisting of an oval plate incised with an edging band of apotropaic eyes surrounding a central eye. 8th-7th Century BC. W. 3 in. (7.5 cm.); wt. 18.9 gr. Ex German collection. 149 ROMAN GOLD AMULETIC TABLET INSCRIBED IN GREEK With such sheets on which wishes and curses were incised the owners tried to repulse evil or to influence the future. 1st Century AD. L. 1 3/8 in. (3.5 cm.) Ex German private collection. Cf. M. Reuter and M. Scholz, Alles Geritzt: Botschaffen aus der Antike, Munich, 2005. 150 ROMAN LARGE GOLD AMULETIC TABLET INSCRIBED IN GREEK 5th Century AD. L 3 1/2 in. (9.1 cm ); wt. 7.12 gr. Ex Munich dealer, acquired in the 1990s. Cf. Roy Kotansky, Greek Magical Amulets: The Inscribed Gold, Silver, Copper, and Bronze Lamellae, Part I: Published Texts of Known Provenance, Papyrologica Coloniensia 22/1, Opladen, Westdeutscher Verlag, 1994. Small loss repaired. 151 LATE ROMAN GILT SILVER RETICULATED BELT FITTING Multiple cross design in roundel surmounted by two stylized duck heads. Earlier 5th Century AD. L . 1 3/4 in. (4.6 cm ) Ex German collection.


152 HELLENISTIC GOLD RING WITH LION HEAD TERMINI 4th-3rd Century BC. Size 6; wt. 6 gr. Ex German dealer, acquired in the 1990s. 153 HELLENISTIC GOLD FINGER RING WITH A CARNELIAN INTAGLIO OF HERMES in profile wearing petasos; caduceus in the field. 1st Century BC. Size 5; wt. 2.9 gr. Ex American private collection. Published: S. Dere, To Dress in Gold, New York, 2004, no. 146. 154 GREEK GOLD FINGER RING: A SEATED GODDESS WITHIN AN OVAL DOUBLE BEZEL probably Hera, holding a scepter. The shank and bezel formed from twisted golden wire which terminates in palmettes. 4th Century BC. Size 8; wt. 12.9 gr. 155 ROMAN GOLD FINGER RING WITH A CARNELIAN INTAGLIO OF TYCHE FORTUNA standing, holding a cornucopia and staff. 1st-3rd Century AD. Size 7 1/2; wt 9.1 gr. Ex American private collection. 156 HELLENISTIC GOLD WREATH OF STYLIZED LAUREL LEAVES fastend to a gold band by applied flowers; a gorgoneion at either end of the band. In the centre of the wreath an embossed figure rises from a chalice of leaves. 3rd Century BC. L. 12 in. (30.5 cm. ) Ex collection of Dr. Heinz Hoek, Basel, Switzerland, 1960-1970. Cf. Marshall, 1911, p. 266, no. 2299, pl. L.


Cla ssical Silver Objects 157 HELLENISTIC REPOUSSÉ SILVER ROUNDEL OF ARTEMIS ASTRATEIA, the sky goddess, with bull horns on her forehead; probably the central boss from a hair net. 3rd-2nd Century BC. Dia. 2 5/8 in. (6.9 cm ) Cf. H. Hoffmann and P. Davidson, Greek Gold - Jewelry from the Age of Alexander, The Brooklyn Museum, 1965, p. 107, no. 94. Extremely fine style. 158 ROMAN SILVER WEDDING RING Centering two clasped hands within an oval (dextrarum iunctio). 2nd-3rd Century AD. Ring size 6 1/2; Ex German collection. 159 ROMAN SILVER FIGURINE OF A BULL standing on a self-contained rectangular silver base. 1st-2nd Century AD. L. 1 in. (2.5 cm.) Ex Monnier collection, Paris; J. F. collection, Loveland, Ohio, acquired from Royal-Athena in 1996. Exhibited: Ball State University Art Museum, 1997-2005; George Mason University Art Museum, 2005-2007. 160 MEROVINGIAN STAMPED SHEET SILVER FIBULA with a cross, and inscription: ANDEBERTVS F W DEO EI; bronze backing. 7th Century AD. Diam. 1 1/4 in. (3.4 cm ) Pin lacking. Ex English private collection, acquired in the 1990s; Ex Frank Sternberg, Zurich. Rare. For a similar representation of Christ see Merowingerzeit, Die Altertümer im Museum für Vor- und Frühgeschichte, Staatliche Museen zu Berlin, 1995, p. 112, pl. 102.


161 ROMAN SILVER GOBLET with flaring mouth and slender silhouette, with a central band of repoussĂŠe floral decoration on the waisted body; the base with concave edged tongues above the knopped pedestal stem and conical foot. An elegant example of Roman silverwork. 4th Century AD. H. 7 1/4 in. (18.5 cm) Ex private English collection, acquired in the 1970s.


Byzantine Art

162 PAIR OF BYZANTINE GOLD CRESCENT EARRINGS with stamped openwork decoration of two birds flanking a cross within a circle. 6th - 7th Century AD. Ht. 1 3/4 in. (4.5 cm.); wt. 9.1 gr. Ex Munich dealer, acquired in the 1990s. 163 EARLY BYZANTINE BRONZE LAMP ON A STAND The head of a woman is on top of the handle; the pricket stick stand has three chubby feet. 6th Century AD. Total H. 16 7/8 in. (43 cm.) 164 BYZANTINE BRONZE CRUCIFIX RELIQUARY (ENKOLPION) Obverse: Christ; reverse: Maria Orans. On each of the cross arms: a bust of one of the four evangelists. Choice. 10th-12th Century AD. H. 3 1/2 in. (10.3 cm.) Ex English privste collection, acquired in the 1990s. 165 LATE BYZANTINE BRONZE ANCHOR CROSS Each transcept surmounted by a latin cross; a cross springing from both sides of the base, curving up and inward to form the anchor. A cross is engraved in the center. The arms also engraved with lotus buds and symbols including IC XC. 12-14th Century AD. H. 5 in. (12.9 cm.).


