Aphrodite catalogue vol 1 by Aphrodite Ancient Art

ART OF THE ANCIENTS A selection of ancient art Volume I â&#x20AC;&#x201C; 2013

ART OF THE ANCIENTS A selection of ancient art Volume I – 2013 Greek, Etruscan, Cypriot, Roman, Egyptian, Near Eastern, and Islamic Antiquities, Ancient Jewelry, Ancient Glass, and Ancient Coins.

INTRODUCTION We are pleased to offer our first ancient art catalogue. The following objects represent a fine selection of Greek, Etruscan, Cypriot, Roman, Egyptian, Near Eastern, Islamic antiquities, and ancient coins. They comprise a sampling of the beautiful subtleties that the ancient world has to offer. Antiquities featured in this compendium are presented in categorical groupings based on culture and category. The catalogue begins with Egyptian art and concludes with ancient coins. All objects featured in this catalogue, as well as many others, can be viewed by appointment at our ancient art gallery, which is located in the heart of New York's art and cultural district, on Fifth Avenue (Museum Mile), next to the Museum of the City of New York, and just a few blocks away from the Metropolitan Museum of Art and Guggenheim Museum. We offer expert advice for investment-minded collectors; our clientele receive experienced guidance and services ranging from buying, appraisals, investments, to authentications. All objects presented in this catalogue have been carefully selected for their intrinsic beauty, rarity, quality, and investment potential.

Jamal Rifai, Director

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Confederation Internationale des Neociants en Oeuvres d’Art

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Art and Antique Dealers League

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EGYPTIAN

EGYPTIAN PRE-DYNASTIC NAQADA II POTTERY VESSEL Globular in form with twin perforated lug handles, a flat everted rim, and is decorated with a fish scale pattern. Vessels of a similar type have been found in pre-dynastic graves and once held liquids or substances for use in the afterlife. In addition to its historical significance, this vessel has a strong aesthetic appeal with its bold abstract design. It may have been intended to simulate stone. Circa 3400 â&#x20AC;&#x201C; 3200 B.C. (Pre-dynastic Period, Naqada II) H. 5 3/8 in. (13.6 cm.) Ex. Florida private collection; Ex. New York art market Cf: Lot 109, Sothebyâ&#x20AC;&#x2122;s New, December 2002

EGYPTIAN

AMETHYST AMULET REPRESENTING THE GOD THOTH Depicting Thoth, the god of arbitration, magic, wisdom and science. He is striding, arms at his sides. The suspension hole is on the back pillar. Circa 712 – 343 B.C. (Late Period, Dynasty XXV–XXX) H. 1 1/4 in. (3.18 cm.) Ex. 1960s private collection; Then by descent Cf: Inv. #A32068, The Science Museum, London (in lapis lazuli); Lot 9, Sotheby’s New York, December 2001 (in rock crystal)

EGYPTIAN

EGYPTIAN GESSO PAINTED WOOD SARCOPHAGUS LID The figure wearing a headdress enshrouding his gilded face, a broad decorative collar, underneath, the goddess Maat with her wings out-spread, two recumbent facing Anubi underneath. Circa 600 B.C. (Late Period) L. 57 in. (144.78 cm.), W. 15 in. (38.1 cm.) Ex. K.S. Collection, Southern California, United States Cf: Lot 70, Christieâ&#x20AC;&#x2122;s South Kensington, Important Antiquities Auction, April 1999

EGYPTIAN

EGYPTIAN LIMESTONE BUST FROM AN ANTHROPOID SARCOPHAGUS LID The facial features are boldly carved in high relief and wearing a tripartite wig with long lappets and a false beard; eyes, eyebrows, and central vertical incised hieroglyphic column marked in black. The hieroglyphic text states: “A gift which the king gives to Osiris, the foremost of the westerners, the great god, lord of Abydos, in order that he may give....” Anthropoid stone sarcophagi contained the mummy, covered by body-cases of cartonnage or resting in an inner wooden anthropoid coffin. Some well-preserved examples, as our present example does, suggest that facial details like eyelids and eyebrows were accentuated in color. In the group of well-preserved sarcophagi, both uninscribed and inscribed examples can be found. The owners of Late Period limestone sarcophagi usually bear titles belonging to the higher rank of the administration, the military, or the clergy. Circa 664 – 343 B.C. (XXVI – XXX Dynasty) H. 37 in. (94 cm.) Ex: Collection of Alan Dershowitz and Carolyn Cohen, Cambridge, MA; Christie’s New York, June 1998 Cf: For related examples see M.L. Buhl, The Late Egyptian Anthropoid Sarcophagi, Copenhagen, 1959, pp. 70-71, 76-82; figs 32, 38-39, 41-43; nos. Eb5, Eb10-11, Eb15, Eb17-18; Also Ny Calsberg Glyptotek AEIN 1039: O. Koefoed-Petersen, Catalogue des sarcophages et cercueils egyptiene, Copenhagen, 1951, p. 38, pl. LXXXVI; M. Jorgensen, Ny Calsberg Glyptotek Egypt III, Copenhagen, 2001, pp. 254-255, pl. 12

EGYPTIAN

EGYPTIAN FAIENCE GROUP OF A MONKEY AND A JAR Monkeys amused the ancient Egyptians, who often kept them as pets, and throughout Egyptian history, they were enjoyed for their playful and whimsical behavior. Because they had to be imported over great distances at considerable expense, the possession of monkeys indicated the owner’s wealth and social status. This flask, with its relatively small monkey, is beautifully detailed. The work features a monkey standing on its hind legs at the base and hugging a flask that may have been a cosmetic or oil container. The monkey’s face is turned sharply to the left, with both arms resting at the shoulder of the flask. Mischievous eyes glare from a head of parted hair. A very rare faience work from Ptolemaic Egypt. Circa 305 – 30 B.C. H. 1 3/4 in. (4.5 cm.) Ex. New York private collection; Farag El-Shaer, antiquity merchant lic. no. 116, Cairo, Egypt, 1964

EGYPTIAN

EGYPTIAN BRONZE AND BLUE GLASS IBIS The Ibis bird was sacred and associated with Thoth, the God of wisdom and writing. The body of this bird is made of blue glass paste meant to imitate lapis lazuli, with the head and legs being comprised of bronze. It comes with an 18th Century custom marble base-stand. Circa 664 â&#x20AC;&#x201C; 30 B.C. (Late Period-Ptolemaic Period) L. 4 1/4 in. (10.8 cm.), H. 4 in. (10.16 cm.) Ex. C. M. collection, prior to 1980, Florida, United States

EGYPTIAN

EGYPTIAN CARTONNAGE MUMMY MASK Wearing an elaborately painted head-cloth with a diadem, a sun disk with flanking cobras in the center, the crown of the head painted with a register of deities below a scarab between squatting deities and wedjat-eyes. The upper register with a seated god clasping palm fronds between Isis and Nephthys and griffins, with larger images of Osiris and falcon-headed deities on either side, below this a band of uraei above images of the deceased flanked by Isis and Nephthys, followed by registers with the mummified deceased on the back of a lion, the four sons of Horus, and winged falcon-headed deities, with blossoms, wedjat-eyes, jackals and sphinxes at the shoulders. The cream-colored face with large white painted eyes with black irises, rimmed in black with individual lashes depicted, the extended cosmetic lines and arching brows similarly painted. Circa 2nd Century A.D. (Roman Period) H. 18 in. (47.4 cm.) Ex. collection of Alan Dershowitz and Carolyn Cohen, Chilmark, MA. Published in Christieâ&#x20AC;&#x2122;s New York, lot 82, December 1996

GREEK

GREEK MARBLE HEAD OF A YOUNG GIRL WITH MELON COIFFURE Votive sculptures of children have been found at many sites in Greece, some in a funerary context. The Greeks of antiquity erected their most intricate funerary monuments in the 6th Century B.C., claiming roadside burial grounds for such a purpose. Specifically, relief sculptures marked such graves. At the end of the 5th Century B.C., most Greek families conformed to the practice of burying the deceased in stone sarcophagi placed in the ground within cemeteries. These sarcophagi were arranged in man-made holed hills that were perpendicular to the cemetery road. Marble monuments belonging to various family members were placed along the edge of the terrace rather than over the graves themselves. This marble head is most likely a funerary statue for a young girl. The beige medium plays host to the smiling youth with richly defined oval eyes acting as points of focus. Her flawless nose arches over the gently curved mouth to present an image of happiness. The young girl’s short wavy locks tuck in behind small, finely detailed ears. The masterful expression is life-like. Circa 4th – 3rd Century B.C. H. 5 in. (12.5 cm.) Ex. New York art market; American private collection, 1980’s

GREEK

HELLENISTIC MARBLE HEAD OF APOLLO Apollo was a Greek—and later Roman—sun god. He represented music, poetry, medicine and the civilized arts. According to legend, Apollo drove the fiery chariot (representative of the sun) across the sky each day. Next to Zeus, he was the most important and widely worshiped divinity in ancient Greek culture. This marvelous work depicts the head of Apollo with an oval face and a steadfast gaze. His centrally parted hair is pulled back, and a tress falls down each side of the neck. The ears are partially covered by his thick bands of hair. One can feel the powerful sense of determination exuded by the beautiful representation of the legendary divine figure. Circa 2nd – 1st Century B.C. H. 6 5/8 in. (16.8 cm.) Ex. French private collection; Sotheby’s London, May 1992, A. von S. collection, New York, acquired from Royal-Athena

GREEK

HELLENISTIC MARBLE HEAD OF APHRODITE Aphrodite (Venus) is the goddess of love and beauty. She was born when Uranus was castrated by his son Cronus. Cronus threw the severed genitals into the ocean which began to churn and foam. Aphrodite arose out of this turbulence, and the sea carried her to Cyprus or Cythera. The charming head belongs to a group known as Aphrodite de Medici, which is a classical depiction of the goddess. Her wavy hair is centrally parted, the elaborate curls drawn back into a loose chignon and the frontal tresses sweeping into a topknot. Aphrodite’s eyes are set beneath a softly curving brow line. The lips are slightly pursed. Indeed, the piece is splendid. A statue of this type is now in the Uffizi Museum of Florence, Italy. Circa 2nd – 1st Century B.C. H. 6 1/4 in. (15.9 cm.) Ex. European art market from the 1980’s

GREEK

ATTIC-BLACK FIGURE OLPE BY THE PAINTER OF VATICAN A woman stands to the right holding a flower in her upraised left hand. The small fawn at the lower left identifies her as Artemis. She wears a red fillet, long chiton, and a himation that covers her right arm and upper body. An olpe is an oinochoe with a continuous, unbroken profile from foot to mouth. This example has a round mouth, offset slightly, and a torus foot. As often on olpai of this type, the front of the mouth is decorated with a checkerboard design. Below this is a band of pomegranate-net pattern, and underneath this is a band of key-pattern. The reserved panel is framed by bands of pomegranate-net pattern. The groundline consists of two red stripes, which circle the lower body. Circa 510 B.C. H. 8 3/4 in. (22.2 cm.) Ex. German collection; Ex. John Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in 1988; Ex. Patricia Kluge collection, Charlottesville, Virginia Published: J. Eisenberg, One Thousand Years of Ancient Greek Vases, 1990, no. 57

GREEK

APULIAN RED-FIGURE SPHERICAL PYXIS BY THE MARBURG PAINTER Apulian Red-Figure Spherical Pyxis from the White Saccos Group, Triangular Eye Subgroup. Lid: Woman’s head emerging from a flower. Bowl: Head of a woman. A pyxis (plural pyxides) is a small lidded jar (lit. “box”) for pins, jewelry, cosmetics, and other feminine toilet articles. These came in a variety of shapes in Attic vase-paintings of the 5th Century B.C., but the spherical pyxis is a type specifically unique to South Italy, particularly Apulia and Sicily. This example has a flaring knob and a high ring base. The ornament is particularly elaborate and colorful: a large complex of palmettes and scrolling tendrils covers the back and sides. On the front of the bowl is the head of a woman facing left. She wears a necklace, earrings, and an embroidered hair-cloth (kekryphalos). On the front of the lid is a large flowering plant, with scrolling tendrils to the left and right. The head of a woman emerges from the yellow flower in the center. The woman is painted white and drawn in a three-quarter view; she wears earrings and embroidered sakkos. This pyxis is exceptionally intact. Circa 320 B.C. H. 10 7/8 in. (27.6 cm.) Ex. Patricia Kluge collection, Charlottesville, Virginia, acquired from Royal Athena, 1991 Published: A.D. Trendall, the Red-Figured Vase of Apulia, Suppl. I, 1983, 198, 29/838a; J. Eisenberg, One Thousand Years of Ancient Greek Vases, 1990, no. 96

GREEK

ETRUSCAN

AETRUSCAN BLACK-FIGURE ONE-HANDLED KANTHAROS BY THE MICALI PAINTER Although such a vessel is often referred to as a kyathos, this is a misnomer. A kiyathos is a dipper, a smaller and more delicate vessel with a ring foot. It is primarily in attic shape, but there are few Etruscan black-figure examples, including at least one by the Micali Painter (Galerie Gunter Puhze, Kunst der Antike, Katalog 8, no. 185). This type is a one-handled kantharos, a type also known in Attic black-figure (see Bazley, ABV346). The Etruscan black-figure examples descend from a smaller shape in Bucchero, and it is likely that the Attic examples were produced with Etruscan markets in mind. The one-handled kantharos was a favorite shape of the Micali Painter, who painted at least 15 others. Most of these also have the knobs on the rim and many have the rounded flanges on the handle. Frequently decorated with dolphins (e.g. Boston 13:92; A. Fairbanks, Catalogue of Greek and Etruscan Vases I. Museum of Fine Arts, Boston (Cambridge, Mass. 1928) pl.77, no. 576). The plastic head on our example, however, is unique and may derive from bucchero examples, thus making this vase extremely rare. The style of drawing is typical of the Micali Painter, the most talented and prolific of the Etruscan vase painters of the late 6th Century B.C. The Micali Painter is named after Giuseppe Micali (d. 1844), an Italian Etruscologist. The bulk of the painter's vases were dug up in the early 19th Century excavations of Vulci by Napoleon's brother. The figures of the Micali Painter have a distinctive character that recall the early naiveté of Etruscan wall paintings; Beazley said the Micali Painter, “has a jolly, slogging style, and must have enjoyed himself (EVP, 1-2).” The body is decorated with a ram, wolf, sphinx, leopard, and lion. The handle front has a dancing youth, and the handle flanges have dolphins on either side. The dancing youth on our vase, probably a drunken reveler, or “komast,” and occupies the position frequently occupied by a dancing satyr or siren. Sphinxes, leopards, and lions appear on many of the painter’s vases, rams are uncommon, and the wolf is unique. The band of ivy leaves around the rim is one of the painter’s favorite ornamental motifs. There are rounded flanges at the top of the handle, and between these, facing inward, is a plastic head of a female wearing a pointed hat, known as a tutulus. Circa 510 – 500 B.C. H. 10 7/8 in. (27.5 cm.) Ex. Munzen und Medaillen, Basel, Switzerland; Ex. Patricia Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena, 1990 Published: Spivey, p. 24, no. 151(with the sphinx called a siren, the wolf a dog, and the youth a satyr); J. Eisenberg, Art of the Ancient World Volume V, Part I, 1988, no. 47

CYPRIOT

PROTO-CYPRIOT LIMESTONE HEAD OF A FEMALE VOTARY Wearing bag-like wig and four-strand choker with a central medallion. Circa 560 – 540 B.C. H. 2 ½ in. (6 cm.) Ex. Joseph Melchione collection; purchased from Royal Athena CYPRIOT WHITE SLIP WARE BOWL Of hemispherical form with wishbone handle, the exterior painted in brown with vertical lattice pattern bands below, a similar band around the rim. Circa Late Bronze Age I, 1600 – 1450 B.C. Diam. 7 in. (at rim) (17.8 cm.) Ex: Sotheby’s London, February 1979, no. 303 Cf: For a close parallel, British Museum, Vases, pl. 11, C213

ROMAN

ROMAN OVER LIFE-SIZE MARBLE PORTRAIT HEAD OF A MAN This portrait of a Roman is carved fully in the round. The face is characterized by strong features. Our example depicts prominent cheekbones and Adam’s apple. Three horizontal furrows line the forehead. The eyes are wide with defined lids and brows. His mouth has pursed lips and dimpled corners. The nose is un-restored, which is unusual. The man’s hair is conceived as a mass of locks carved compactly in low relief, with the fringe of locks being worn high up on the forehead. The head’s arrangement of hair locks closely resembles those portraits of Octavian/Augustus Caesar. Circa 1st Century B.C. – 1st Century A.D. H. 12 1/2 in. (31.75 cm.) