Art of the Ancient World Greek, Etruscan, Roman, Byzantine, Eg yptian, & Near Eastern Antiquities
Volume XXII - 2011
royal-athena galleries new york
No. 89 - Art of the Ancient World - Vol. XXII - January 2011 We are pleased to issue this catalog celebrating our 69th anniversary of dealing in classical numismatics and our 57th year of dealing in ancient art. It illustrates in full color 205 selected antiquities priced from $1,250 to over $3,000,000. This publication is one of a continuing series primarily illustrating new acquisitions featured in our New York 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: www.royalathena.com, updated weekly.
We unconditionally guarantee the authenticity of every work of art sold by Royal-Athena Galleries. ©2010 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: Roman marble Aphrodite holding a scallop shell. 2nd Century AD. 55 in. (140 cm.) No. 22 Back cover: Roman marble deep bust of Eros stringing his bow. H. 15 3/8 in. (39 cm.) No. 11 Text and catalog design by Jerome M. Eisenberg, Ph.D., and F. Williamson Price Photographs by Brent M. Ridge and Ramon Perez
We will be exhibiting at BAAF Basel, The Basel Ancient Art Fair, Basel, Switzerland, November 4-10, 2010 TEFAF, The European Fine Arts Fair, Maastricht, The Netherlands, March 18-27, 2011 The New York Spring Show, New York, New York, April 24-May 4, 2011 BAAF Brussels, The Brussels Ancient Art Fair, Brussels, Belgium, June 8-12, 2011 BAAF Basel, The Basel Ancient Art Fair, Basel, Switzerland, November 3-9, 2011 (Check our website to confirm the dates)
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Jerome M. Eisenberg, Ph.D. Director
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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 Ancient Stone Sculptures Greek Bronze Sculptures Etruscan Bronze Sculptures Roman Bronze Sculptures Ancient Bronze Animals Classical Bronze Vessels Ancient Arms and Armor Varia Neolithic Terracottas Greek, Etruscan, and Roman Terracottas Early Greek Vases Attic Black-figure Vases Attic Red-figure Vases South Italian Vases Etruscan Vases Ancient Glass
2 5 18 20 21 22 30 31 32 35 37 38 43 45 53 58 66 68
Classical Gold Jewelry Ancient Silver
EGYPTIAN ART Egyptian Stone Sculptures and Reliefs Egyptian Stone Vessels Egyptian Bronze Sculptures Egyptian Faience Egyptian Wood and Terracottas
72 76 78 85 87
NEAR EASTERN ART
COLLECTING ANCIENT ART
ROYAL-ATHENA GALLERIES 94 Expertise and Ethics 95 Royal-Athena Galleries Catalogs Inside back cover
Photo above: Attic black-figure hydria by the Swing Painter (detail of shoulder). Ca. 535-530 BC. H. 18 1/4 in. (46.4 cm.), No. 110.
Introduction As we enter our 56th year of dealing in ancient art we are pleased to present in our 89th publication an outstanding selection of antiquities assembled primarily from old collections in the United States and Europe. A large number of these objects were originally purchased from us over the past several decades and we are delighted to offer them again to a new generation of enthusiasts. We are especially proud to offer in this catalog a selection of 24 fine ancient vases from the collection of Patricia Kluge, all acquired from Royal-Athena between 1984 and 1995. The complete collection of 45 vases from her collection has been published in our new catalog ‘One Thousand Years of Ancient Greek Vases II’ illustrating 193 select Greek, Etruscan, and South Italian vases from our current inventory. We have devoted over half a century to selling carefully attributed works of art with particular attention to their provenance. This diligence has resulted in an astonishingly low percentage of claims against legal ownership – less than 0.0006% or one out of every 2000 objects! In view of the increasing legislation being passed in several countries to restrict the trade in illegally exported antiquities (which we applaud), we may assure our clients that we continue to proudly conduct a very ethical business and take all of the proper steps to insure that our inventory is free of any possible claims. Jerome M. Eisenberg, Ph. D.
Greek Marble Sculptures 1 GREEK MARBLE HEAD OF A KORE She wears a diadem that begins at the back of the head and runs to the forehead in three flat, overlapping double ears of grain. Under the diadem the slightly wavy hair is combed backwards; a corkscrew curl on either side of the neck and a small curl in front of the right ear. She has an oval face with an almost pointed chin. Broad eyelids frame the almond-shaped eyes. A blossom was originally located in the centre of the diadem above the forehead. Athens, ca. 460-440 BC. H. 8 1/2 in. (21.5 cm.) Ex Swiss private collection; D. Cahn, Basel. The planar treatment of the forehead and cheeks with the special emphasis placed on the eyebrows and lids, as well as the compact chin are similar to the head of an athlete in Boston, inv. no. 51.1404. Cf. C. Vermeule, Sculpture in Stone, Boston, 1976, p. 26, no. 32. These stylistic features suggest a date for the head between the pediment figures of the temple of Zeus in Olympia and those of the Parthenon. Cf. the head of a goddess from the East pediment of the Parthenon, Agora Museum, Athens, inv. no. S 2094.
2 HELLENISTIC MARBLE BEARDED MALE HEAD, possibly of a Hellenistic ruler or victorious athlete, turned to the left, his close-cropped hair brushed forward and bound with a laurel wreath. 2nd-1st Century BC. H. 8 in. (20.2 cm.) Ex collection of M. Desmoulies, Avignon, France, acquired in 1960.
3 HELLENISTIC MARBLE HEAD OF APHRODITE, her head turned to her right, her wavy hair centrally-parted and swept back into a chignon at the nape of her neck, held with a diadem around her head, her oval face with soft almond-shaped eyes and full pouting lips. 1st Century BC. H. 5 in. (12.7 cm.) Ex Belgian private collection, acquired in 1971.
4 GREEK MARBLE HEAD OF A GODDESS depicted gazing forward, her expression serene, with almond-shaped eyes and a small mouth, her wavy hair centrally-parted and drawn back over her ears, the back flat. 3rd-2nd Century BC. H. 5 1/2 in. (14 cm.) Ex private collection, formed in the early 1980s. 5 GREEK MARBLE HEAD OF A YOUNG GIRL, her head turned slightly to her right, wearing a crescentic diadem in her curly hair, which is gathered above each ear. Ca. 4th Century BC. H. 6 1â „4 in. (15.9 cm.) Ex Martinos, Athens, 1930s; F. Vegas, La Vega, Una Casa Colonial (ill.); private French collection; acquired in New York, December 2003. Likely a child votary, it is related to a group of marble figures, the so-called Arktoi or "little bears," at the temple of Artemis at Brauron near Athens. Cf. M. True and K. Hamma, A Passion for Antiquities, Ancient Art from the Collection of Barbara and Lawrence Fleischman, 1994, no. 50, p. 113. 6 HELLENISTIC MARBLE STELE OF ZOA with a deeply sunken relief of a woman wearing a himation, standing in the center flanked by two girls, probably servants. Ca. 125-100 BC. H. 29 in. (73.5 cm.) Ex B. collection, Switzerland, acquired 1960-1980. Published: E. Pfuhl-H. MĂśbius, Die ostgriechischen Grabreliefs, vol. 1, Mainz, 1977, p. 151, no. 469, pl. 77. Her himation covers the head and body, leaving only a small section of the right arm and the richly pleated undergarment visible. The right hand grasps the hem of the himation. The girl to the left, shown in profile, is in a reflective or mourning pose, and looks up to the deceased from the side. The fingers of her left hand touch her throat. The pose of Zoa is reminiscent of that of the so-called Small Herculanian Woman; cf. W. Fuchs, Die Skulptur der Griechen, 1979, p. 219, no. 237, with illus. The girl to the right holds an open box or mirror in both hands. A box, a kalathos and a double comb (?) stand on a ledge in the upper part of the relief. On the upper frame, an inscription which translates: Zoa, daughter of Menios, farewell.
Roman Marble Sculptures
7 ROMAN MARBLE RECLINING YOUNG FAUN LEANING UPON A WINE ASKOS He is depicted as a handsome adolescent, nude, lying upon a draped rock in a languid pose; originally used as a fountain. 1st-2nd Century AD. H. 11 3/8 in. (29 cm.) L. 19 1/4 in. (49 cm.) Ex collection of Massimo Gargia, Paris; French collection.
8 ROMAN MARBLE DOUBLE HERM On one side is the bearded head of Dionysos and on the other a maenad; both wearing ivy wreaths. 1st-2nd Century AD. H. 16 in. (40.5 cm.) Ex private collection, Argentina, acquired in the early 1990s. 9 ROMAN MARBLE NUDE EROS, loveâ€™s messenger, standing with long curls falling to his shoulders. 1st-2nd Century AD. H. 16 1/2 in. (42 cm.) Ex French private collection, acquired in the 1970s. 10 ROMAN LARGE MARBLE SANDALLED FOOT from a statue, probably of Aphrodite. 1st-2nd Century AD. H. 16 1/2 in. (42 cm.) Ex French private collection, acquired in the 1970s.
11 ROMAN MARBLE DEEP BUST OF EROS STRINGING HIS BOW Love’s messenger and the companion of Aphrodite is depicted bending forward to attach his bowstring. His head is turned to the right, facing the viewer, and his centrally parted hair ends in curls. 1st Century AD. H. 15 3/8 in. (39 cm.) Ex collection of B. N.-L., Chiswick, London, acquired in 1983 from an English private collection.
He has the features of an adolescent with a knowing expression. After the 4th Century BC original by Lysippos. Cf. H. Döhl, Der Eros des Lysipp, 1968, 10,49; LIMC III, 1986, p. 881, s.v. Cupid; P. Moreno, Lisippo, L'arte e la fortuna (exhibition in Rome), 1995, p. 166.
12 ROMAN MARBLE HEAD OF AESCHYLUS, 525-456 BC, the Greek playwright recognized as the father of tragedy. 1st-2nd Century AD. H. 12. 1/2 in. (31.8 cm.) Ex old Portuguese collection; W. L. collection, Sint Niklaas, Belgium. 13 ROMAN MARBLE HEAD OF SOCRATES, 466-399 BC, the Greek philosopher and one of the founders of Western thought. 1st-2nd Century AD. H. 13.5 in. (34.3 cm.) Ex F. and X. Calico, Barcelona, Spain; W .L.. collection, Sint Niklaas, Belgium, acquired ca. 1990.
14 ROMAN MARBLE HEAD OF THE EMPEROR HADRIAN (r. AD 117-138), turned to the left with gaze directed upwards, drilled wavy hair swept forward over the furrowed brow and tight curls framing the face. Ca. AD 117-140. H. 13 1/4 in. (33.6 cm); H. of bust 21 1/2 in. (54.6 cm.); H. of bust with socle 25 3/4 in. (65.4 cm.) Ex Maynard Mitchell collection, Rose Place, Claines, Worcester, England, 1992; M.B. collection, Woodland Hills, California, acquired from Royal-Athena in 2003. The back of the head is restored. Mounted on an ancient bust of the period, possibly Hadrianic in date. Hadrian was a man of extraordinary talents. A student of philosophy, he wrote both an autobiography and poetry, but architecture was his passion, designing both the Pantheon in Rome and his extensive villa at Tivoli.
15 LATE HELLENISTIC MARBLE HEAD OF A YOUNG SATYR his hair carved in wavy locks; his ears pointed. 2nd Century AD. H. of head 7 7/8 in. (20 cm.); H. with bust 13 in. (33 cm.); H. of head and bust with socle 15 3/4 in. (40 cm.). Ex private collection, Belgium. The bust and socle are 18th or 19th century additions. 16 ROMAN MARBLE PORTRAIT OF THE EMPEROR CARACALLA (r. AD 211217) depicted as a prince or already as Caesar to his father Septimius Severus in the first portrait type of the heir apparent. Ca. AD 196-204. H. 10 1/2 in. (26.7 cm.) Ex European private collection, acquired in the 1990s. It is similar to his depiction on the Arch of the Argentarii in Rome. For the type, cf. K. Fittschen and P. Zanker. Katalog der rĂśmischen PortrĂ¤ts in der Capitolinischen Museen, vol. V, 1985, 98ff., no. 86, pl. 105; V. Poulsen, Les Portraits Romains, II, Ny Carlsberg Glyptotek, 1974, no. 132, pls. CCX-CCXI.. When he was seven years old, his name was changed to Marcus Aurelius Antoninus. The name change was a way of connecting the family of Severus to that of the Antonines. This portrait and others like it were probably made to commemorate this event.
17 ROMAN MARBLE HEAD OF THE EMPEROR HADRIAN (r. AD 117-138), his brow framed by a thick row of wavy locks crowned by the corona triumphalis, a thick laurel wreath centered by a circular jewel. Ca. AD 120-140. H. 11 in. (28 cm.) Ex M.B. collection, Belgium, acquired before 1985; C.N. collection, Maryland. For portraits of Hadrian see M. Wegner, Das rĂśmische Herrscherbild II, 3, Berlin, 1956, p. 108, pl. 2. Hadrian was a man of extraordinary talents, certainly one of the most gifted emperors that Rome ever produced. He became a fine public speaker, he 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, and he was a superb architect. It was in this last area that he left his greatest mark, with several of the empire's most extraordinary buildings and complexes stemming from his fertile mind.
18 ROMAN MARBLE RELIEF HEAD OF A DIOSKOUROS, from a sarcophagus probably depicting the hunt of Meleager, the young deity with parted lips and long wavy hair surmounted by a pilos, his eyes with recessed pupils. Ca. AD 230-260. H. 9 1/4 in. (23.5 cm.) Ex Jean Marais (1913-1998), Paris and Cannes; Fraysse & AssociĂŠs, Drouot, Paris. For a closely related head of a Dioskouros from a fragmentary Meleager hunt sarcophagus in the Liebieghaus Museum, Frankfurt, see G. Koch, Die Mythologischen Sarkophage, VI: Meleager (Die antiken Sarkophag-reliefs, vol. 12), Berlin, 1975, pls. 47 and 48.
19 ROMAN MARBLE LIFE-SIZE HEAD OF APOLLO in the style of a Greek sculpture of the 5th Century BC, with straight nose, parted lips drilled in the inner corners, and almond-shaped eyes, his wavy hair radiating from the crown, parted in the center over the forehead, and bound with a double mitra. Earlier 1st Century AD. H. 10 in. (24.5 cm.) Ex English collection dispersed in 1988; collection of Ortrud Carstens, New York, acquired from Royal-Athena in 2005. For related heads in the classicizing style see Paul Zanker, Klassizistische Statuen: Studien zur Veränderung des Kunstgeschmacks in der römischen Kaiserzeit, Mainz, 1974, pls. 68-69. 20 ROMAN MARBLE LIFE-SIZE BEARDED PORTRAIT HEAD in the guise of a Greek philosopher. 2nd-3rd Century AD. H. 11 in. (27.9 cm.) Ex private Swiss collection, acquired in the 1980s.
21 ROMAN LARGE MARBLE TERPSICHORE, the Muse of dance and choral song, lifting the hem of her garment as she prepares to step forward. In her now lost right arm she probably once held a lyre. From Bulla Regia, Tunisia. 1st-2nd Century AD. H. 29 1/2 in. (75 cm.) Ex French collection; J.K. collection, Palm Beach, Florida (1997-2009). Published: J. Eisenberg, Art of the Ancient World, vol. VIII, 1997, no. 8. Cf. M. Bieber, Ancient Copies, 1977, figs. 574-578. She was the mother of the sirens by Achelous, chief among all river deities.
22 ROMAN MARBLE STATUE OF APHRODITE (VENUS) OR A NYMPH HOLDING A SCALLOP SHELL This is a variant of the well-known Aphrodite of Syracuse, usually termed “Nymph with a shell”. Our example is quite close to the Vatican Museum sculpture but with a more pronounced Aphrodite-type hairdo. 2nd Century AD. H. 55 in. (140 cm.) Ex English collection, pre-1984; S. R. collection, Beverly Hills, California, 1985-2010. Published: J. Eisenberg, Art of the Ancient World, vol. IV, 1985, no. 237. Water once poured out of the shell for such statues were used as garden and fountain decoration. Cf. M. Bieber, Ancient Copies, 1977, fig. 238. For similar sculptures in the Istanbul and Torlonia Museums, see S. Reinach, Repertoire de la Statuaire, 11, 1908, p. 405, nos. 2 and 4.
23 ROMAN MARBLE THALIA, MUSE OF COMEDY and idyllic poetry, holding a theater mask in her right hand and wearing a himation over her chiton. Mid 2nd Century AD. H. 24 1/2 in. (62.2 cm.) Ex Bruce MacAlpine, London, 1984; M.S. collection, Princeton, NJ (1985-1995); John Kluge collection, Palm Beach, Florida (1995-2009). Published: J. Eisenberg, Art of the Ancient World, vol. IV, 1985, no. 242. 24 ROMAN MARBLE STATUE OF APHRODITE ACCROUPE The nude goddess of love caught unawares, crouching at her bath, after a work by the Greek sculptor Doidalsas of Bythnia, ca. 250 BC, now in the Louvre. Lacking head, arms, parts of lower legs. 1st Century BC/AD. H. 8 5/8 in. (22 cm.) Ex private Belgian collection acquired in the early 1970s. Margarete Bieber in Sculpture of the Hellenistic Age, Oxford, 1955, points out that there were, by the 1950s, about fifteen marble statues and statuettes of this subject (the Vatican, Naples, Florence, the Torlonia Museum, Rome, etc.) in addition to the Lely Venus in the British Museum. 25 ROMAN MARBLE HERM BUST OF A CELTIC QUEEN OR GODDESS with long curling hair, centrally-parted and flowing to the shoulders, wearing a diadem, the brow furrowed above deep-set eyes, the ears drilled for earrings, a torc around the neck; the back flat. 1st-2nd Century AD. H. 6 in. (15.2 cm.) Ex American collection, acquired between 1970 and 1989; thence by descent. Depictions of the gods and goddesses of Celtic mythology frequently show them wearing torcs; it was a sign of nobility and high social status.
Visit our website, updated weekly, to view more of the nearly 100 marble sculptures in our current inventory as well as our latest acquisitions. www.royalathena.com
26 ROMAN MARBLE NUDE APHRODITE OR NYMPH seated upon a cloak that partially covers a rocky outcrop. She leans languidly upon her right hand; her left hand, touching her thigh, is partly covered with a drapery falling over her left forearm and leg. Her head is leaning back and her hair is gathered into a long braid. 2nd Century AD. H. 11 3/8 in. (29 cm.) Ex French collection. Doubtless, an ornamental sculpture rather than a cult image, intended to delight the viewer with her vulnerability suggested by the sensitive carving of the goddess in so relaxed a posture.
27 ROMAN MARBLE PORTRAIT OF A SEVERAN WOMAN The oval face is framed by a voluminous, shoulderlength coiffure styled in even waves. The hair is then laid loosely around the ears, and finally formed into two plaits which were loosely coiled to form a flat spiral in the nape of the neck. Early 3rd Century AD. H. 13 in. (33 cm.) Ex B. collection, Switzerland, acquired between 1960-1980. This coiffure is typical of the Severan period. The coiffures of the empresses Julia Domna and Plautilla served as models. Cf. K. Fittschen and P. Zanker, Katalog der rĂśmischen PortrĂ¤ts in der Capitolinischen Museen, vol. III, 1983, 99, no. 144, pls. 171-172.
A ncient Stone Scu lp tu res
28 RHODIAN LIMESTONE SPHINX wearing an Egyptianizing headdress with side lappets, the striated wings outstretched above the back, tail curled around the left hind leg; seated on an integral rectangular base. Ca. 6th Century BC. H. 3 3/8 in. (8.6 cm.) Ex Swiss private collection, acquired prior to 1960 by the grandmother of the most recent owner. Very rare.
29 ROMAN ALABASTER HEAD OF ZEUSSERAPIS with a full beard and long curly hair, clearly defined with deep drill holes, a circular recess on the crown to receive his modius. Based on the 3rd Century BC cult statue by Bryaxis for the Serapeum in Alexandria. 2nd-3rd Century AD. H. 4 in. (10.1 cm.) Ex private collection, Midlands, England. 30 ROMAN LIMESTONE HEAD OF A PAGE with bow-shaped lips, straight nose, and almond-shaped eyes beneath grooved eyebrows, his hair arranged in rows of voluted curls and surmounted by a Phrygian cap with beaded, volute, and rosette decoration. Palmyra, 3rd Century AD. H. 11 in. (28 cm.) Ex French private collection, Nice, acquired in the 1930s. This head is from the lower part of a funerary relief decorated with a depiction of the deceased reclining on a couch with an attendant or page below, on either side. Cf. a similar head in G. Ploug, The Palmyrene Sculptures in the Ny Carlsberg Glyptotek, 1995, p. 243, no. 113. 31
ROMAN LIMESTONE HEAD OF DIONYSOS (BACCHUS) The god of wine is shown wearing a wreath of vines and grapes, his hair in a top-knot, the back unmodelled. 2nd Century AD. H. 8 1/2 in. (21.6 cm.) Ex French private collection, acquired in the 1970s.
Greek Bronze Scu lp tures 32 ARCHAIC EAST GREEK BRONZE KOUROS, his hair falling in long wavy strands over his shoulders: on an integral base. Ionian, probably from Samos, ca. 550 BC. H. 3 5/8 in. (9.2 cm.) Ex R. and L. H. collection, Beverly Hills, Michigan. Exhibited: Picker Art Gallery, Colgate University, 1990-1994. Published: D. Mitten, Master Bronzes, 1968, no. 45; A. Emmerich, Classical Art, 1977, no. 62; J. Eisenberg, Gods and Mortals, 1989, no. 3. 33 ARCHAIC GREEK BRONZE NUDE KOUROS ‘WANDERER’ The youth has long hair falling to the neck, and is using a long staff in his left hand to support himself. The right hand holds a rod. Late 6th Century BC. H. 2 1/8 in. (5.7 cm.) Ex collection of Herbert A. Cahn, Basel, acquired before 1980. 34 HELLENISTIC BRONZE NUDE HERAKLES standing with his right arm raised toward a laurel garland encircling his brow, his left arm holding a club; nipples with copper inlay, eyes once inlaid. Ca. 1st Century BC. H. 4 1/2 in. (11.4 cm.) Ex English collection, acquired in 1983. 35 LATE HELLENISTIC BRONZE CHILD OR EROS (CUPID) holding a rooster in the crook of his left arm and standing in a relaxed pose, a mantle draped over his left shoulder; his eyes inlaid with silver. 1st Century BC. H. 5 1⁄4 in. (13.3 cm.) Ex collection of Mrs. Albert Lasker, New York, acquired from Royal-Athena in London, December 1990; John Kluge collection, Charlottesville, Virginia. Published: J. Eisenberg, Gods & Mortals II, 2004, no. 34. The offering of a rooster was imbued with sexual symbolism; see: M. Vickers, Greek Vases, Ashmolean Museum, p. 89, no. 43.
Et ruscan B ronz e Scu lp tu res 36 ETRUSCAN BRONZE NUDE KOUROS Striding with his left leg advanced, both arms bent at his sides, his right hand clenched, his left hand open with the palm facing out; a hair roll surrounds his face. Umbria, early 5th Century BC. H. 5 5/8 in. (14.3 cm.) Ex John Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in 1994. Published: J. Eisenberg, Art of the Ancient World, vol. VII, 1992, no. 87. 37 ETRUSCAN BRONZE NUDE MALE DANCER OR ATHLETE, his body twisted forward with arms extended. A decorative figure from a candelabrum. Cf. S. Aurlgemma, Scavi di Spina, 1965, pl. 100. Ca. 420-400 BC. H. 3 in. (7.6 cm.) Ex Swiss collection, 1995. 38 ETRUSCAN BRONZE VOTIVE MALE FIGURE of stylised elongated, flattened form, wearing ankle-length close-fitting drapery, the hands emerging from the body; wearing a radiate crown; a v-shaped tang below. 3rd Century BC. H. 5 5/8 in. (14.3 cm.) European private collection, from the late 1950s onwards. 39
ETRUSCAN BRONZE SEATED YOUTH wearing a himation and a diadem with three rosettes. Ca. 460 BC . H. 3 3⁄4 in. (9.5 cm.) Ex John Kluge collection, Charlottesville, Virginia, acquired from RoyalAthena in 1994. Published: Münzen und Medaillen, Antike Kunst, 1982, no. 100; C. Vermeule and J. Eisenberg, Catalogue of the Greek, Etruscan, and Roman Bronzes in the Collection of John Kluge, 1995, no. 90.03; J. Herrmann, ‘From Olympus to the Underworld, Ancient Bronzes from the John Kluge Collection’, Minerva, vol. 7, no. 2, 1996, p. 39, fig. 2. Exhibited: Museum of Fine Arts, Boston, 1996.
40 ROMAN BRONZE COMBATANT GLADIATOR nude to the waist, wearing a helmet, double belt, loincloth, and arm protector; his left leg advancing and his left arm extended in a thrust. 1st-2nd Century AD. H. 3 7/8 in. (9.8 cm.) Ex German private collection, Z.C., acquired betweeen 1970 and 1980. 41 ROMAN BRONZE GROUP: TWO SOLDIERS OR GLADIATORS IN COMBAT, one standing about to thrust his sword into the neck of his kneeling adversary; sword blade now missing. Both wear full Roman military costumes, the fallen without a helmet. Late 2nd-early 3rd Century AD. H. 4 5/8 in. (11.8 cm.) Ex European private collection, acquired in the 1990s 42 ROMAN BRONZE PERSONIFICATION OF WINTER wearing a hooded tabard and pantaloons and holding a hare in his raised right hand and a staff in his left. 3rd Century AD. H. 4 1/8 in. (10.4 cm.) Ex German collection.
Roman Bronze Sculptures 43 ROMAN BRONZE NUDE APOLLO wearing a bow case on a strap and holding a laurel sprig in his right hand. Ca. 2nd Century AD. H. 8 7/8 in. (13 cm) Ex Dutch private collection, Maastricht; H.J. collection, Sun City, Arizona. Published: J. Eisenberg, Art of the Ancient World, vol. IV, 1985, no. 278. Exhibited at Kresge Art Museum, Michigan State University, 1985-2009. 44 ROMAN BRONZE PAN PLAYING A SYRINX The god of shepherds, herds, and hunters, with upper human body and goat horns, legs and tail, holds a syrinx in his right hand, approaching his mouth, and in his left hand he holds a logobolan (shepherdâ€™s crook). 1st-2nd Century AD. H. 5 1/8 in. (13.2 cm.) Ex German private collection, Z.C., acquired betweeen 1970 and 1980. Cf. M. Kunze, Meisterwerke antiken bronzen und metallarbeiten aus der sammlung Borowski, Franz Phillip Rutzen, Germany, Mainz 2007, pp. 158159, fig. C. 24. 45 ROMAN BRONZE ISIS FORTUNA wearing a diadem topped with Hathor horns, plumes, and a solar disk. In her left arm she cradles a cornucopia, and with her right she steadies a rudder. 1st-2nd Century AD. H. 4 in. (10.2 cm.) Ex collection of Prof. Alcibiades N. Oikonomides (d.1988), Chicago, acquired in the 1970â€™s; private collection, Westlake Village, California.
ROMAN LARGE BRONZE DISCOBOLOS based on the famous lost Greek bronze original by Myron that was completed between 460-450 BC. 1st Century BC/AD. H. 10 in. (25.4 cm.) Ex old Belgian collection said to have been acquired in Egypt before 1983. The Discobolos is known through numerous Roman copies, both full-scale examples in marble, such as the first to be found in 1781, at the Villa Palombara on the Esquiline Hill, or smaller versions in bronze such as this one. The discus thrower is depicted about to release his throw. The moment captured in the sculpture is an example of rhythmos: harmony and balance. The body is perfect in its symmetry, the torso showing no muscular strain, even though the limbs are outflung. The athlete reveals no emotion in his expression as if concentrating all on the moment of stasis just before the release, oblivious of his iconic physical beauty which is all too apparent to the observer. The Palombara Discobolos was initially restored by Giuseppe Angelini; the Massimi installed it initially in their Palazzo Massimo alle Colonne and then at Palazzo Lancelotti. The Italian archaeologist Carlo Fea identified the sculpture as a copy from the original of Myron. It was instantly famous and universally admired. It is now in the National Museum of Rome, displayed at the Baths of Diocletian.
47 ROMAN LARGE BRONZE NUDE TORSO OF APHRODITE inspired by a famous prototype of the Hellenistic period, which subsequently was copied many times. The goddess is represented entirely nude, wearing nothing but gold armlets. 1st-2nd Century AD. H. 10 1/2 in. (26.7 cm.) Ex private collection, Basel, Switzerland; Patricia Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in 1990.
Originally, she supported herself by resting her raised left arm upon a pillar as she is about to remove her sandal from her left foot. The figure is captured as she balances precariously, in a self-consciously counterbalanced pose that highlights the nudity and sensuality of the goddess: a pretext for the observation of the female body is a foible of the classical aesthetic. Very fine style. Large bronze nude Aphrodites are very rare.
48 ROMAN BRONZE STEELYARD WEIGHT: HEAD OF A NUBIAN YOUTH with characteristic hair style, articulate, large almond eyes, broad nose, and large lips. 2nd Century AD. L. 3 in. (7.6 cm.) Ex collection of Prof. Alcibiades N. Oikonomides (d.1988), Chicago, acquired in the 1970s; private collection, Westlake Village, California. 49 ROMAN BRONZE NUDE NUBIAN SLAVE BOY seated on his haunches, his legs drawn up. It probably formed the handle of a key or a knife. A charming representation. 1st-3rd Century AD. H. 1 7/8 in. (4.8 cm.) Ex French collection. 50 PAIR OF ROMAN BRONZE APPLIQUE HEADS OF THE YOUNG DIONYSOS with elaborate coiffure including grape clusters; his eyes with partial paste inlays remaining. 3rd Century AD. Hs. 2 3/4 in. (7 cm.) Ex collection of B.H.S., a retired military officer, St. Petersburg, Florida, formed in the 1950s-early 1970s.
51 PAIR OF ROMAN BRONZE APPLIQUES: DEEP BUSTS OF HERAKLES wearing a lionskin over tiers of curly hair, the paws tied across his chest; probably from a wagon or carrying chair. 2nd Century AD. Hs. 4 1/2 in. (11.4 cm.) Ex collection of B.H.S., a retired military officer, St. Petersburg, Florida, formed in the 1950s-early 1970s. 52 ROMAN BRONZE MOUNT: BUST OF THE YOUNG DIONYSOS with elaborate coiffure including grape clusters; his eyes recessed for inlay. Wrapped with a goat skin tied over his left shoulder, he rests atop an architectural element. 3rd Century AD. H. 6 3/4 in. (17.2 cm.) Ex collection of B.H.S., a retired military officer, St. Petersburg, Florida, formed in the 1950s-early 1970s. 53 ROMAN BRONZE APPLIQUE THEATER MASK Expressive mask of an older bearded actor, the mouth wide open, the silver-inlaid eyes deeply pierced, the curly hair tied back. 2nd-3rd Century AD. H. 2 7/8 in. (7.3 cm.) Ex B. Collection, Munich, 1960s.
54 ITALO-GEOMETRIC BRONZE DOUBLE-HEADED RAM Ca. 8th-7th Century BC. L. 4 5/8 in. (11.7 cm.) Rare. Published: J. Eisenberg, Art of the Ancient World, vol. VI, 2, 1991, no. 43. Acquired in Basel, October, 1988. 55 GREEK BRONZE DOG carrying a puppy in its mouth; on an integrally cast rectangular base. A rare type. Late 6th-5th Century BC. L. 2 5/8 in. (6.7 cm.) Cf. a 6th Century BC terracotta of the same type in R. A. Higgins, Catalogue of the Terracottas in the British Museum, 1970, no. 789. Published: J. Eisenberg, Art of the Ancient World, 1992, vol. VIII, no. 170. 56 ROMAN BRONZE LEAPING GOAT, head turned slightly to the left, with back-curving horns, long ears, and heavily detailed fleece. 2nd Century AD H. 4 3/8 in (11.1 cm.) Ex A. Abraham collection, New York.
Ancient Animals 57 ROMANO-IBERIC OR CELTIC BRONZE PRANCING HORSE Ex Lord McAlpine collection of West Green, England; acquired July 1988. Published: J. Eisenberg, Art of the Ancient World, vol. VIII, 1995, no. 68.
Classical Bronze Vessels 58 GREEK LARGE BRONZE HYDRIA Reddishbrown surface with areas of mottled green patina. Ca. 4th Century BC. H. 17 5/8 in. (44.8 cm.) Ex Swiss collection; Patricia Kluge collection, Charlottesville, Virginia, acquired from RoyalAthena in 1990. The base was probably reworked in the 1st-2nd Century AD. 59 ROMAN BRONZE OLPE with incised horizontal bands encircling the neck and body, the handle terminating in a comic mask. 1st Century AD. H. 6 7/8 in. (17.5 cm ) Ex collection of Mrs. Elias-Vaes (1908-2002), Netherlands; Kralings Museum, Rotterdam.
Ancient Arms & Armor 60 MIDDLE EUROPEAN BRONZE AGE BRONZE DAGGER Ca. 1500-1200 BC. L. 14 3/8 in. (36.6 cm.) Ex German collection. 61 MIDDLE EUROPEAN BRONZE AGE BRONZE ARM PROTECTOR, formed as a broad flat band with central rib, terminating in spirals. Ca. 1200-1000 BC. L. 11 1/4 in. (28.5 cm.) Ex German collection. 62 MIDDLE EUROPEAN BRONZE AGE CEREMONIAL BRONZE AXE HEAD Ca. 1500 BC. L. 7 1/8 in. (18 cm.) Ex German collection. Cf. similar one in J. Eisenberg, Art of the Ancient World, vol. XXI, 2010, no. 85.
63 MIDDLE EUROPEAN BRONZE FIGHTING AXE HEAD cast with raised circles and dots on the shaft. 9th-6th Century BC. L. 6 7/8 in. (17.5 cm.) Ex German collection.
64 CENTRAL EUROPEAN BRONZE AGE BRONZE LANCE HEAD with a ridged blade and a round socket with two attachment holes on each side. 10th-7th Century BC. L. 13 5/8 in. (34 cm.) Ex German collection. 65 CENTRAL EUROPEAN BRONZE AGE BRONZE LANCE HEAD, Urnfield Culture, with a ridged blade and a round socket with two attachment holes on each side. 10th-7th Century BC. L. 6 1/2 in. (16.5 cm.) Ex German collection. 66 CENTRAL EUROPEAN BRONZE AGE BRONZE LANCE HEAD, Urnfield Culture, with a ridged blade and a round socket with two attachment holes on each side. 10th-7th Century BC. L. 6 5/8 in. (17 cm.) Ex German collection. 67 CENTRAL EUROPEAN BRONZE AGE BRONZE LANCE HEAD, Urnfield Culture, with a ridged blade and a round socket with two attachment holes on each side. 10th-7th Century BC. L. 7 1/4 in. (18.5 cm.) Ex German collection.
68 EASTERN CELTIC IRON CURVED KNIFE with curved, one-sided blade with an engraved wave tape at both ends of the handle, with two bronzedecorated ferrules and the scabbard shoe remaining. 2nd-1st Century BC. L. 14 in. (35.5 cm.) Ex German collection.
69 LONG CELTIC WROUGHT IRON LANCE HEAD of attenuated leaf shape with a central rib from which the two faces of the blade plane off. 6th-5th Century BC. L. 24 in. (61 cm.) Ex German collection. 70 CELTIC IRON LONG SWORD WITH SCABBARD Stuck tightly in the iron scabbard, a broad iron blade with curved iron quillons and a conical tang. The ridged scabbard has a super-imposed chape and a riveted suspension ring on the reverse side of the locket. 3rd-2nd Century BC. L. 35 in. (89 cm.) Ex German collection. 71 ROMAN LEGIONNAIREâ€™S FORGED IRON PUGIO DAGGER BLADE with characteristic curved blade and a midrib on both sides. 1st Century AD. L. 15 in. (38 cm.) Ex collection of Axel Guttmann (19442001), Berlin, acquired in Munich in the 1990s. Found in Germany. 72 DACIAN IRON SLASHING WEAPON (SPATHA) with a wide two-edged blade with long flat handle ornamented with notches between and capped with a suspension ring. 1st-2nd Century AD. L. 23 3/4 in. (60.5 cm.) Ex German collection. A rare weapon from Southeastern Europe during the Dacian Wars, probably captured by a Roman soldier.
Near Eastern weaponry on page 91 34
73 CELTIC SILVER INLAID IRON RINGHANDLED KNIFE Slightly curved back blade with t silver-inlaid ornament. 2nd-1st Century BC. L. 19 1/4 in. (49 cm.) Ex German collection. 74 CELTIC HAMMERED IRON BOATSHAPED HANGING OIL LAMP with a partially reeded handle terminating in a stylized dragon head with long horns. Danubian region, 2nd-1st Century BC. H. without chain 6 7/8 in. (17.5 cm.) Ex Austrian collection. Cf. similar lamp but without chain, in J. Eisenberg, Art of the Ancient World, vol. XXI, 2010, no. 179. 75 CELTIC BRONZE AMPHORA Thick-walled, with bellied body, short, cylindrical neck, flaring slightly towards the mouth. The handles, cast separately, each have a decorative human face terminus. Scarce. 2nd-1st Century BC. H. 7 in. (18 cm.) Ex collection of Dr. Florian Papp, Munich (1964-1990s).
Ancient V aria
76 CYPRO-ARCHAIC LIMESTONE HEAD OF A YOUTH with a cap-like hairdo of snail curls, almondshaped eyes with offset lids, and an oval face with pointed chin; traces of red paint indicate the pupils. Ca. 600 BC. H. 2 1/2 in. (6.3 cm.) Ex collection of the Sarasin family, acquired between 1960-1970.
77 GALLO-ROMAN BRONZE RETICULATED BELT FITTING with rich punched decoration and cut out with two stylized horse heads. Ca. AD 400. L. 3 in. (7.5 cm.) Ex J. H. collection, acquired in the 1990s. Cf. Die Alamannen, exhibition catalogue, Stuttgart Museum, 1997, p. 94, fig. 79, p. 138, fig. 138. 78 ROMAN RETICULATED BRONZE BELT BUCKLE: LEOPARD AND TIGER FIGHTING, the loops ending in lion heads. 2nd-3rd Century AD. L. 2 1/8 in. (5.4 cm.) Ex Dorotheum, Vienna, September 15, 1999, no. 180; ex Austrian collection. 79 ROMAN BRONZE ARCHITECT’S CORNER, CONICAL PLUMB, CALIPERS, AND REGULA The corner a total of 12.7 cms long and 9 cms wide, with 90° and 45° corners. The hinged regula in opened state is 11 1/2 in. (29.3 cms.). 3rd Century AD. The calipers: L. 5 7/8 in. (15 cm.) Ex German private collection. Cf. similar in: Pompeii. Nature, science and technology in a Roman town. Exhibition and conference, Deutsches Museum, Munich, 1999, p. 134, no. 384; J. P. Adam, Roman Building. Material and Techniques, 1994, 43; Pondera, Pesi e plight nell'Antichità, 2001, p. 241, no.171. 80 ROMAN LEAD WAGON WITH TWO FIGHTING GLADIATORS The shorter Thracian wears a plumed broad-rimmed helmet that encloses the entire head, a square-shaped shield, and two thigh-length greaves. In his right hand he holds a curved sword (sica). The murmillo wears a plumed helmet with a stylized fish (mormylos) on the crest, an arm guard (manica) and carries a gladius and an oblong Gallic shield. 2nd-3rd Century AD. H. 2 3/8 in. (6.2 cm.); L. 3 1/8 in. (8 cm.) Probably a votive or toy; the two back wheels and axles missing, Ex German private collection, 1970s.
Neolithic Terra cott as 81 NEOLITHIC POTTERY IDOL Cruciform, with incised almond-shaped eyes, raised nasal ridge, and pointed nose. The body is incised with lines indicating, perhaps, clothing or jewelry. Vinca Culture, Balkan area. 6th-5th Millennium BC. H. 3 1/2 in. (8.8 cm.) Ex French collection 82 NEOLITHIC BROWN POTTERY OVEN IN THE FORM OF A HUMAN FACE, decorated with whitefilled, incised lines. Vinca Culture, Balkan area. Very rare. Late 5th-4th Millennium BC. H. 3 3/4 in. (9.5 cm.) Published: J. Eisenberg, Art of the Ancient World, 1999, no. 70. 83 NEOLITHIC LARGE GRAY POTTERY HEAD FROM AN IDOL Roughly spade-shaped, with raised arching eyes surrounded by incisions, an incised cheek line, and a raised nasal ridge; the nose lacking; the back of the concave head with a row of four perforations. Vinca Culture, Balkan area. Ca. 5th Millennium BC. H. 3 1/8 in. (7.9 cm.) Ex M. M. collection, Belgrade; private collection, London. 84 NEOLITHIC LARGE BROWN POTTERY HEAD FROM AN IDOL Roughly spade-shaped with incised arching eyes, the face with incised lines following the contours of the facial planes. Choice. Vinca Culture, Balkan area. Ca. 5th Millennium BC. H. 2 5/8 in. (6.7 cm.) Ex M. M. collection, Belgrade; private collection, London.
Greek Terr acottas 85 GREEK POLYCHROME TERRACOTTA PROTOME OF A KORE wearing a polos. Later 5th Century BC. H. 6 1/4 in. (16 cm.) Ex German collection. 86 BOEOTIAN TERRACOTTA PROTOME OF A GODDESS Her hair is arranged in an opulent, wavy coiffure. She wears a polos whose bands fall down to her shoulders and a necklace with triangular elements. Late 5th-early 4th Century BC. H. 6 1/2 in. (16.4 cm.) Ex collection of Helen Schou, acquired 1930-1940. Cf. S. Mollard-Besques, Catalogue RaisonnĂŠ du Louvre, 1954, p. 93, nos. C 59-61, 65, 73, pls. LXVI, LXVIII. 87 GREEK TERRACOTTA KORE wearing a peplos and draped with a himation. In her right hand she holds a wreath. Ca. 530-500 BC. H. 7 7/8 in. (20 cm.) Ex German collection. 88 GREEK LARGE TERRACOTTA KORE wearing a chiton wrapped in a himation, a polos on her head. Her hair is combed beneath a stephane and then back into two long braids. In her left hand she holds a lotus cup. 5th Century BC. H. 13 3/4 in. (35 cm.) Ex French collection.
89 GREEK TERRACOTTA DEEP BUST OF A KORE her arms close to her body. She wears a peplos with richly layered folds over a finely pleated chiton which is knotted at the arms; her wavy hair in a sakkos. Ca. 450 BC. H. 6 1/8 in. (15.8 cm.) Ex collection of Herbert Cahn, Basel, acquired before 1994. For the type cf. R.A. Higgins, Catalogue of the Terracottas in the British Museum, 1954, nos. 678-679, 682, pl. 89. 90 HELLENISTIC TERRACOTTA LADY OF FASHION with delicate facial features and her hair dressed in a melon coiffure. She turns her head slightly to the right. She wears a chiton and a cloak pulled over her breasts and angled right arm. Ca. 300 BC. H. 6 in. (15.4 cm. ) Ex English collection. 91 HELLENISTIC TERRACOTTA OF A YOUTH with curly red hair, wearing a chiton and himation, leaning against a column. 3rd Century BC. H. 9 3/4 in. (24.7 cm.) Ex collection of Yves Saint Laurent, Paris; traces of original pigment remaining. 92 HELLENISTIC POLYCHROME TERRACOTTA DRAPED FEMALE She wears a draped, ankle-length himation, drawn up at her side with her hands beneath the fabric, the pleated lower hem of the floor-length chiton revealed; with pastel mauve pigment over white ground. Canosa, ca. 3rd Century BC. H. 10 3/4 in. (27.3 cm.) Ex Dr. M. S. collection, Scarsdale, New York.
93 ETRUSCAN TERRACOTTA ANTEFIX in the form of a female head, with 'archaic smile', and curls over her forehead, with remains of painted decoration and arched attachment at back. 6th-5th Century BC. H. 7 in. (18 cm.); Depth 10 1/2 in. (26.6 cm.) Ex American private collection, acquired from Faustus Ancient Art Ltd, London, in 1988.
94 ETRUSCAN TERRACOTTA VOTIVE HEAD OF A YOUNG BOY, capite velato, with hair rippling towards his back. 4th Century BC. H. 6 1/8 in. (15.5 cm.) Ex French collection. 95 ETRUSCAN TERRACOTTA HEAD OF HERAKLES wearing a lion skin hood. The head is framed by the lionâ€™s mane; the browline has a row of applied snail curls. Ca. 6th Century BC. H. 6 in. (15.2 cm.) Ex Belgian collection; Dr. M. S. collection, Scarsdale, New York, acquired from Royal-Athena in 2004. 96 ETRUSCAN POLYCHROME TERRACOTTA SATYR MASK executed in the bold relief of the Archaic style, with a row of brow curls, pointed ears, broad moustache, thick lips, and a wide, curly spade-form beard; extensive polychromy remaining. Veii, 5th Century BC. 40 H. 8 7/8 in. (22.5 cm.) Ex R.H. collection, New York, acquired before 2001.
97 ETRUSCAN TERRACOTTA HEAD OF A GODDESS wearing a broad stephane. The hair is laid over the brow in fine, wavy strands, with a curl in front of each ear. Ca. 480 BC. H. 7 1/4 in. (18.5 cm.) Ex R. M. collection (1956-1979), Bern, Switzerland. 98 ETRUSCAN TERRACOTTA VOTIVE HEAD OF A YOUNG WOMAN with centrally parted hair, veiled, and falling to her shoulders; around her neck is a necklace with two rows of circular beads from which biconical beads are pendant. 4th Century BC. H. 6 5/8 in. (17 cm.) Ex Tollmann collection, Cologne, acquired in the 1960s-70s. Cf. H. Brijder, et al., De Etrusken. Amsterdam, 1989, 169; I. Jucker, Italy of the Etruscans, Jerusalem, 1991, p. 265 no. 348.
Roman Terracottas 99 LATE HELLENISTIC TERRACOTTA OF AN OLD SLAVE WOMAN supporting a large transport amphora with her right hand and holding a jug in her left. 1st Century BC/AD. H. 7 in. (17.8 cm.) Ex English private collection, acquired in the 1980s. Stylistically based on Hellenistic Greek figures, however, drawn from the popular characters of the New Comedy, fabulae palliatae, in the Greek style of Plautus and Terence.
100 ROMAN TERRACOTTA NUDE APHRODITE (VENUS PUDICA) WITH EROS The goddess of love wears a diadem over a hairdo reminescent of Julia Domna, wife of Septimius Severus. Late 2nd- early 3rd Century AD. H. 7 1/8 in. (18 cm.) Ex German collection. 101 GALLO-ROMAN TERRACOTTA THEATER MASK OF A BEARDED HERO, eyes, nose, and mouth open; holes on the side for attachment. 3rd-4th Century AD. H. 9 in. (22.8 cm.) Related to a group of masks found near Trier, ca. 1925 -1931. Ex Dutch private collection. For a near-identical mask see J. Eisenberg, Art of the Ancient World, vol. XVI, 2005, no. 65. Cf. P. Stuart, Provincie van een Imperium, Rijksmuseum van Oudheden te Leiden, p. 131, no. 192. 102 ROMAN TERRACOTTA ALTAR (ARULA): THE RAPE OF EUROPA Europa, daughter of Agenor, king of Tyre, being abducted by Zeus in the form of a bull. 1st-2nd Century AD. H. 5 1/2 in. (14 cm.) Ex French collection.
Early Greek Pottery 103 PROTOCORINTHIAN ROUNDMOUTHED OINOCHOE with a central band of animals. Ca. 640-630 BC. H. 7 1/8 in. (18.1 cm.) Ex German collection; John Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in 1983; Patricia Kluge collection, Charlottesville, Virginia, 1990-2010. This is a rare and important vase, a masterwork of potting and painting produced in Corinth in the time of transition from the Late Protocorinthian to the Corinthian styles. In the frieze around the middle of the body are eight animals: two goats, two leopards (?), a lion, a boar, a bull, and a ram. Seven of the beasts walk to the left. The ram, however, walks to the right and comes head to head with the bull; both lower their heads as though determined to contest the right of way. This parade of beasts is executed with far more feeling and precision than would ever again be found in the developed Corinthian style. Parts of each animal are highlighted by the use of added red. The shape is East Greek but the decoration is pure Corinthian. Only one other example is known which also has an animal frieze: Munich 228; see H. Payne, Necrocorinthia, Oxford, 1931, p. 272, no. 149. Cf. A. Lane, Greek Pottery, New York, 1949, pl. 24A; F. Villard, CVA Louvre 13, pl. 47, 1-2; and H. Bloesch, ed., Greek Vases from the Hirschmann Collection, Zurich, 1982, 18-19 and 94, no. 6.
104 GREEK GEOMETRIC TANKARD with arching striated handle, the body with overall banding, flanking a central frieze of water fowl. Geometric IB-IIA, 750-725 BC. H. 6 3/8 in. (16.2 cm.) Ex private North German collection. Published: W. Hornbostel, Kunst der Antike, Sch채tze aus Norddeutschen Privatbesitz, 1977, p. 241, no. 226; J. Eisenberg, Art of the Ancient World, vol. XV, 2004, no. 81.
105 CORINTHIAN FLAT BOTTOMED OINOCHOE BY THE PAINTER OF BOSTON F471 Between bands, a central frieze of animals including a panther, an ibex, a small bird, and a siren; tongues on the shoulder and rays beneath the frieze; with dipinto (painted inscription). Ca. 580 BC. H. 8 in. (20.5 cm.) Acquired in Basel, Switzerland, June 2000. Published: J. Eisenberg, Art of the Ancient World, vol. XII, 2001, no. 169. Cf. D.A. Amyx, Corinthian Vasepainting of the Archaic Period, 1988, 221, pl. 91.
This is a small selection of the many newly acquired vases just published in our One Thousand Years of Ancient Greek Vases II catalog featuring 195 Greek, Etruscan, and South Italian vases.
Attic Black-figure Vases 106 ATTIC BLACK-FIGURE PANEL AMPHORA BY THE BATEMAN PAINTER Herakles stands in the center, locked in combat with the Nemean lion, an invulnerable beast that terrorized the vicinity near Nemea in the N. W. Peloponnese. Iolaos, Heraklesâ€™ nephew and companion, stands at left holding Heraklesâ€™ club and gesturing excitedly. At right stand Athena and Hermes. Reverse: The red-bearded Dionysos stands in profile holding a kantharos; at right dance two nude satyrs. Behind him, at left, dance a third satyr and a whiteskinned maenad. Ca. 530-520 BC. H. 19 in. (48.3 cm.) Ex collection of Patricia Kluge, Charlottesville, Virginia, acquired from Royal-Athena in 1991. Published: Summa, Ancient Art, Beverly Hills, California, 1976, no. 9.
Only five other vases are known by this painter, an artist Sir John Beazley placed among the followers of the Lysippides Painter (the name vase in the Cleveland Museum, two in the Metropolitan Museum, New York, one in the Museum of Fine Arts Boston, and the other in a private American collection). The goddess Athena was a frequent companion of Herakles and was his patron among the gods. Hermes was also present during several of his Twelve Labors.
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107 ATTIC BLACK-FIGURE NECK AMPHORA On both sides, a Gigantomachy: Athena attacks to the right, plunging the spear in her upraised right hand into the giant who kneels in front of her, probably Enkelados. Reverse: Similar, but Athena fights without a shield. Ca. 520-510 BC. H. with lid 20 1/2 in. (52 cm.) Ex collection of Patricia Kluge, Charlottesville, Virginia, acquired from Royal-Athena in 1991. In mythology, the Gigantes were a tribe of one hundred giants born of Gaia, the Earth. At her instigation they made war on the Olympian gods but, with the help of Herakles, were destroyed in the ensuing conflict. The battle between the gods and the giants had a long history in art and literature, being mentioned by Homer (Odyssey 7.59) and described by Hesiod (Theogeny 185).
108 ATTIC BLACK-FIGURE NECK AMPHORA FROM THE GROUP OF TORONTO 305 In a battle between Greeks and Amazons (Amazonomachy), a four-horse chariot (quadriga) is wheeling to the left. The horses have already turned, but the chariot itself still faces frontally, with the wheels foreshortened. The charioteer is not visible, but we see the Theban shield he wears on his back, with its red rim and characteristic indented sides. Of the warrior riding beside the charioteer, we see only his high-crested Corinthian helmet, his scabbard, his two long spears, and his round Argive shield. An air of equine ferocity is reinforced by the open mouths and white teeth. At the left is an Amazon carrying a spear and shield. She falls to the left; at first glance, the horses seem to be trampling her, but in fact she is behind them. Her attacker is probably the warrior at the far right, who strides to the left behind the chariot, his face hidden by the shield of the charioteer.
Reverse: In the center, Dionysos stands holding a rhyton in his left hand and a grapevine in his right. He wears an ivy wreath. Like the two satyrs in the scene, the god has a long red beard. One satyr stands empty-handed at the far right; the other stands behind Dionysos holding a jug, ready to fill the godâ€™s rhyton when summoned. Behind this satyr, at the far left, is a maenad wearing a deerskin (nebris) over a chiton decorated with stars and rosettes. A second woman, probably Dionysosâ€™ consort, Ariadne, stands before the god, in a chiton and red-striped himation, her right hand gesturing toward him. Ca. 520-510 BC. H. 17 1/8 in. (43.5 cm.) Ex English collection; Patricia Kluge collection, Charlottesville, Virginia, acquired from RoyalAthena in 1990. Published: J. Eisenberg, One Thousand Years of Ancient Greek Vases, 1990, no. 30.
The painters in this group were followers of the Antimenes Painter and worked in a comparable style.
109 ATTIC BLACK-FIGURE NECK AMPHORA FROM THE LEAGROS GROUP Herakles holds the Erymanthian boar upside down on his left shoulder, scaring the daylights out of Eurystheus, who hides in a sunken storage jar (pithos), gesturing excitedly. Athena, on the right, looks on. Iolaos, Heraklesâ€™ companion, stands behind him at the far left. Reverse: Dionysos holding a kantharos. Flanking him are two maenads, both dancing away from the god but looking back and gesturing at him. Ca. 510-500 BC. H. 17 in. (43.2 cm.) Ex English collection; Patricia Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in 1990. Published: J. Eisenberg, One Thousand Years of Ancient Greek Vases, 1990, no. 29.
The goddess Hera hated Herakles because he was the son of her husband Zeus and the mortal woman Alkmene. When it was fated that Herakles and Eurystheus would be born on the same day, and that the first-born would have dominion over the other and be king of Argos, Hera intervened to have Eurystheus born prematurely. Eurystheus was a spiteful weakling and envious of Herakles. It was he who set Herakles the Twelve Labors, one of which was to capture the vicious boar of Erymanthos. When the hero returned to Argos with the beast, Eurystheus was so terrified that he hid in a pithos. Herakles was a favorite subject of the Leagros Group. The heroic proportions and features are typical and, as usual, there is little wasted space.
110 ATTIC LARGE BLACK-FIGURE HYDRIA BY THE SWING PAINTER A warrior prepares to depart in a chariot. The charioteer stands in the box, the reins in one hand and the goad in the other. His hair and beard are red, like those of the man standing in the background conversing with the warrior (his son?). At either end of the chariot, stand two males mantled in red-striped himations; the one at the left is bearded. In the foreground, a woman stands by the chariot box, apparently conversing with the driver. On the shoulder, a hoplite is among four enemy horsemen, who have surrounded him for the kill. Ca. 540-530 BC. H. 18 1/4 in. (46.4 cm.) Ex English collection; Patricia Kluge collection, Charlottesville, Virginia, acquired from RoyalAthena in 1990. Published: J. Eisenberg, One Thousand Years of Ancient Greek Vases, 1990, no. 33. Of the Swing Painter, Sir John Beazley said he was perhaps a pupil of the Princeton Painter, and clearly also influenced by Exekias. Some thirteen hydriae are known by his hand, all with chariot scenes on the body, but only one other with a fight scene on the shoulder: British private collection; J. Beazley, Paralipomena, Oxford, 1971, 135, 98.
111 ATTIC LARGE BLACK-FIGURE HYDRIA BY THE EUPHILETOS PAINTER Dionysos and Ariadne in a quadriga; behind, Apollo, a goddess, and Hermes. On the shoulder: Dionysos reclining, satyrs and maenads in attendance. Ca. 520-500 BC. H. 20 in. (50.1 cm.) Ex English collection; Patricia Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in 1990. Published: J. Eisenberg, Art of the Ancient World, vol. VII, part I, 1992, no. 264.
112 ATTIC BLACK-FIGURE COLUMN-KRATER BY THE PAINTER OF LOUVRE F 6 from the workshop of Lydos. A swan between two confronting panthers. Reverse: A large mountain-goat; under the handles a swan on either side, same on the square top of the handles. Ca. 560-550 BC. H. 11 in. (28 cm.); Diam. 11 1/4 in. (28.5 cm.); W. 14 in. (35.6 cm.) Ex South German private collection, acquired in the 1980s. 113 ATTIC BLACK-FIGURE WHITE-GROUND TREFOIL OINOCHOE, perhaps by the Painter of Vatican G49. Dionysos holding a kantharos with a maenad to the right, a goat between. Ca. 500 BC. H. 9 in. (22.7 cm.) Ex Swiss collection; John Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in 1984; Patricia Kluge collection, Charlottesville, Virginia, 1990-2010. Published: J. Eisenberg, Art of the Ancient World, vol. IV, 1985, no. 72. 114 ATTIC BLACK-FIGURE LEKYTHOS “The Concert of Apollo” with the god of music playing a lyre instead of his usual kithara.The goddesses standing on either side of him are probably his sister Artemis (behind him) and his mother Leto. Each holds a flower. At the far left, behind Artemis, stands Dionysos holding a rhyton. At the far right, behind Leto, is the nude Hermes holding his kerykeion. Ca. 520-510 BC. H. 10 3/4 in. (27.3 cm.) Ex Swiss private collection; John Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in 1988; Patricia Kluge collection, Charlottesville, Virginia, 1990-2010. Published: J. Eisenberg, Art of the Ancient World, vol. IV, 1985, no. 63.
115 ATTIC BLACK-FIGURE NECK AMPHORA FROM THE LEAGROS GROUP depicting Ajax in full armor holding a sword and attempting to seize Kassandra as she seeks refuge at a statue of Athena Promachos, the goddessâ€™s shield emblazoned with a dolphin. The other side is decorated with a figure of Dionysos flanked by a maenad and a satyr, a dotted vine in the background. As usual, rays above the foot, linked lotus buds below the scenes, palmettes linked by tendrils in the handle zones, linked double palmettes on the neck, the details in added red and white; graffito under the foot. Ca. 520-500 BC. H. 11 3/4 in (29.8 cm.) From a New York private collection, acquired in the 1960â€™s; Antiquarium, Ltd., New York, 1990; Florida private collection; Dr. R. B. collection, St. Louis, Missouri.
The subject of Ajax and Kassandra is not common; two examples by the Painter of Munich 1519, a Leagran artist, are Vatican G 22 and London B 242. In Greek mythology, Kassandra ("she who entangles men") was a daughter of King Priam of Troy who captured the eye of Apollo and so was given the ability to see the future. However, when she did not return his love, he placed a curse on her so that no one would ever believe her predictions. Thus Kassandra foresees the destruction of Troy (she warns the Trojans about the Trojan Horse, the death of Agamemnon, and her own demise), but is unable to do anything about it.
Att ic R ed-figure Vas es 116 ATTIC RED-FIGURE AMPHORA WITH TWISTED HANDLES BY THE HARROW PAINTER The music lesson: A youth is seated to the left on a rectangular block. He is covered from chin to ankle with a himation which he draws taut with his covered right hand. In his left hand he holds a lyre, the tortoise-shell soundboard of which is not visible. He looks straight ahead, not meeting the eyes of the bearded man who stands before him, leaning on his knotty staff, his left leg drawn back. Reverse: A youth stands to the left, wrapped in a himation.
Ca. 480-470 BC. H. 15 1/4 in. (38.7 cm.) Ex Swiss collection; Patricia Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in 1990. Published: J. Eisenberg, One Thousand Years of Ancient Greek Vases, 1990, no. 64. He was strongly influenced by the Berlin Painter, though not from the same workshop. Another neck-amphora with twisted handles has a nearly identical scene and is in the collection of the Vatican, no. 17889, in J. Beazley, Attic Red-figure Vase-painters (ARV), Oxford, 1963, no. 272,5.
117 ATTIC RED-FIGURE COLUMN KRATER BY THE LENINGRAD PAINTER Three nude youths, two holding lyres, and one holding a kylix in his left hand and an oinochoe in his right. Reverse: Three draped youths in conversation, one holding a skyphos. Ca. 460-450 BC. H. 16 5/8 in. (42.1 cm.); W. 16 1/2 in. (41.9 cm.); Diam. 14 in. (35.5 cm.) Ex G. collection, Tessin, Switzerland; J.S. collection, Cambridge, Massachusetts. Published: J. Eisenberg, Art of the Ancient World, vol. XV, 2004, no. 104. Cf. T. Mannack, The Late Mannerists, Oxford, 2001, pl. 10 (ARV 567.12).
118 ATTIC RED-FIGURE COLUMN KRATER BY THE ALKIMACHOS PAINTER Two galloping horsemen holding spears, one dressed in an ornate cloak called a zeira. This boldly patterned garment was favored by the Thracian cavalry, famed for their horsemanship. The riderâ€™s cap is of animal skin; it too is Thracian and is called an alopekis. Reverse: A mantled youth is accosted by two youths with sticks, also wearing himations. The pillar separating them is probably one of the starting posts in the palaestra, the public exercise ground, a common trysting place. Ca. 470-460 BC. H. 13 3/4 in. (35 cm.); W. 14 1/8 in.(35.8 cm.); Diam. 12 in. (30.4 cm.). Ex English collection; Patricia Kluge collection, Charlottesville, Virginia, acquired from RoyalAthena in 1991. Published: J. Eisenberg, One Thousand Years of Greek Vases, 1990, no. 72. This Early Classical painter is especially known for his column kraters and neck amphorae.
119 ATTIC VERY LARGE RED-FIGURE LEKYTHOS BY THE CARLSRUHE PAINTER A female holding a sash, a servant to the left, a duck between; PAIDES written above. Ca. 440-430 BC. H. 17 1/8 in. (43.5 cm.) Ex Patricia Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in 1992. Published: J. Eisenberg, Art of the Ancient World, vol. VII, part I, 1992, no. 275. 120 ATTIC RED-FIGURE LEKYTHOS FROM THE GROUP OF PALERMO 16 A running male, wrapped in a himation, his hair bound with a fillet, holding a lyre. Ca. 430-420 BC. H. 8 1/4 in. (21 cm.) Ex English collection; Patricia Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in 1989. Published: J. Eisenberg, Art of the Ancient World, vol. IV, 1985, no. 97. 121 ATTIC RED-FIGURE OINOCHOE BY THE MANNHEIM PAINTER A black glaze with set off shoulder and square handle attached at the lip and shoulder. Under the shoulder is a frieze with blossoms, an egg and dart frieze around the lip. Ca. 450 BC. H. 10 1/2 in. (26.9 cm.) Ex German collection. For the Mannheim Painter and a group of similarly decorated oinochoai see: J. Beazley, Attic red-figure vase painters, 1963, 1065,5, Oxford, Ashmolean Museum V298.
57 122 ATTIC RED-FIGURE STAMNOS AND LID BY THE TYSZKIEWICZ PAINTER A boy stands at the center, facing to the left. He holds a tortoise-shell lyre in his left hand and with his right hand gestures at the taller youth at left. The latter leans on his knotty walking stick and rests his right hand on his hip. At the right, a bearded man assumes a similar posture, but without a stick and with his back turned toward us. The boy with the lyre, perhaps on his way home from a music lesson, is being accosted by the man and the older youth, who may wish anything from a few casual words to a sexual liaison. The boy is distinguished from his waylayers both by his smaller stature and by the cut of his hair, with long side-locks and four rolls on the nape. Reverse: Three nude youths are cleaning up after exercising in the palaestra. The youth at the left holds out a round oil flask (aryballos) with a red leather cord around its neck. He has poured oil into his left hand and is now rubbing it on the right arm of his friend at center. The latter scrapes oil and dirt from his right thigh with a bronze strigil; a stream of oil pours from the strigilâ€™s tip. With his left hand, he reaches back to touch the rump of a third youth, who walks away to the right. This youth, wearing a cloak over his shoulders and holding a strigil in his left hand, looks back to see who is taking such liberties with him. On all three figures, the abdominal muscles are drawn with brown, diluted glaze. Ca. 480 BC. H. with lid: 19 1/2 in. (49.5 cm.); Ex English collection; Patricia Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in 1990. Published: J. Eisenberg, One Thousand Years of Ancient Greek Vases, 1990, no. 91. The incised graffito on the bottom of the foot is Type Fii in A.W. Johnston, Trademarks on Greek Vases, Warmington, 1979, p. 155; the shape of the vase is that of the Class of the Siren Painterâ€™s stamnoi; see B. Philippaki, The Attic Stamnos, Oxford, 1967, pp. 98-100.
South Italian Vases 123 APULIAN LARGE REDFIGURE CALYX KRATER BY THE WHITE SACCOS PAINTER A seated Apollo with a thyrsos and a lyre; a female with a situla, and a nude satyr with a torch and a situla. Reverse: A large winged head of a goddess. Ca. 320-310 BC. H. 18 1/8 in. (46 cm.); Diam. 16 1/2 in. (41.9 cm.) Ex English collection; Patricia Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in 1990. Published: A.D. Trendall, The Red-figured Vases of Apulia, Suppl. II, 1992, no. 29/8c, pl. XCVI, 3-4; J. Eisenberg, One Thousand Years of Ancient Greek Vases, 1990, no. 103.
124 APULIAN LARGE RED-FIGURE COLUMN KRATER BY THE DIJON PAINTER A warrior is taking his leave of two women. He stands in the center, facing left, wearing a tunic, cloak, and Attic helmet. In his left arm he holds a pair of spears and a round shield. In his extended right hand he holds a kantharos that the woman at the left is filling from a jug. The wreath brought by the woman at the right is an omen of victory and is also appropriate to wear when making offerings. The cakes can be understood both as additional offerings at the ceremony of departure and an allusion to the offerings brought to the tombs, a reminder that the young warrior may be going to his death. Such double meanings are common in Apulian vase-paintings, which are frequently on vessels made specifically for funerary use. The situla which the woman holds probably contains water. Reverse: Two youths converse at the left, as a third youth gestures toward them from the right. All three wear himations, and the one at center holds a walking stick. The square ‘window’ and the libation bowl (phiale) in the background are common ornaments. The low pillar below the ‘window’, however, and the pair of jumping-weights at the upper left, identify the setting as the palaestra, the public exercise ground. The streaks on the pillar resemble the dried blood on altars, and we may wonder if a double-meaning is intended. Jumping-weights (halteres) were used by broad-jumpers to try to increase the length of their jump; with one in each hand the jumper flung his arms forward during the leap, so that the momentum of the weights would pull him forward. Ca. 370-360 BC. H. 20 1/2 in. (52 cm.); W. 19 1/8 in. (48.5 cm.); Diam. 15 3/4 in. (40 cm.) Ex Swiss collection; Patricia Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in 1990. Published: A.D. Trendall, The Red-figured Vases of Apulia, Suppl. II, 1992, p. 33, no. 6/166a.
125 APULIAN VERY LARGE RED-FIGURE VOLUTE KRATER BY THE PAINTER OF TARANTO 7013. Two nude youths in an Ionic naiskos surrounded by attendants. On the neck: An Amazon on horseback pursuing a deer. Reverse: Two females on either side of a stele. Medusa masks and winged figures on volutes. Ca. 320 BC. H. 41 1/2 (105.4 cm.); maximum width: 19 in. (48.2 cm.) Ex Patricia Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in 1995. Published: A.D. Trendall, The Red-figured Vases of Apulia, Suppl. II, 1992, 528, 28/39b; J. Eisenberg, Art of the Ancient World, vol. VIII, 1995, no. 119.
126 APULIAN VERY LARGE RED-FIGURE VOLUTE KRATER BY THE BALTIMORE PAINTER, close to Toledo 77.45. Seated in an Ionic naiskos a bearded male clasps the hand of a standing youth, a cuirass between; a helmeted horseman at right. On the neck, the head of an elderly bearded male. Reverse: A youth seated within an Ionic naiskos flanked by attendants. Medusa masks on volutes. Ca. 340 BC. H. 44 1/4 in. (112.4 cm.); maximum width: 24 in. (60.9 cm.) Ex Patricia Kluge collection, Charlottesville, Virginia, acquired from RoyalAthena in 1995. Published: A.D. Trendall, The Red-figured Vases of Apulia, Suppl. II, 1992, 521, 27/13d; J. Eisenberg, Art of the Ancient World, vol. VIII, 1995, no. 118.
127 APULIAN RED-FIGURE FISH-PLATE FROM THE PERRONE-PHRIXOS GROUP Around a central depression are an ombrina, a red mullet, a squid, two small fish, and a mussel; a crab in the center. Ca. 340-330 BC. H. 1 3/4 in. (4.5 cm. ); Diam 9 in. (22.9 cm.) Ex Swiss collection, before 1982. Published: I. McPhee and A.D. Trendall, Greek Red-figured Fish-plates, 1987, p. 125, no. 81. 128 APULIAN RED-FIGURE BELL KRATER BY THE PAINTER OF BOSTON 00.342: 62 THE RECOGNITION SCENE FROM EURIPIDES' IPHIGENEIA IN TAURUS This is a remarkable and important vase, for the scene on the obverse is based on a stage production of Euripidesâ€™ Iphigeneia in Tauris, first performed in Athens in 414 BC. The scene is set in Tauris, on the shores of the Black Sea. At the left, Iphigeneia stands before a rustic temple of Artemis, its doorway decked with laurel branches. The small wooden cult statue (xoanon) of Artemis holding a bow is visible in the doorway. Iphigeneia wears a belted, diaphanous chiton with two black stripes, and a cloak that hangs over her arms. A veil hangs from the circular polos (open-topped crown) on her head, which along with the temple key in her left hand identifies her as a priestess. The polos is decorated with palmettes and maeanders. In her right hand is a letter, which she hands to the youth standing before her. He is Pylades, the companion of Iphigeneiaâ€™s brother Orestes, who sits below at center. Both youths are dressed as travelers: Pylades wears a chlamys, petasos, and boots; Orestes sports a chlamys and pilos (pointed felt cap). Both carry spears. Sitting with Orestes is a dog, which looks up alertly, apparently at a biga drawn by leopards. Artemis in the biga wears a diadem, gown, and belted deerskin, and holds a goad in her right hand. Below her, at the lower right, is a curious and unexplained group: a nude youth holding a cat over a marble louterion (a washbasin). Reverse: The young Dionysos reclines on an embroidered pillow. In his left arm he cradles a thyrsos and with his right forefinger he twirls a kylix for the game of kottabos, in which wine dregs are tossed toward a target, usually a plate balanced on a metal pole. At his feet is a three-legged stool, to the right of which sits a satyr. The satyr gestures to the left, probably telling the nude boy at the lower left to hurry up with the wine. The boy dips a jug into a calyx krater decorated with a black figure of a dancing man. While the god plays his game, his kantharos is held by a second satyr at the upper right. The latter holds a thyrsos in his other hand and is draped with an animal skin. At the upper left sits a maenad dressed in a chiton and himation and beating a tambourine. She looks toward Dionysos; hanging between them is a female theatrical mask. Dionysos was the patron god of the theater. His appearance on the reverse of this vase is further proof that the scene on the obverse was taken from the theater, a point made explicit by the presence of the mask. Ca. 360 BC. H. 13 1/2 in. (34.3 cm.); W. and Diam. 14 3/4 in. (37.4 cm.) Ex American private collection, New York; Patricia Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in 1990. Published: A.D. Trendall, The Red-figured Vases of Apulia, Suppl. II, 1992, no. 10/48a. One of the few works attributed to this talented artist.
129 APULIAN RED-FIGURE LIDDED OINOCHOE, SHAPE VII The body is decorated with a horse head emerging from scrolling tendrils; a large palmette under the knotted handle; the knobbed lid with two profile female heads between palmettes. Late 4th Century BC. H. 11 in. (28 cm.) Ex collection of an Austrian noble family, acquired 1750-1780. 130 APULIAN RED-FIGURE PLATE with Herakles seated on rocks, wearing lion-skin covering his head and tied around his shoulders, holding a club in his right hand and a raised bow in his left, flanked by foliate tendrils, wave pattern below. Ca. 380-360 BC. Diam. 8 1/8 in. (20.5 cm.) Ex G. and M. Goldfine collection, Tel Aviv, Israel. 131 CAMPANIAN RED-FIGURE BEAKED OINOCHOE FROM THE WHITEFACE GROUP, SHAPE VI A reclining female (Amazon?), a shield to the side. On the shoulder: a large female head and a swan. Scarce type. Ca. 360-330 BC. H. 8 3/4 in. (22.2 cm.) Ex John Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in 1988; Patricia Kluge collection, Charlottesville, Virginia, 19902010. 132 CAMPANIAN RED-FIGURE FISH PLATE BY THE THREE-STRIPE PAINTER with two bream and a torpedo around a circular depression; a wave design around the rim. Ca. 340-320 BC. Diam. 7 1/4 in. (18.4 cm.) Ex John Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in 1988; Patricia Kluge collection, Charlottesville, Virginia, 1990-2010.
133 PAESTAN RED-FIGURE SKYPHOS FROM THE ASTEAS-PYTHON WORKSHOP Two nude women washing at a laver; the girl at the right looks into the mirror in her right hand. An inscription incised above her head identifies her as Myrtipho; another inscription labels the girl at left as Emauta (refer to RVP, p. 149, where it occurs on a cup by Python). Such inscriptions are quite rare, especially on small vases like skyphoi. Reverse: A nude youth and a draped female exchanging objects. Ca. 340-325 BC. H. 10 1/4 in. (26 cm.); W. 10 1/8 in. (25.7 cm.); Diam. 6 in. (15.2 cm.) Ex English collection; John Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in 1988; Patricia Kluge collection, Charlottes-ville, Virginia, 1990-2010.
134 PAESTAN RED-FIGURE SKYPHOS FROM THE ASTEAS- PYTHON WORKSHOP with figures in applied red. A seated female. Reverse: A seated nude male holding bird. Ca. 340-330 BC. H. 4 in. (10.2 cm.); W. 6 5/8 in. (16.8 cm.) Ex John Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in 1988; Patricia Kluge collection, Charlottesville, Virginia, 1990-2010.
135 GREEK TERRACOTTA PLASTIC VASE FROM THE MAGENTA GROUP IN THE FORM OF A COUCHANT GOAT, wearing an applied garland around his brow; long incised beard. The tubular neck and ribbon handle are attached to his back. South Italy, 3rd-2nd Century BC. H. 7 in. (17.8 cm.); L. 9 1/2 in. (24. cm.) Ex American collection.
Etruscan Vases 136 ETRUSCAN BLACK-FIGURE PANEL AMPHORA Bearded male head in profile to the right. Reverse: Youthful male head in profile to the right. Ca. 560-550 BC. H. 14 1/4 in. (36.2 cm.) Ex Patricia Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in 1991. Published: J. Eisenberg, One Thousand Years of Ancient Greek Vases, 1990, no. 179. Inspired by Attic panel amphorae of the same design. 137 ETRUSCAN BLACK-FIGURE ONEHANDLED KANTHAROS BY THE MICALI PAINTER A plastic head, a dancing nude male and dolphins on the handle; on the body, a sphinx and animals. Ca. 530 BC. H. 14 1/4 in. (36.2 cm.) Ex Swiss private collection; Patricia Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in 1991. Published: M端nzen und Medaillen, Kunst Werke der Antike, 1983, no. 12; N. Spivey, The Micali Painter and His Followers, Oxford, 1987; J. Eisenberg, Art of the Ancient World, vol. V, part I, 1988, no. 47. The Micali Painter was one of the most talented of the late 6th century Etruscan vase painters. This type of vase is also often referred to as a kyathos.
138 ETRUSCAN RED-FIGURE STAMNOS BY THE THE VOLTERRA CAERETAN PAINTER A winged Artemis (the Etruscan Artumes) in a biga drawn by stags, a hare in front. Reverse: A seated female holding a large basket. Caere, ca. 350-325 BC. H. 13 5/8 in. (35 cm.) Ex Patricia Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in 1991. Published: J. Eisenberg, Art of the Ancient World, vol. VI, part II, 1991, no. 78. Cf. M. Del Chiaro, Etruscan RedFigured Vase Painting at Caere, Berkeley, 1974, 29-33. An unusually fine work by this artist, especially the elaborate detail of the biga.
Ancient Glass 139 ROMAN SIDONIAN MANGANESE PURPLE MOLD-BLOWN GLASS BARREL VASE with tendril frieze around the waist; ribbing at the shoulder and lower body; highly iridescent. 1st Century AD. H. 2 5/8 in. (6.7 cm.) Ex collection of Gershon Bineth (d. 1973), Jerusalem; Ricklis collection, New York, acquired in the early 1970s. 140 ROMAN AMBER MOLD-BLOWN GLASS DATE FLASK with silvery iridescence. Mid-1st-early 2nd Century AD. H. 3 in. (7.6 cm.) Ex collection of Gershon Bineth (d. 1973), Jerusalem; Ricklis collection, New York, acquired in the early 1970s. 141 ROMAN AUBERGINE MOLD-BLOWN GLASS NARROW-NECKED FLASK the globular body with faint ribbing; with some iridescence. 3rd Century AD. H. 4 1/2 in. (11.4 cm.) Ex collection of Gershon Bineth (d. 1973), Jerusalem; Ricklis collection, New York, acquired in the early 1970s. 142 ROMAN PALE GREEN GLASS FOOTED COSMETIC TUBE with diagonal fluting and two applied handles; with heavy silvery iridescence. 4th-5th Century AD. H. 5 7/8 in. (14.9 cm.) Ex collection of Gershon Bineth (d. 1973), Jerusalem; Ricklis collection, New York, acquired in the early 1970s.
143 ROMAN PALE GREEN GLASS BEAKER-FORM LAMP (CARCHESIUM) with applied blue dot motifs; some iridescence. 4th-5th Century AD. H. 2 3/4 in. (7 cm.) Ex collection of Gershon Bineth (d. 1973), Jerusalem; Ricklis collection, New York, acquired in the early 1970s. 144 ROMAN PALE BLUE-GREEN GLASS VASE with three ribbon handles applied to the neck and shoulder. Around the globular body is an applied band of trailing above a zig-zag; some iridescence. 4th Century AD. H. 3 5/8 in. (8.6 cm.) Ex collection of Gershon Bineth (d. 1973), Jerusalem; Ricklis collection, New York, acquired in the early 1970s. 145 ISLAMIC GLASS DOUBLE UNGUENTARIUM ON THE BACK OF A DROMEDARY fashioned as a single piece, the unguentaria with applied trailings and a single handle; with some iridescence. 7th-8th Century AD. H. 4 in. (10.2 cm.) Ex collection of Gershon Bineth (d. 1973), Jerusalem; Ricklis collection, New York, acquired in the early 1970s. 146 ISLAMIC DEEP GREEN GLASS BOTTLE with ten large applied whorls; some iridescence. 7th-8th Century AD. H. 3 1/2 in. (9 cm.) Ex collection of Gershon Bineth (d. 1973), Jerusalem; Ricklis collection, New York, acquired in the early 1970s.
Ancient Gold Jewelry 147 SIXTEEN HELLENISTIC GOLD LAUREL LEAF HAIR ORNAMENTS, each devised as three joined leaves, mounted in a modern circlet. Ca. 2nd-1st Century BC. Ls. 1 7/8 in. (4.8 cm.) - 1 3/8 in. (3.5 cm.) Ex private French collection. The dried aromatic leaf of the laurel or bay (Laurus nobilis), used as a seasoning in cooking to which the Greeks and Romans attributed magical properties, has long been a symbol of honor, celebration, and triumph. 148 ETRUSCAN GOLD FILIGREE EARRINGS Openwork ribbons filled with wire bands, bosses, scrolls. Probably from Vetulonia, Ca. 700-675 BC. Dia. 1 9/16 in. (4 cm.) Ex Thane Collection, England; W.D. collection, Jericho, New York. Published: J. Eisenberg, Art of the Ancient World, vol. VIII, 1995, no. 131; vol. XIV, 2003, no. 128. For a similar pair of bracelets, see: A. Maggiani, et al., Treasures from Tuscany - The Etruscan Legacy, 2004, p. 40, no. 44. 149 LATE HELLENISTIC GOLD BUCKLE designed as two circular medallions one with the face of the god Bes, the other of a lion; original bronze attachments. 1st Century BC - early 1st Century AD. Ex W.N. collection, Wiesbaden, Germany. Published: J. Eisenberg, Art of the Ancient World, vol. XVII, 1996, no. 140. Cf. the lion heads in F.H. Marshall, Catalogue of the Jewellery - Greek, Etruscan, and Roman, British Museum, 1968, pl. XXXVII.
150 ROMAN GOLD FINGER RING WITH A RED CARNELIAN INTAGLIO OF A THEATER MASK in profile, facing left. 1st Century AD. Ring size, 1 1/2; Diam. 1/2 in. (1.3 cm.) Ex private French collection. 151 ROMAN GOLD FINGER RING SET WITH A CYLINDRICAL EMERALD BEAD on a gold pin within a crenelated, rectangular bezel, the shank with open scroll work at the shoulder to secure the bezel. Ca. 3rd Century AD. Ring size, 3 1/2; Diam. 0.57 in. (14.5 mm.) Ex private French collection. Published: J. Eisenberg, Art of the Ancient World, vol. XVIII, 1997, no. 176. 152 SOUTH ARABIAN GOLD MEDALLION with a Yemenite inscription; a goat above and a lion below. 1st Century AD. Very rare. D. 3/4 in. (1.9 cm.) Ex French collection.
153 ROMAN SILVER APPLIQUE BUST OF MERCURY, bare-chested and wearing a petasos. 2nd-3rd Century AD. H. 2 1/8 in. (5.5 cm.) Ex private collection, Los Angeles, California. 154 OSTROGOTHIC SILVER BUCKLE WITH A RELIEF OF A LION The Crimea, 6th Century AD. L. 4 3/8 in. (11.3 cm.) Ex S.A. collection, Germany.
E gypti an S to ne Sc ul p tur es & Reli efs 155 PAIR OF EGYPTIAN OLD KINGDOM LIMESTONE SUNK RELIEFS FOR NYANHKNESUT Each is carved with a representation of this dignitary with the hieroglyphs for his name above. He strides, wearing the simple kilt with a triangular apron knotted at the waist which was fashionable at the time. The relief at right shows him with the distinctive sash of a cult priest wrapped around his right shoulder, chest, and back, In his right hand Nyankhnesut holds a horizontal object, most likely the end of a sekhemsceptre, the front of which is not shown, however. He is wearing a shoulder-length wig covering his ears and sports a short square beard. In the relief at left, he is beardless and wears a well detailed helmet-like wig of tiered curls. He holds in his right hand a flail. With his left hand he clutches a gold collar from which hangs a large pendant of Hathor. Early VIth Dynasty, ca. 2323-2291 BC. H. 24 1/4 in. (61.5 cm.) x 10 7/8 in. (27.5 cm.); H. 25 in. (63.5 cm.) x 9 3/4 in. (24.8 cm.) Ex collection of Dr. Jacob Hirsch, 1920s; English private collection, 1930s-1950s; K.J. Hewett, London, 1960s-1970s; Andrew Hess, Wilton Crescent, London; French collection dispersed at the Drouot, Paris, in 2010.
For a similar pair of reliefs from this tomb, see: C.A.R. Andrews and J. van Dijk, Objects for Eternity, Egyptian Antiquities from the W. Arnold Meijer Collection, Mainz, 2006, pp. 38-41, no. 1.24, illus. Some 60 reliefs from this tomb are now in public and private collections. The decoration of the two reliefs is simple: each has a standing figure of the tomb owner facing inwards; above him are four hieroglyphs spelling his name, Nyankhnesut. As is so often the case with high officials of the Old Kingdom, many of the titles enumerated in the tomb link him with the court and with the king personally 'confidant of the king in his every place'; some of them may be honorific rather than real titles. On the other hand, Nyankhnesut bore several priestly titles, and this may have been his chief occupation in life. Thus he was 'chief lector priest', 'sem priest', 'overseer of the secrets of heaven', and 'greatest of seers in Heliopolis', i.e. high priest of the sun god Re. The tomb appears to have been discovered around 1917 and was said to be already in ruins at that time (L.M. Berman, Catalogue of Egyptian Art, The Cleveland Museum of Art, Cleveland and New York, 1999, p. 135). The exact location of the tomb within the necropolis remained unknown until January 2000, when it was rediscovered by the inspectors of the Saqqara office of the Supreme Council of Antiquities close to the north-west corner of the enclosure of Sekhemkhet (A. Leahy and I. Mathieson, "The Tomb of Nyankhnesut (Re)discovered," Journal of Egyptian Archaeology, vol. 87, 2001, pp. 33-42, pls. IV-V, and K. Mahmoud, "Preliminary Report on the Tomb of Nyankhnesut at Saqqara: 1st Season of Excavationâ€?, GĂśttinger Miszellen, vol. 186, 2002, pp. 75-88). It is a fairly large mastaba measuring some 20 meters from the entrance to the rear wall of the innermost chamber; there are five rooms and a long corridor. (...)
156 EGYPTIAN AMARNA PERIOD SANDSTONE SUNK RELIEF: SERVANT GIVING HOMAGE From Karnak, XVIIIth Dynasty, reign of Akhenaten, ca. 1350-1334 BC. H. 7 1/4 in. (18.5 cm.) W. 7 in. (18 cm.) Ex Jean-Marie Talleux Collection, Grand Fort Philippe, France; V. S. collection, Fort Lauderdale, Florida, 2000-2010. Published: J. Eisenberg, Art of the Ancient World, vol. IX, 1997, no. 168.
157 EGYPTIAN LIMESTONE OFFERTORY STELE FOR SEKHMET AND NEFERTUM Beneath the winged disc of Horus Behedet, Sekhmet, the lion-headed goddess of war wearing the Double Crown stands at left behind Nefertum, god of perfumes. Before them stands a priest holding an incense burner and a libation vase. XXII-XXIIIrd Dynasty, 945â€“730 BC. H. 15 1/2 in. (39.6 cm.); W. 15 3/4 in. (40 cm.) Ex old French collection.
158 EGYPTIAN REDDISH BROWN STONE ENTHRONED OSIRIS Mummiform, wearing an Atef-crown and holding a crook and flail crossed over his chest. XXVIth Dynasty, 664-525 BC. H. 6 1/2 in. (16.5 cm.) Ex Bandy collection, Rochester, Michigan. Exhibited: Kresge Art Gallery, Michigan State University, 1985-2002.
159 EGYPTIAN NEW KINGDOM LIMESTONE USHABTI FOR NEFERTITI, the mistress of the house, mummiform, with a single column of hieroglyphic text. Late XVIII-early XIXth Dynasty, ca. 1400-1250 BC. H. 5 1/4 in. (13.56 cm.) Ex Canadian private collection assembled between 1960 and 1970. 160 EGYPTIAN LIMESTONE SCULPTORâ€™S MODEL RELIEF OF A YOUNG GOD OR PRINCE wearing the Red Crown fronted by a uraeus and bearing the sidelock of youth. Ptolemaic Period, 305-30 BC. H. 5 1/4 in. (13.5 cm.); W. 4 3/8 in. (11.3 cm.) Ex French collection. 161 EGYPTIAN LIMESTONE DEEP BUST OF BES, the dwarf god of children, games, and laughter, with a modius on his head. The eyes are deeply carved and recessed beneath the heavy, furrowed brow and he wears a lion head necklace. Ptolemaic Period, 305-30 BC. H. 9 in. (22.9 cm.) Ex collection of Hermione Speier, Assistant Librarian of the Vatican, 1940s50s, thence by descent.
Egypti an S to ne Vessels 162 EGYPTIAN OLD KINGDOM BANDED ALABASTER BOWL of deep rounded form with flat base and an inward-curving rim beveled on the inside. IVth-VIth Dynasty, ca. 2613-2160 BC. Diam. 8 3/8 in. (21.3 cm.) Ex French private collection. 163 EGYPTIAN OLD KINGDOM SPECKLED BLACK AND WHITE GRANITE CUP with flaring sides and an inward-curving rim beveled on the inside. IVth-VIth Dynasty, ca. 2613-2160 BC. Diam. 6 1/4 in. (16 cm.) Ex French collection.
164 EGYPTIAN NEW KINGDOM BANDED ALABASTER COSMETIC VASE with globular body, broad lip and slight flaring at the base. XVIIIth-XIXth Dynasty, ca. 1540-1190 BC. H. 3 1/2 in. (8.9 cm.) Ex American private collection, dispersed in 1990. Published: J. Eisenberg, Art of the Ancient World, vol. X, 1999, no. 236.
165 EGYPTIAN NEW KINGDOM LARGE ALABASTER AMPHORA with a polychrome encaustic lotus band and double cartouche of Ramesses II, ca. 1279 - 1213 BC. H. 16 in. (40.5 cm.) Extremely rare and choice. Ex N. Z. collection, Geneva; Patricia Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in 1990.
Like most pharaohs, Ramesses had five names. The two cartouches set forth the throne name or praenomen: User-maatre-setepenre, meaning “Strong in Right is Re, Chosen of Re.” The cartouche at the right sets forth his nomen: Ramesis Meriamon, meaning “Born of Re, beloved of Amon.” Above these are the epithets Lord of the Two Lands (sedge: Lower Egypt and bee: Upper Egypt) and Son of the Sun God. Below: “May he live forever.”
Egyptian Bronze Sculptures
166 HIGHLY IMPORTANT LARGE EGYPTIAN BRONZE STATUE OF A PRIESTESS OF AMUN with inlaid stone eyes and separately cast short wig of tiny layered locks of hair. Her attached arms are outstretched, probably to hold two sistra (musical rattles). She retains her original gold necklace and remains of gold leaf on her wig. XXIInd Dynasty, 945-715 BC. H. 37 in. (94 cm) including her restored feet and ankles.
This was probably one of the several large bronze statues found in the Temple of Amun at Karnak in the early 19th Century. This is one of the two largest examples; the other is heavily restored. It is the only one in private hands; the others are in museums in Athens, Berlin, Leiden, London, and Paris. The Louvre acquired theirs in 1829. Ex S.O.S. collection, Basel, Switzerland, acquired in the late 1950s; J.A.L. collection, Chesterfield, Virginia. Doubtless, one of the most important Egyptian works of art to appear on the art market in a generation!
167 IMPORTANT LARGE EGYPTIAN BRONZE KNEELING PHARAOH wearing the nemes, an usekh necklace, and the shendyt-kilt; he is holding his right hand on his chest and his left forearm in an upright position. The attitude is the henu pose, a traditional gesture expressing jubilation. Very rare. XXVIth Dynasty 664-525 BC. H. 11 3/4 in. (29.8 cm) Ex Hélène Servais collection, Brussels, acquired in 1935.
Only four other kings in this pose are known to us. Three are listed by Josephson; see: J.A. Josephson, Egyptian Royal Sculpture of the Late Period, 400-246 BC, Mainz, 1997, pp. 33-39, pl. 12; one in Paris (ex Hoffmann collection), bronze, H. 6 1/8 in. (15.5 cm); one in the British Museum (BM 11496, bronze, no measurement); and the one in his own collection (ex de Béhague collection, now in the Metropolitan Museum of Art), wood. H. 8 1/4 in. (21 cm). Cf. M. Hill, Royal Bronze Statuary from Ancient Egypt, Leiden, 2004. The fourth, a 9 3/8 in. (23.8 cm.) bronze dated to the XXVth Dynasty, from the collection of Roger Fernand Galliano, is now in a private collection.
168 ROMANO-EGYPTIAN LARGE BRONZE SERAPIS wearing a chiton, wrapped in an himation; a modius on his head. He stands with his weight on his left leg, his right knee bent as if striding; his right arm is outstretched. 1st Century BC/AD. H. 13 1/2 in. (34.3 cm.) Ex English collection; L.B. collection, New York, acquired from Royal-Athena Galleries in 1985; J.A. collection, Almadoro, Portugal. 169 EGYPTIAN BRONZE PTAH, patron of artists and craftsmen, wears a close-fitting cap, broad collar, and sed-cloak, and holds before him the was-scepter; inscription on base. Late Dynastic Period, 715-332 BC. H. 6 1/2 in. (16.5 cm.) Ex English private collection. 170 EGYPTIAN BRONZE KNEELING PHARAOH, the royal figure with his arms bent at the elbows and projecting forward in an offertory position. He wears a tripartite wig fronted with a uraeus and a royal shendyk-kilt; details incised. XXVIth Dynasty, 664-525 BC. H. 5 3/4 in (14.6 cm.) Ex Swiss collection prior to 1970; Joop Bollen collection, South 83 Dakota.
171 ROMANO-EGYPTIAN BRONZE FITTING OF BES AND BESIT standing back to back, their feet resting on swans perched above a pair of couchant lions on an integral rectangular base. 1st-2nd Century AD. H. 2 3/4 in. (7 cm.) Ex collection of Henry Wallis R. W. S. (1830-1916), the Pre-Raphaelite painter, thence by descent. 172 EGYPTIAN BRONZE USHABTI OF THE PHARAOH PSUSENNES I, mummiform, holding a hoe in each hand, a seed sack between his shoulders, wearing a tripartite wig; a cartouche with the pharaoh's nomen incised below. XXIst Dynasty, reign of Psusennes I, 1040-992 BC. H. 2 15/16 in. (7.4 cm.) Ex Frank J. and Victoria K. Fertitta collection, Las Vegas; Los Angeles County Art Museum, acquired in 1980. 173 EGYPTIAN LARGE BRONZE SITULA with a procession of deities; above, a frieze with barques, figures, baboons, and jackals; open lotus blossom around base; a band of faint hieroglyphic inscription below the lip. Ptolemaic Period, 305-20 BC. H. 10 in. (25.5 cm.) Ex German collection. With a metallurgical analysis by Dr. Gerhard Lehrberger, University of Munich.
Egyptian Faience 174 EGYPTIAN TURQUOISE FAIENCE STRIDING IBIS-HEADED THOTH wearing a pleated kilt, broad collar, and striated tripartite wig. XXVIth Dynasty, 664-525 BC. H 5 3/8 in. (13.5 cm.) Ex American private collection acquired from Jean-Loup Depras, Paris, in 1983. Exceptionally fine style. 175 EGYPTIAN TURQUOISE FAIENCE AMULETIC SEAL OF PATAIKOS, standing on crocodiles, flanked by deities topped by Neb Re; scarab on head, triad on belly; behind: striding figure of Men-kheper-Re Shu. Ptolemaic Period, 305-30 BC. H. 1 1/2 in.(3.8 cm.) Ex English collection dispersed in 1993. Published: J. Eisenberg, Egyptian Art in Miniature: Amulets and Scarabs, 1994, no. 14.
176 EGYPTIAN GREEN FAIENCE AMULET OF NEFERTUM, GOD OF FRAGRANCES, wearing lotus headdress with menat pendants, surmounted by plumes. Late Dynastic Period, 715-332 BC. H. 4 3/4 in. (12.1 cm.) Ex collection of Col. Arbuthnot, acquired in Port Said or Alexandria between 1930 and 1947; acquired in London by the J.S. collection, Lyndhurst, NY, in 1988.
177 EGYPTIAN TURQUOISE FAIENCE USHABTI FOR NESIPERNOUB, Divine Father of Amun, Scribe of Mut, mummiforn holding hoes; details and two columns of hieroglyphic text in black. XXIst Dynasty, 1069-945 BC. H. 5 3/4 in. (14.5 cm.) Ex collection of Dr. John S. Winnie, Georgia. Published: L. Aubert, Les statuettes funéraires de le Deuxième Cachette, Paris, 1998, p. 76. 178 EGYPTIAN GREEN FAIENCE USHABTI mummiform and holding hoes and a seed basket. With twelve incised registers of hieroglyphic text setting forth his name and title as well as the ushabti spell from Chapter VI of the Book of the Dead. XXVIth Dynasty, 664-525 BC. H. 8 1/4 in. (21 cm) Ex French collection. 179 EGYPTIAN TURQUOISE FAIENCE USHABTI Uninscribed. Ptolemaic Period, 305-30 BC. H. 3 5/8 in. (8.6 cm.) Ex French collection. 180 EGYPTIAN TURQUOISE FAIENCE MODEL OFFERING TRAY formed as a rectangular tray supporting two rows of five cups, each with a tall foot flaring to form a shallow bowl. XXVIth-XXXth Dynasty, ca. 664343 BC. L. 3 7/8 in. (9.8 cm.) Ex Austrian collection. Cf: G. Scott, Temple, Tomb & Dwelling, Egyptian Antiquities from the Harer Family Trust Collection, 1992, no. 129, pp. 180-182.
Egyp tia n Wo od & Terracottas
181 EGYPTIAN UPPER SECTION OF AN ANTHROPOMORPHIC WOOD COFFIN LID The face is framed by a voluminous tripartite wig. The eyes and eyebrows were once inlaid with bronze and stone, parts of which are preserved. Late Dynastic Period, 664-342 BC. H. 37 3/8 in. (95 cm.) Ex Belgian collection. Cf. S. Ikram and A. Dodson, The Mummy in Ancient Egypt, London, 1998, pp. 236-241.
182 EGYPTIAN NEW KINGDOM POLYCHROME WOOD USHABTI, mummiform and holding hoes; a column of hieroglyphic text on the front; extensive original pigment remaining. XIXth Dynasty, ca. 1293-1185 BC. H. 7 3/4 in. (19.7 cm.) Ex M.B. collection, Woodland Hills, California. 183 EGYPTIAN POLYCHROME WOOD FALCON with black details on red and yellow grounds. XXVth-XXXth Dynasty, 712-332 BC. L. 8 in. (20.3 cm.) Ex H. W. collection, New York, acquired in London in 1993.
184 EGYPTIAN WOOD HAND FROM A SARCOPHAGUS The elegant, elongated fingers extended but relaxed and the nails clearly described; the upper side with yellowish brown gypsum sizing, the underside unpainted.. XXII-XXVIth Dynasty, 100-525 BC. L. 8 in. (20.5 cm.) Ex German collection. 185 EGYPTIAN WOOD CAT, embodiment of Bastet, patroness of joy and women, seated on her haunches in the traditional attitude with alert ears. Late Period, 715-30 BC. H. 3 in. (7.8 cm.) Ex French collection. 186 EGYPTIAN STEATITE OPENWORK PLAQUE with Horus enthroned on one side and the cartouche of Tuthmosis III on the other. Late Period, 664-332 BC. 24 x 30 mm. Acquired in London, December 1993. 187 ROMANO-EGYPTIAN TERRACOTTA HARPOKRATES RIDING A HORSE, wearing a Double Crown and holding his right forefinger to his mouth. 1st Century BC/AD. H. 6 1/2 in. (16.4 cm.) Ex French collection. 188 ROMANO-EGYPTIAN TERRACOTTA RECLINING SILENOS 1st Century BC/AD. H. 3 7/8 in. (10 cm.) Ex French collection.
189 ROMANO-EGYPTIAN TERRACOTTA GROUP WITH HARPOKRATES wrapped in a himation and wearing a rolled fillet with sidelock, finger to mouth, standing to the right of a boy holding a jug. 1st Century BC/AD. H. 9 1/2 in. (24.2 cm.) Ex collection Jean-André Périchon-Bey (1860-1929), Rodah, Egypt, and Paris; acquired before 1903. A very rare unpublished type. 190 ROMANO-EGYPTIAN TERRACOTTA NUDE BAUBO SEATED ATOP A BOAR The goddess of ribald jocularity is nude, legs spread, a vase atop her head with a long veil hanging down one side. Traces of pink and white polychromy remaining. A rare type. Roman Perod, ca. 1st Century AD. L. 4 7/8 in (12.4 cm.) Ex French collection. 191 ROMANO-EGYPTIAN TERRACOTTA FLUTE PLAYER, the youth wrapped in a himation, at his feet an amphora, a jar, and a bouquet of flowers; a tympanum on his shoulder. Traces of polychromy remaining. 1st Century BC/AD. H. 6 5/8 in. (17 cm.) Ex French collection dispersed at the Drouot, Paris, in 2004.
Near E astern A ntiqu ities 192 STYLIZED STEATOPYGOUS FEMALE IDOL with schematic arms extended, the head suggested by a triconic hairstyle; with traces of copper oxide. Very rare. Probably from Crete, early 1st Millennium BC. H. 2 3/4 in. (7.1 cm.) Ex French collection. 193 ANATOLIAN MARBLE KUSURA-BEYCESULTAN TYPE IDOL of flattened form with round body, vestigial arms, short neck, and ovoid head. Bronze Age II-III, ca. 2700-2000 BC. H. 3 1/2 in. (9 cm.) Ex London market, 2000. Cf. Exhibition catalogue Art of the Cyclades, Karlsruhe, 1976, p. 388, no. 520. 194 YORTAN CULTURE BLACK POTTERY LIDDED JAR with ovoid body, cylindrical neck and whitefilled zig-zag designs. It has a ring foot and four lug handles. W. Anatolia, Troy I, 3500-2600 BC. H. 4 in. (10.2 cm.) Ex Clemens Holzmeister (1887-1983) collection, acquired between 1927 and 1954. Cf. T. Kamil, Yortan Cemetery in the Early Bronze Age of Western Anatolia, 1982, pl. 4.6. 195 NEOLITHIC POTTERY SEATED STEATOPYGOUS FEMALE, her arms supporting her breasts. Tel Halaf, Al Hasakah governate, Syria Ca. 4500 BC. H. 1 7/8 in. (5 cm.) Ex Dutch market. 196 URARTIAN BRONZE BULL PROTOME Deeply cut eyes and a collar of triangular section once inlaid. Fine green and red patina. Armenia, 7th century BC. H. 2 3/4 in. (7 cm.) Ex French collection. Published: J. Eisenberg, Art of the Ancient World, vol. X, 1999, no. 253. Cf. J. Eisenberg, Art of the Ancient World, vol. IV, 1985, p. 155, no. 502.
197 PHOENICIAN BRONZE HELMET The bullet-shaped domed body is hammered from a single sheet of bronze. Some identical helmets were recovered in the eighties from a wreck lying in Israeli coastal waters. Earlier 1st Millennium BC. H. 8 in. (20 cm.) Ex collection of Axel Guttmann (1944-2001), Berlin, acquired in Tel Aviv 1996. A rare, heavyweight helmet from the eastern Mediterranean. Cf. a similar helmet in J. Eisenberg, Art of the Ancient World, vol. XXI, 2010, no. 246. 198 PHOENICIAN BRONZE CHALCOPHONE The musical instrument is composed of eleven coiled wire tubes and twin sounding bars, each bar with fifteen attachment holes and terminal spiral resonators; four separate fragmentary attachment wires. 8th-6th Century BC. W. 7 1/8 in. (18.3 cm.) Ex French collection. Cp. a similar example in J. Eisenberg, Art of the Ancient World, vol. XX, 2009, no. 208. The tubes would have been joined to the sounding bars by wooden pegs which the coiled wire tubes would have been wound around. It is thought that the chalcophone may have chimed like a modern xylophone. Examples have been found in South Italian and Phoenician contexts dating from the 8th-6th Century B.C. Similar instruments in later form appear on Apulian red-figure pottery. 199 CAUCASIAN LATE BRONZE AGE CAST AND FORGED BRONZE DAGGER, the blade with a central ridge and reinforced point, the pierced handle cast separately over the tang and riveted, the grip with remnants of bone inlays. Ca. 1000 BC. L. 9 5/8 in. (24.4 cm.) Ex Dr. K.-L. collection, Berlin, 1960s.
200 PHOENICIAN TERRACOTTA GODDESS standing on an integral plinth, wearing a high crown with a wreath, her himation drawn over her head as a veil, the pleats of her chiton visible below, her right arm held to her breasts, her left by her side. 5th-4th Century BC. H. 20 1/2 in. (52.1 cm.) Ex German private collection since the 1970s. 201 WESTERN ASIATIC BRONZE BELTED MALE ADORANT, his arms raised; oversized hands with fingers outstretched. The Steppes, 8th-6th Century BC. H. 3 in. (7.5 cm.) Ex collection of Dr. Wassilijew; Levkovic collection. Cf. B.E. Markovin, “Bronze ‘Amulets’ From the Caucasus Mountains and their Adorants”, in Eurasian Antiquities, Moscow, 1999; Archäologie der Sowjetunion vom Altertum bis zum Mittelalter, vol.: Bronzezeit Mittelasiens und des Kaukasus, Nauka, 1992, fig. 50.
202 WESTERN ASIATIC BRONZE NUDE MALE ADORANT, his over-sized hands with fingers outstretched held in front of his stomach. The Steppes, 8th-6th Century BC. H. 2 3/4 in. (7 cm.) Ex collection of Dr. Wassilijew; Levkovic collection. See references above. 203 INDUS VALLEY CALCITE IDOL A thin slab figure of stylized form, triangular head with lightly incised facial features and dotted hairline, short, wing-like arms, baluster form body, and feet with incised toes. Mehrgar Culture, ca. 2500-2000 BC. H. 3 1/2 in. (8.9 cm.) Ex private Bangkok collection; private New York collection. A rare type.
204 SOUTHWEST CASPIAN BRONZE RAM with pendant loop on its back. Ca. 8th Century BC. H. 2 3/8 in. (6 cm.); L. 3 1/4 in. (8.2 cm.) Ex English private collection, deaccessioned in 1988 . 205 LURISTAN BRONZE STANDARD FINIAL OF TWO CONFRONTED FELINES, 8th-7th Century BC. H. 5 5/8 in. (14.3 cm.) Ex English private collection; R. R. collection, Clinton, Michigan, acquired from RoyalAthena in 1984. Exhibited Picker Art Gallery, Colgate University, 1985-2007. Cf. O. Muscarella, Bronze and Iron: Ancient Near Eastern Artifacts in the Metropolitan Museum of Art, New York, 1988, p. 145, figs. 221-224. 206 AXUMITE TERRACOTTA FEMALE HEAD with long narrow face, pursed lips, elongated nose; her bulbous eyes with upward gaze; with hair drawn back and indicated with three incised 'herringbone' plaits. 3rd Century AD. H. 2 5/8 in. (6.7 cm.) Ex French private collection. Axum was an important trading nation in northeastern Africa beginning in the 4th century BC, rising to its height in the 2nd-3rd Century AD, specializing in goods from India and the Roman Empire.
207 PARTHIAN BRONZE INCENSE-BURNER with a panther resting his forepaws on a round cup with two legs. 1st Century AD. L. 8 1/2 in. (21.6 cm.) Ex N.H. collection, Shelby, Michigan, acquired from Royal-Athena in 1990. Exhibited: Picker Art Gallery, Colgate University, Hamilton, New York, 1990-2009.
Why Collect Ancient Art?
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 - over 40 years ago! - and most recently in Business Week.
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 240 overseas trips, purchasing over forty thousand antiquities for many 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 some 56 years, and numismatics for 68 years. His many publications on ancient art and numismatics span over 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. He chaired a conference in London on the Phaistos Disk in 2008. 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 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 Archaeologists. 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. He was interviewed in depth for his expertise on Greek television in 2008 and on Artfinding in 2009.
Ancient Coins We carry a fine stock of select Greek silver and bronze coins from $100, and Roman silver and bronze coins from $75. We began our business as ‘Royal Coin Company’ in January 1942, 69 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 and Konrad Schauenburg, 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 1200 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 from 1990 to 2009. It features the most extensive and timely coverage by any magazine of worldwide excavations, auctions 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. www.minervamagazine.com firstname.lastname@example.org 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) • Art of the Ancient World (Vol. XIX, 2008, illustrates in full color 222 objects, 96 pages, $5) • Art of the Ancient World (Vol. XX, 2009, illustrates in full color 217 objects, 96 pages, $5) • Art of the Ancient World (Vol. XXI, 2010, illustrates in full color 252 objects, 96 pages, $5) • 1000 Years of Ancient Greek Vases, 2010, illustrates in full color 195 vases, 96 pages, $5) • All 11 of the above catalogs (total list price $50), with price lists: $40. (Add $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 • 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 10 of the above catalogs, 1985 through 2003 (total list price $65), only $50. (Add $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, otherwise, the current price list is valid through 2011. 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 7/8%). 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
F. Williamson Price, Associate Director
New York Richard M. Novakovich Betty W. Eisenberg Suzanne George
Assistant Director & Manager Comptroller Office Manager
London (Seaby Antiquities) Anthony Law Peter Clayton
Brent M. Ridge Ramon Perez Andrew England Alina Bessarabova
Photographer Photographer Webmaster Conservator
royal-athena galleries new york
Featuring 207 Greek, Etruscan, Roman, Byzantine, Egyptian, & Near Eastern Antiquities
Published on Oct 16, 2013
Featuring 207 Greek, Etruscan, Roman, Byzantine, Egyptian, & Near Eastern Antiquities