Neolithic Art 166 NEOLITHIC POTTERY GROUP: MOTHER NURSING CHILD ON A BED The mother lies on her right side, knees raised, and cradles the suckling infant in her arms. The bed is styled as a table-like object with four legs and overall incisions; the head end with three projections. A unique early representation of a nursing mother. Vinca Culture, Balkan area, 5th Millennium BC. L. 3 in. (7.6 cm.); H. 2 1/2 in (6.4 cm.) 167 NEOLITHIC POTTERY IDOL, cruciform, with incised almond-shaped eyes, raised nasal ridge, and pointed nose; both ears are pierced. The body is incised with lines indicating, perhaps, clothing; partial inlays remain. Intact. Vinca Culture, Balkan area, 5th Millennium BC. H. 3 3/8 in. (8.6 cm.) 168 NEOLITHIC LARGE BLACK POTTERY HEAD FROM AN IDOL of sharply delineated outline, deeply incised eyes, raised nasal ridge, and long pointed nose; the arching back of the concave head with five perforations. Choice. Vinca Culture, Balkan area, 5th Millennium BC. H. 2 3/4 in. (7 cm.) 169 NEOLITHIC POTTERY ANIMAL HEAD, fox-like, with raised, elongated, almond-shaped eyes surrounded by incised lines, an exaggerated chin line ending in a pointed snout, and two thick cylindrical horns or ears at the top of the head that have incised cross-bands. A diamond is incised into the brow. A rare type. Vinca Culture, Balkan area, 5th Millennium BC. H. 2 7/8 in. (7.3 cm.)


170 PAIR OF LARGE MIDDLE BRONZE AGE ARM PROTECTION SPIRALS OF SALGOTARJAN TYPE, named after the treasure findings at Svedlar in eastern Slovakia. Extensive decorative incision work and rich olive-green patina. 15th-13th Century BC. Diam. of spiral 6 1/4 in. (16 cm.); total length 10 1/4 in. (26 cm.) Cf. M. Novotna, The Axes and Hatchets in Slovakia, 1970, pl. 56, 13.14. Ex German collection. Intact and exceptionally well preserved.

Bronze Age & Iron A ge Art

171 PAIR OF LARGE LATE BRONZE AGE ARM SPIRALS with superb rich green patina and decorated endings of the type found in central and southeastern Europe. Similar examples were found in the Blödesheim hoard in Germany and the Pétervására hoard in Hungary. 11th-10th Century BC. L. 8 1/4 in. (21 cm) and 7 1/2 in. (19 cm.) Ex German collection. Intact and unusually well preserved with an exceptional green patina.


172 HALSTATT BRONZE SPIRAL ARMBAND slightly ridged on the outside; the ends rolled. Said to have been found in Austria. 13th-12th Century BC. L. 7 1/4 in. (18.5 cm) Ex German private collection. 173 EARLY IRON AGE BRONZE PECTORAL consisting of two spectacle fibulae joined by seven chains. Hallstatt, 8th-7th Century BC. H 13 3/4 in. (35 cm.) Ex English private collection, acquired in the 1990s. 174 SARDINIAN BRONZE HARP PLAYER 7th-6th Century BC. H. 2 1/8 in. (5.5 cm.) A rare type. Ex collection of Dr. Charles T. Seltman (1886-1957), Cambridge, England; Dr. G.F. Reber, Lausanne, Switzerland, acquired in 1927. Cf. J. Thimme, Kunst und Kultur Sardiniens vom Neolithikum bis zum Ende der Nuraghenzeit, 1980, p. 388, no. 122. 175 CELTIC BRONZE APPLIQUE cast as a convex, open-work disk with an outer band of s-scrolls and an inner band of c-scrolls around a cluster of seven spheres; four attachment loops evenly spaced around the rim. 3rd-2nd Century BC. Diam. 2 3/4 in. (7 cm.) Ex German private collection.


Egyptian Stone Sculptures & Reliefs

176 EGYPTIAN OLD KINGDOM LIMESTONE STATUE OF A BAKER kneeling, kneading bread. Integrally carved with a long rectangular base. Extensive remains of polychromy. VIth Dynasty, ca. 2345-2181 BC. H. 8 1/2� in. (21.5 cm.); L. 11 5/8 in.(29.5 cm.) Ex old French collection, Beaulieu sur Mer; M. B. collection Westlake Village, California. Published: J Eisenberg, Art of the Ancient World, vol. X, 1999, no. 177. A extremely fine example of Old Kingdom sculpture, in an unusually fine statue of preservation with much of its original color; forearms and part of upper arms restored Cf. a similar servant figure in W. Seipel, Gott, Mensch, Pharao, Vienna, 1992, p. 140, no. 35.


177 EGYPTIAN NEW KINGDOM SANDSTONE RELIEF: MALE FIGURE IN ADORATION L. 16 1/2 in. (42 cm.) From Karnak, XVIIIth Dynasty, reign of Akhenaten, ca. 1350-1334 BC. Ex Jean-Marie Talleux Collection, Grand Fort Philippe, France; H.W. collection, New York, acquired from Royal-Athena Galleries in 1998. 178 EGYPTIAN NEW KINGDOM QUARTZITE HEAD OF AN OFFICIAL, wearing a smooth wig with tabs at temples. XIXth Dynasty, ca. 1292-1190 BC. H. 4 1/8 in. (10.5 cm.) Ex H.W. collection, New York, acquired from Royal-Athena Galleries in 1992. 179 EGYPTIAN LATE NEW KINGDOM SMALL LIMESTONE DEEP BUST, PROBABLY OF A SCRIBE, wearing a tiered wig with remains of black paint. XXth Dynasty, ca. 1185-1070 BC. H. 2 7/8 in. (7.4 cm.) Ex private American collection.


Senenmut supervised the quarrying, transport, and erection of twin obelisks, at the time the tallest in the world, at the entrance to the Temple of Karnak. His masterpiece, however, was Hatshepsut’s mortuary temple complex at Deir el-Bahri. Senenmut was of low birth, born in the provincial town of Iuny to literate parents, Ramose and Hatnofer. More is known about Senemut than many other non-royal Egyptians because the joint tomb of his parents was discovered and preserved, the construction of which Senenmut supervised himself.

Although it is not known where he is buried, Senenmut had two tombs constructed for him, one (TT71) in the Tombs of the Nobles, and another near the temple at Deir el-Bahri, near Hatshepsut's mortuary temple. They were both heavily vandalized in the reign of Thutmose III, perhaps during the latter's campaign to eradicate all traces of Hatshepsut's memory. Intriguingly, this second tomb was found to have a hidden passageway that leads directly under and into her mortuary temple as if he planned to be near her forever.


180 IMPORTANT EGYPTIAN NEW KINGDOM ORANGE-BROWN QUARTZITE PORTRAIT HEAD OF SENENMUT XVIIIth Dynasty, reign of Hatshepsut, ca. 1479-1458 BC. H. 21 cm. (8 1/4 in.) Ex collection of Georges Picard (d. 1946), France; Comtesse de B., France. Although not inscribed, this accomplished portrait of Hatshepsut’s High Steward and architect may be assigned on a stylistic basis to the second half of her reign. Its stylistic characteristics include the soft modeling of the fleshy face, proportionately narrow, almond-shaped eyes, and horizontally arranged lips. The ears are large and purposefully protrude from the undulating, striated wig. The figure has a false beard, part of which is visible beneath the incised line that marks the lower chin. Magic and symbolism play important roles in ancient Egyptian sculpture. It is for this reason that this portrait is sculpted in quartzite, a material which is associated with solar deities and was specifically selected to impart characteristics of those deities to the aristocrat. Foremost among those qualities is the stone’s warm tones suggesting the solar deities’ potential for resurrection. The seemingly disproportionately large ears are likewise intentional and suggest that the aristocrat was a good listener. Not only could he hear the commands of his pharaoh, but he could, as the ancient Egyptian proverbs state, listen to the complaints of a petitioner until he had finished his presentation.


181 EGYPTIAN ALABASTER LID FROM A CANOPIC JAR depicting the head of Imsety, the Son of Horus who protected the liver; traces of polychrome remaining. Section of lip lacking. Later Dynastic Period, 712-342 BC. H. 5 in. (12.7 cm.) Ex H.W. collection, New York. 182 EGYPTIAN LARGE GREEN GREYWACKE OSIRIS, mummiform, wearing the atef-crown and holding the crook and flail. XXVIth Dynasty, 664-525 BC. H. 18 1/2 in. (47 cm.) Ex collection of Pierre Vérité, Paris, begun in the 1920s; by descent, the collection of Claude Vérité, his son. Greywacke is a type of chloritic schist characterized by its hardness, dark color, and angular grains of quartz and feldspar set in a compact, fine matrix.


183 EGYPTIAN NEW KINGDOM LIMESTONE RELIEF OF SAI-EM-PETREF The supervisor of goldsmiths in the mortuary temple of Seti I at Abydos is depicted kneeling in prayer, which is written above: Hail to thee Re, Harakhti, Atum, Lord of Heliopolis...” To the right are two columns of text to the “Lord of Denderah and of Sokaris.” XIXth Dynasty, ca. 1313-1185 BC. H. 23 5/8 in. (60 cm.); W. 14 1/2 in. (37 cm.) Ex collection of Prof. Dr. Friedrich Wilhelm Freiherr Von Bissing (1873-1956), The Hague; collection of Dr. H.C. Jelgersma, Oegstgeest; by descent to M. Jelgersma, the Netherlands. From a series of five reliefs from the tomb of Sai-Em-Petref, exhibited in the Museum at Carnegielaan 12, The Hague. Another relief from this group is in the Gemeente-Museum, The Hague, and a third is in the Van Leer collection in Amsterdam. Published:. H.P. Blok, Fünf Grabeliefs aus dem Neuen Reich, AcOr 10, 1931, 81-94. Also: W.B.Van 79 Wijngaarden, Annual Report no. 6 of the Near-Eastern and Egyptian Society, 1939, pl. 264.

184 EGYPTIAN LIMESTONE RELIEF OF A PHARAOH depicted facing to right, wearing a crown fronted by a uraeus, and a broad beaded collar. XXXth Dynasty-Early Ptolemaic, ca. 350-250 BC. H. 18 1/4 in. (46.4 cm.); w. 14 1/2 in. (36.8 cm.) Ex Helena Rubenstein collection, sold at Parke-Bernet Galleries, New York, 1966; S.Z. collection, Bronx, New York; Christies, New York, January 25, 1979, lot 205; reacquired by S.Z., Bronx, New York.


185 EGYPTIAN BRONZE OSIRIS, mummiform, holding the crook and flail across his chest and wearing the atef-crown. Late Dynastic Period, 664-343 BC. H. 6 5/8 in. (17 cm.) Ex French collection. 186 EGYPTIAN BRONZE NUDE HARPOKRATES striding, finger to mouth, wearing the Double Crown of Upper and Lower Egypt. Fine reddish-brown patina. Ptolemaic Period, 305-30 BC. H. 7 in. (17.7 cm) Ex French collection; J. F. collection, Loveland, Ohio. Published: J. Eisenberg, Art of the Ancient World, vol. IV, 1985, no. 448. Exhibited: Ohio State University Art Museum, 1986-90; Picker Art Gallery, Colgate University, 1990-2007. 187 EGYPTIAN BRONZE SCEPTER FINIAL OF AN ENTHRONED GODDESS wearing a uraei circlet. Late Dynastic Period, 664-343 BC. H. 4 3/4 in. (12 cm.) Ex French collection. 188 EGYPTIAN BRONZE ENTHRONED HARPOKRATES-AMUN with his hands palm down by his thighs. He wears the Red Crown with plumes and sundisk fronted by a uraeus; with the side lock of youth. Rare. Late Period, 715-30 BC. H. 4 7/8 in. (12.5 cm.) Ex old Swedish private collection, acquired in the 1920s. 189 EGYPTIAN BRONZE CAT seated in the traditional pose with alert ears and its tail wrapped around its forepaws. Late Period, 712-30 BC. H. 3 1/8 in. (8 cm.) Ex collection of M. Michel Guy, Minister of Culture of the French Republic, 1974-1976. Bears an old collection label with the no. 22.


Egypti an Bronz e Sculptures

190 IMPORTANT EGYPTIAN MONUMENTAL BRONZE SEATED CAT in the traditional attitude with alert ears. XXIth-XXIInd Dynasty, 1080-715 BC. H. 24 in. (61 cm.) Ex collection of a French antiquarian; an important American private collection, acquired from Royal-Athena Galleries in 1990. Superbly modelled. The largest known Egyptian bronze cat!


191 IMPORTANT EGYPTIAN VERY LARGE BRONZE SEATED CAT realistically modelled with an alert expression. XXVth-XXVIth Dynasty, 750-525 BC. H. 14 1/2 in. (37 cm.) Ex Ernest Ascher collection, Paris, acquired in the early 1980s; an important American private collection, acquired from RoyalAthena Galleries in 1992. One of the largest naturalistic Egyptian cats known. The cat represented Bastet, the goddess of joy, festivity, grace, and fertility; patroness of women and a goddess of maternity. It was later associated with Isis, protectoress of women and model of conjugal love and motherhood. For more on cats in ancient Egyptian see: N. and B. Langton, The Cat in Ancient Egypt, 1940; L. Delvaux-E. Warmenbol (Ed.) Les divins chats d'Egypte, 1991.



Visit our newly expanded website updated continuously with our latest acquisitions:

Egyptian Wood 192 EGYPTIAN LARGE WOOD MASK FROM AN ANTHROPOID SARCOPHAGUS Ptolemaic Period, 305-30 BC. H. 33 1/2 in. (85 cm.) Ex collection of Pierre Vérité, Paris, begun in the 1920s; by descent, the collection of Claude Vérité, his son. 193 EGYPTIAN NEW KINGDOM PAINTED CARTONNAGE FRAGMENT: Bust of Isis facing right, wearing a sheath, tripartite wig, and her hierolglyphic on her head; 3 partial columns of text; minor restorations. XVIIIth-XIXth Dynasty, 1550-1293 BC. H. 5 3/16 in. (13 cm.) Ex Neuhauser collection, acquired between 1952 and 1972; H.W. collection, New York. Fine style. 194 EGYPTIAN FRAGMENT FROM A WOOD SARCOPHAGUS, the jackal-headed Anubis and Isis attending a mummy on a lion-bier, canopic jars below. Above is a representation of the sky goddess Nut, kneeling, her wings outspread. Ptolemaic Period, 305-30 BC. H. 15 3/4 in. (40 cm.; W. 13 3/8 in. (34 cm.) Ex Bela Hein collection, Paris.


195 LARGE EGYPTIAN WOODEN CAT seated on its hindquarters, with an alert expression, the ears pricked, the details of the face incised, and carved on an integral plinth. Ptolemaic Period 305-30 BC. H. 11 in. (28 cm.) Ex French private collection.

Egyptian Faience Amulets

196 EGYPTIAN GREENISH-BLUE FAIENCE AMULET OF MEHYT, the lion-headed goddess of Abydos, striding, wearing a feathered crown with cow’s horns and solar disk. Late Period, 712-30 BC. H. 2 3/8 in.(6 cm.) Rare. The type is mentioned in C. Andrews, Amulets,1994, p. 34. 197 EGYPTIAN BLUE FAIENCE AMULET OF A STRIDING BABOON with a long tail; a suspension loop on back. Late Dynastic Period, 712-343 BC. H. 2 1/2 in. (6.4 cm.) Ex English collection. 198 EGYPTIAN GREEN FAIENCE AMULET OF A SEATED CAT, hair indicated by small incised lines. XXVIth Dynasty, 664-525 BC. H. 1 7/8 in. (4.7 cm.) Ex French private collection; J.F. collection, Loveland, Ohio. Published: J. Eisenberg, The Age of Cleopatra, 1988, p. 24, no. 117. Exhibited: Picker Art Gallery, Colgate University, 1990-2007.


Egyptian Usha btis 199 EGYPTIAN NEW KINGDOM POLYCHROME WOOD REIS USHABTI wearing a tiered Ramesside wig, the traditional kilt, and holding a whip and a ba-bird. XIXth Dynasty, ca 1293-1185 BC. H. 8 in. (20.5 cm.) Rare in wood. Cf. Louvre exhibition catalogue, Shaouabtis, des travailleurs pour l'éternité, Bibliographie nationale française, Paris, 2003, p. 30. 200 EGYPTIAN BLUE FAIENCE REIS (OVERSEER) USHABTI FOR DJEHUTI, First God's Father of Amun, the Osiris Djehuti. With fisted hands held at the waist, wearing the short kilt and triangular apron of daily life, the details in black glaze, including the striated wig, facial features; single column of hieroglyphs. XXIth Dynasty, 1070-945 BC. H. 3 3/4 in. (9.5 cm.) Ex collection of Archie Case, acquired in the 1970s. 201 EGYPTIAN BRONZE USHABTI OF THE GENERAL OUN-DJEBAU-EN-DJED mummiform, holding a crook and flail. XXIst Dynasty, r. of Psusennes I, 1039-991 BC. H. 4 in. (10 cm.) Cf. J-F. Aubert, Statuettes égyptiennes, Paris,1974, pl. 37, nos. 85-88; H. Schneider, Shabtis, Leiden, 1977, pp. 152-3. 202 EGYPTIAN LIMESTONE USHABTI. Late Period, 664-342 BC. H. 7 in. (17.8 cm.) Ex P.A. (1908-2004) collection, a UN diplomat, New York, acquired in Cairo in 1970; thence by descent.

203 EGYPTIAN TURQUOISE FAIENCE USHABTI wearing a cobalt blue wig characteristic of the Qaou el Kebir necropolis near Abydos. Early Ptolemaic, 3rd Century BC. H. 4 3/4 in. (12.1 cm.) Ex old French collection; Brudy collection; H.W. collection, New York. Cf. J-F. Aubert, Statuettes égyptiennes: Ouchebtis, Chaoubtis, Paris,1974, pp. 266-267.


E gyp ti an Go ld & S i lver 204 EGYPTIAN SILVER GILT NEKHBET, THE VULTURE GODDESS OF UPPER EGYPT, protectress of the king and goddess of childbirth, striding with her right arm held to her side and her fragmentary left arm formerly extended, and wearing a long close-fitting robe, a tripartite wig with uraeus in front, and the atef-crown. Very rare. Late Period 715-30 BC. H. 4 9/16 in. (12 cm.) Ex collection of Edward Roger Pratt (1789-1863), Ryston Hall, Norfolk, 1937. For a related example in bronze see G. Röder, Ägyptische Bronzefiguren, p. 225, 277a, fig. 269 (Berlin, inv. no. 2447). Edward Roger Pratt spent three years on a Grand Tour around the Mediterranean, including Egypt, from Christmas 1833 to May 1834. His journal, much of it written in French, gives an account of the ancient sites he visited, along with annotated maps and some tart observations on the manner in which his fellow Europeans treated the monuments and tombs. It is possible he acquired some of his Egyptian works of art on this tour, but at least one object in his collection came from the Giovanni d'Athanasi sale at Sotheby's, London, March 13th, 1837. Two New Kingdom steles from the Pratt collection were sold at Sotheby's, New York, December 17th, 1998, nos. 24 and 26, the latter now in the Los Angeles County Museum of Art. 205 EGYPTIAN DOUBLE-SIDED GOLD AMULETIC HATHOR HEAD PLAQUE of rectangular form, the gold sheet decorated in repoussé on each side with the head of Hathor, her hair tucked behind cow ears, and dressed with bands and curling tips, with a row of uraei surmounting her hair. New Kingdom - Third Intermediate Period, ca. 1320-656 BC. H. 1 1/4in. (3.2 cm.) 206 EGYPTIAN OVAL SHEET GOLD HOLLOW-BACKED ATTACHMENT OF A BES HEAD chased and repousséd on both sides in a rectangular recess, pierced around the border for attachment; probably from a necklace. Late Period - Ptolemaic, after 500 BC. H. 1 3/4in. (4.5cm.) Ex English collection. Protector of women and children, Bes also dispelled bad dreams.


207 EGYPTIAN PREDYNASTIC OVOID SQUAT JAR with pierced lug handles on shoulder, and decorated with groups of spirals made with brownish paint. Naqada II, 3650–3300 BC. H. 6 1/2 in. (16.5 cm); W. 8 3/4 in. Ex English collection; H.W. collection, New York. Cf. a nearly identical example in the Museum of Fine Arts, Boston from Mesaid (Mesa'eed), tomb 58, no. 3, M/58/3, 1910. 208 EGYPTIAN PRE-DYNASTIC BLACK-TOP POT. Naqada II, ca. 3600-3200 BC. H. 7 in. (17.8 cm.) Ex Bela Hein collection, Paris. 209 EGYPTIAN OLD KINDGOM WALL PAINTING FROM THE TOMB OF ABA at Dier el Gebrawi, depicting his son Khua, wearing a bag wig, broad collar, and white kilt moving to the right, his right arm raised before him making an offering. Minor restoration. Ex collection of Dr. Benson Harer, Seattle, Washington. See: N. de G. Davies, The Rock Tombs of Deir el Gebrawi I: Tomb of Aba and Smaller Tombs of the Southern Group, Archaeological Survey of Egypt 11, London 1902, pl. XVII. Cf. J. Romano and G. Robbins, ‘A Painted Fragment from the Tomb of D cw at Deir el Gebrawi,’ Journal of the American Research Center In Egypt, vol. XXX1, 1994, pp. 21-32. 210 EGYPTIAN GRAIN MUMMY WITH A SHEET GOLD MASK. Late Dynastic, ca 712-342 BC. H 6 1/8 in. (15.6 cm.) Ex French collection; H.W. collection, New York. Grains of barley were sprouted in Nile mud and then wrapped in linen bandages into a miniature mummy, which was then placed into the tomb as a symbol of the regeneration after death.

Egyptian Varia


Near Eastern Antiquities 211 ANATOLIAN SMALL POTTERY IDOL in violin form, with incised cross-hatchings and details. Mid-3rd Millennium BC. H. 2 3/8 in. (6.1 cm.) Ex German private collection. Cf. E. Rehm, Kykladen und Alter Orient, Badisches Landesmuseum, Karlsruhe, 1997, nos. 24-27. 212 URARTIAN BRONZE IDOL of flattened sheet metal with a schematic design, the face outlined by a dotted row, the eyebrows, eye, and nose in slightly raised relief; a bird on the forehead. 7th Century BC. H. 6 in. ( 15.3 cm.) Very rare. Ex D. K. collection, Berlin, acquired in 1985. Cf. G. Zahlhaas, Idols-- Early Images of God and Offering, Munich exhibition, 1985, p. 53, no. 16. 213 SYRIAN MINIATURE ARAGONITE FERTILITY IDOL of a seated nude female with oval face; eyes and mouth incised. Tell Bouqras, 6th-5th Millennium BC. H. 1 3/8 in. (3.5 cm.) Rare. Ex French collection. 214 AKKADIAN HEMATITE CYLINDER SEAL, Inscribed with a priest, his hands clasped and wearing a long robe and round cap, standing beside a staff topped by a star. He is approached by two worshipers each with a raised right arm. Between them is a lion with a thick mane who walks upright holding a staff. Ca. 2334-2279 BC. 22 x 12 mm. Ex collection of S. M. Rowe, Jr., acquired from Dikran Kelekian in 1972. 215 ACHAEMENID VARIEGATED TAUPE MARBLE CYLINDER SEAL inscribed with a king holding the forelegs of two rampant goats, a tree between. Ca. 540-400 BC. 27 x 12 mm. Ex Mrs. William H. Moore collection, no. 51; Leonard Gorelick collection. Published: M. Noveck, The Mark of Ancient Man: Ancient Near Eastern Stamp Seals and Cylinder Seals: The Gorelick Collection, Brooklyn Museum, 1975, no. 48.


216 PAIR OF SCYTHIAN GILT BRONZE PLAQUES of shaped rectangular outline, depicting a bull being harnessed by a man from behind. The Steppes, 3rd-2nd Century BC. Ws. 1 7/8 in. (4.7 cm.) Ex private French collection. 217 SCYTHIAN BRONZE HORSE TRAPPINGS Each is cast in the form of a griffin with a down-curving beak, their crests forming loops along the tops and backs of their heads, with quadruped bodies, the hoofed legs folded under; perforated vertically twice along the bodies for attachment, the back sides concave. Mid-5th Century BC. Larger: 4 in. (10.2 cm.) long. Ex private collection, acquired in the 1970s. For the form, see a horse trapping of a bird of prey in I. Piotrovsky, Scythian Art, 1987, no. 86. 218 WESTERN ASIATIC BRONZE HORSEMAN 2nd-early 1st Millennium BC. H. 4 1/8 in. (10.5 cm.) Ex Thierry collection, France; John Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena galleries in the early 1980s; J. F. collection, Loveland, Ohio. Exhibited: Picker Art Gallery, Colgate University, 1991-2007. 219 WESTERN ASIATIC BRONZE AND MARBLE MACE HEAD, the spherical marble head with overall raised elipses and surmounted by conjoined horse protomes. A very rare type. Later 2nd - early 1st Millennium BC. H. 4 3/4 in. (12 cm.)


220 ACHAEMENID LARGE BRONZE CARINATED PHIALE, probably found in the area of Nihavand, Iran, 6th Century BC. Diam. 11 1/4 in. (28.6 cm.) Ex S. R. collection, Cincinnati, acquired from the Kelekian Gallery in 1973. Shallow bowls of this form, used for drinking wine, were made from various materials, including metal, glass, and ceramic. Restored. 221 IRANIAN BRONZE KOHL VESSEL IN THE FORM OF A GODDESS wearing a long skirt, her hands cupping her breasts, and her long hair dressed into a turban-like coiffure with a thick braid down her back. 10th-8th Century BC. H. 4 3/4 in. (12.1 cm.) Published: J. Eisenberg, Art of the Ancient World, vol. XII, 2002, no. 200. 222 SUMERIAN BRONZE PICK-AXE WITH TWO WRESTLERS atop the handle, perhaps a representation of the hero Gilgamesh wrestling the wild Enkidu. Late 3rd Millennium BC. L. 4 in. (10.2 cm.) Ex collection of R. Bareylle, Paris, acquired before 1958. Possibly unique.


his objects of art, rather than depositing them in a vault or holding receipts. Also, art is not as volatile as stocks and bonds, the coin, gem, and collectibles markets, and especially the gold and silver markets. Sylvia Porter in her New Money Book recommends classical antiquities as one of the best types of art for rapid growth. Dr Eisenberg was first quoted on the investment value of ancient art in the February 9, 1966 issue of Newsday - 40 years ago! - and most recently in Business Week.

Why Collect Ancient Art? There are several reasons for collecting fine works of ancient art: • The excitement of owning a beautiful work of art that has survived for perhaps some 2,000 years or more. • The decoration of one's home or office with unique objects whose beauty and desirability have withstood the test of time. • The creative satisfaction, enjoyment, and pride in forming a truly fine collection. • The probable appreciation in value.

Royal-Athena Galleries Jerome M. Eisenberg, Ph.D., the founder and director of Royal-Athena Galleries, is usually at the New York gallery and visits the London gallery several times each year. He is available by appointment for consultation, expertise, and appraisals; or for a telephone conference. At no obligation he will arrange a private viewing with guidance on a sophisticated long term program of collecting and investing in the fine arts. He also is in attendance at all the fairs in which we exhibit. Over the past 50 years we have sold more than 600 works of ancient art to many of the country's leading museums, including the Metropolitan Museum of Art, the Boston Museum of Fine Arts, the Sackler Art Museum at Harvard University, the Yale University Art Gallery, the Princeton University Art Museum, the Newark Museum, the Walters Art Gallery, the Detroit lnstitute of Arts, the Cincinnati Art Museum, the Minneapolis Institute of Arts, the Milwaukee Public Museum, the New Orleans Museum of Art, the Virginia Museum of Fine Arts, the Los Angeles County Museum of Art, and the J. Paul Getty Museum, as well as the British Museum, the Louvre, and a large number of museums in Canada, Belgium, Germany, Greece, Hungary, the Netherlands, Spain, Switzerland, Australia, and Japan. The catalogs of classical marble sculptures from the Museum of Fine Arts, Boston, and from the J. Paul Getty Museum illustrate no less than 39 pieces acquired from our galleries. In addition, over one thousand objects purchased from us have been donated to many other museums, including the Freer Gallery of Art, the Sackler Gallery (The Smithsonian Institution), and the Brooklyn Museum of Art. Dr. Eisenberg travels overseas several times annually to visit collectors, museums, clients, and many of the nearly 150 private sources, agents, dealers, and auction houses with whom he is in frequent contact. Since 1954 he has made over 200 overseas trips, purchasing over forty thousand antiquities for tens of millions of dollars. This aggressive purchasing policy, perhaps without parallel in the field, enables us to offer an extraordinary number of choice objects at very reasonable prices. Our willingness to buy in volume and to purchase our inventory outright, rather than to take it on consignment, results in extremely competitive pricing, often considerably below that of other galleries. Furthermore, exchanges and purchases are fre-

How to Collect Ancient Art Sylvia Porter lists ten sound rules as a guide in art collecting: 1. Study the field which interests you as much as possible. 2. Buy cautiously at first. 3. Make sure that your work of art has quality. 4. Deal with a top gallery or art dealer. “Some dealers and major galleries will guarantee the authenticity of the art works they sell, so check this point as well." (Not only have we been guaranteeing our ancient art for over fifty years, but to the best of our knowledge our two-day auction sale conducted by Parke-Bernet Galleries (now Sotheby's) in 1964 was the first auction sale by several years in which every piece was guaranteed - but by us!) 5. Have an understanding with your dealer or gallery about trading up - so he’ll repurchase or resell your works as you have more money to invest in high quality art. (We normally allow full credit for the exchange or upgrading of objects purchased from us.) 6. Do not buy art works just because they are a current rage. 7. Ask the advice of museum directors or curators whenever possible. 8. Decide upon your investing limit before you buy. If you fall in love with a more expensive object try to arrange for a time payment. (We certainly encourage this and offer flexible time payments!) 9. Spread your financial risks by buying a variety of art unless you are an expert in a particular field. 10. “Buy the best examples you can afford in any category.” We would add two other important rules: 11. Ask for the provenance of any potential acquisitions. 12. Do not buy objects that have been significantly restored. Beware of overly restored faces in both vase painting and sculpture.

Ancient Art as an lnvestment Historically, ancient art investments have yielded excellent long-term capital appreciation, usually 8% to 10% annually. Any investment in tangibles, especially works of art, should be projected for at least five to ten vears. Normally one should not hold more than 10% of their investment portfolio in art. Collecting fine art is a pleasurable way of hedging against inflation because the investor can enjoy


quently made from many past and present clients who may be upgrading their collections or liquidating some of their holdings in order to collect in other areas. Exchanges or purchases are sometimes carried out with museums both in the United States and in Europe for their duplicate accessions or for objects not in their recent or current fields of specialization.

Expertise and Ethics Ancient art has been the specialty of our director for over 50 years, and numismatics for 66 years. His many publications on ancient art and numismatics span nearly five decades. The first volume of Art of the Ancient World by Dr. Eisenberg was published in 1965. Since 1968 Dr. Eisenberg has concentrated on expertise in the ancient arts, having lectured on this subject at New York University and presented several scholarly papers at the annual meetings of the Archaeological Institute of America, most recently on the ‘Roman’ Rubens Vase. His wide range of expertise is further revealed through other recent papers: on Egyptian bronzes at a Congress of the International Association of Egyptologists, on Etruscan bronze forgeries at an International Bronze Congress, on the ‘Greek’ Boston and Ludovisi thrones at the Magna Graecia Symposium in Venice, on Roman bronze forgeries at the 1999 International Bronze Congress, and on the Portland Vase as a Renaissance work of art at the 2003 International Congress of Classical Archaeology. In 1996 he was a Visiting Professor at the Institute of Classical Archaeology of the University of Leipzig, Germany. He was elected a Fellow of the Royal Numismatic Society in 1952; a member of the Archaeological Institute of America in 1960 (and a Life Member in 1988); a Patron of the American Numismatic Society in 1955 (and a Life Associate in 1998); a Fellow for Life of the Metropolitan Museum of Art in 1966, and most recently, a Benefactor of the Museum of Fine Arts, Boston, and in 2000 an Honorary Fellow of the Egyptian Museum in Barcelona, Spain. Dr. Eisenberg has appeared as an Expert in the Courts of several states and has conducted appraisals for the U.S. Internal Revenue Service, the U.S. Treasury Department, the U.S. Customs Service, the Metropolitan Museum of Art and the J. Paul Getty Museum, as well as many other prominent institutions. He was elected a Qualified Appraiser by the Appraisers Association of America in 1964 and has recently participated in several episodes of the Antiques Road Show. He served on the vetting committee of the European Fine Art Fair at Maastricht from 1993 to 2001 and was the Chairman and coorganizer of the New York Antiquarian International Fine Art Fair held in November 2001. Dr. Eisenberg has been a leader for several years in the promotion of the ethical acquisition of antiquities by museums and collectors and has delivered papers on this subject at the Archaeology Section of the U.K. Institute for Conservation in 1993 and at the 1998 International Congress of Classical Arch-

aeologists. He gave an address by invitation on the international trade in antiquities at the UNIDROIT Convention in Rome in 1993. He organized two symposia in New York in 1994 on public policy and the movement of antiquities and in 1998 on the acquisition of antiquities by museums for the International Association of Dealers in Ancient Art, of which he is a founding member and was a member of the executive board from 1993 to 2002. In 1999 he presented testimony to the United States Cultural Properties Committee on the legal and illegal trade in ancient art in Italy. In 2003 he was a featured speaker and panel participant in the U.S. Government Conference on Stolen Mideast Antiquities in Washington, D.C. Also in 2003 he featured on the European TV channel Arte and on BBC Radio’s File on Four in indepth interviews on the antiquities trade. He appeared on television on CBS News, Dateline NBC, PBS Jim Lehrer News Hour, and CBC Television (Canada), and was interviewed on the BBC and PBR Radio, and in print in the New York Times, Wall Street Journal, Boston Globe, Philadelphia Inquirer, Washington Post, The Times, and a dozen other publications. In 2004 he was featured on a Discovery Channel program and on Fox News on the antiquities trade. Also in 2004 he presented a paper on ‘The Mesopotamian Antiquities Trade and the Looting of the Iraq Museum’ to the American Bar Association. In 2005 he was interviewed on the antiquities market and the collecting of antiquities on National Public Radio in the US and in 2006 on National Public Television in Athens, Greece. In 2007 he delivered a paper on ‘Perspectives on the Antiquities Trade and the Collector: Past, Present, and Future’ at the symposium ‘The Future of the Global Past’ at Yale University.

Ancient Coins We carry a fine stock of select Greek silver coins from $100, Roman gold coins from $1,000, and Roman silver and bronze coins from $100. We began our business as ‘Royal Coin Company’ in January 1942, 66 years ago, and Dr Eisenberg, cofounder of the firm, has specialized in ancient coins, as sole proprietor, since 1952.

Acknowledgements Dr. Eisenberg wishes to express his gratitude to F. Williamson Price who has again diligently prepared and co-authored the catalog, to Brent M. Ridge who did nearly all of the photography, to the scholars who attributed and reattributed some of the sculptures and vases, especially Kees Neeft, Konrad Schauenburg, and Cornelius C. Vermeule, and to the several others who prefer to remain anonymous.


Our website has been greatly improved and expanded as may be seen by the partial page of Attic vases illustrated below. It is now updated weekly with new acquisitions and features over 1000 antiquities! We invite you to become a regular visitor.

Wanted to Purchase: Fine Antiquities of All Periods We are prepared to travel world-wide to acquire select works of legally acquired ancient art for our continually expanding clientele. We will purchase collections of any size, act as your agent to sell your objects on commission, or exchange them for other select pieces from our extensive inventory. Send photographs and full details with your letter or e-mail.

International Association of Dealers in Ancient Art

Confederation Internationale des Negociants en Oeuvres d’Art

Art and Antique Dealers League

Appraisers Association of America

MINERVA Minerva, the bi-monthly, international review of ancient art, archaeology, and numismatics, published in England, was established by Dr Eisenberg, its publisher and editor-in-chief, in 1990. It features the most extensive and timely coverage by any magazine of worldwide excavations and exhibitions emphasizing Greece, Etruria, the Roman Empire, Egypt, and the Near East. The book reviews are concise and objective. It also includes the most extensive annotated listings of international museum exhibitions, meetings, and symposia in ancient art and archaeology. Sample copies: $8 or £4 postpaid. Subscription (6 issues per year):

U.S.A., Canada, and rest of world:

U.K.: 1 year £21, 2 years £39, 5 years £90. Europe: 1 year £23, 2 years £44, 5 years £100.

Surface: 1 year $50, 2 years $90, 5 years $220. Air: 1 year $66, 2 years $122, 5 years $296.


Recent Royal-Athena Catalogs: • Art of the Ancient World (Vol. XV, 2004) illustrates in full color 190 objects. (72 pages, $5) • Gods & Mortals: Bronzes of the Ancient World (2004, illustrates in full color 80 objects, 80 pages, $5) • Ancient Arms, Armor, and Images of Warfare (2004, illustrates in full color 100 objects, 48 pages, $5) • Art of the Ancient World (Vol. XVI, 2005, illustrates in full color 192 objects, 80 pages, $5) • Mythologies of the Classical World & Ancient Egypt (2006, 48 pages, $5) • Art of the Ancient World (Vol. XVII, 2006, illustrates in full color 233 objects, 96 pages, $5) • Art of the Ancient World (Vol. XVIII, 2007, illustrates in full color 259 objects, 96 pages, $5) • All 7 of the above catalogs (total list price $35), with price lists: $25. (Add $32.50 for overseas airmail.)

Other Royal-Athena Catalogs Available • Art of the Ancient World (Vol. IV, 1985) illustrates in full color over 600 works of art. 208 pages, 192 color plates: $15 (add $10 for overseas airmail) • The Age of Cleopatra: The Art of Late Dynastic Graeco-Roman Egypt (1988) illustrates in full color 151 selected works of art. (32 pages, $5) • Gods & Mortals: Bronzes of the Ancient World (1989) illustrates in full color 180 objects. (52 pages, $5) • One Thousand Years of Ancient Greek Vases from Greece, Etruria, & Southern Italy (1990) illustrates in full color 186 vases. (48 pages, $5) • Art of the Ancient World (Vol. VIII, 1995) illustrates in full color 244 objects. (48 pages, $5) • Art of the Ancient World (Vol. IX, 1997) illustrates in full color 264 objects. (64 pages, $5) • Art of the Ancient World (Vol. X, 1999) illustrates in full color 264 objects. (64 pages, $5) • Art of the Ancient World (Vol. XI, 2000) illustrates in full color 167 objects. (64 pages, $5) • Art of the Ancient World (Vol. XII, 2001) illustrates in full color 410 objects; 30 pages of glossaries and mythologies. (161 pages, $10) • Art of the Ancient World (Vol. XIII, 2002) illustrates in full color 203 objects. (80 pages, $5)

• Art of the Ancient World (Vol. XIV, 2003) illustrates in full color 225 objects. (80 pages, $5) • A number of the objects in the last several catalogs are still available. Price lists will be included. • All 13 of the above catalogs (total list price $70), only $50. (Add $37.50 for overseas airmail.) Orders for our catalogs may be charged to your credit card. Trade lnquiries We cordially invite inquiries from fellow art dealers, art consultants, architects, interior designers, and institutional collectors and investors. Special Presentations, Condition Reports, and Color Photographs of Objects We can supply special presentations with further information, such as condition reports, and 4 x 6 in. (10x15 cm.) or 8 x 10 in. (20x25 cm.) color photographs, often with other views or close-ups, on any of the objects illustrated in this catalog upon request. A selection of photographs may also be viewed at our London gallery or at the various fairs. Conservation and Mounting Services A professional conservator, Alina Bessarabova, working on our premises in New York, does expert conservation and restoration of ancient art and antiques. A same-day or a one day service is available for an additional charge. Small metal and wood mountings and bases are custom made but due to insurance restrictions this work is usually limited to objects purchased from us. We are pleased to accept trade accounts. Terms and Conditions of Sale All items are offered subject to prior sale. All prices are subject to change without notice, however, the current price list is valid through 2007. The following credit cards are honored: American Express,Visa, Mastercard. A deferred payment plan is also available. New York residents must add the appropriate sales taxes (currently 8 5/8%). No cash refunds may be made after 10 days of receipt; however, full credit is allowed on all objects purchased from our galleries with the exception of a few consigned items. All shipping and insurance charges will be billed to the purchaser. Title remains with RoyalAthena Galleries until payment is made in full.

royal-athena galleries established 1942 Jerome M. Eisenberg, Ph.D., Director

London (Seaby Antiquities)

New York Richard M. Novakovich Betty W. Eisenberg Suzanne Strachovsky Brent M. Ridge Arkady Roytman Alina Bessarabova Amanda Murphy

F. Williamson Price, Associate Director

Assistant Director & Manager Comptroller Office Manager Photographer Webmaster Conservator Intern

Sean Kingsley, Ph.D. Gallery Manager; Managing Editor, Minerva Mark Marrony, Ph.D. Editor, Minerva Consulting Editor, Peter Clayton Minerva Tony Curran Minerva Webmaster Intern Henriette Johansen

royal-athena galleries new york


Royal-Athena Galleries, Art of the Ancient World, Volume XIX - 2008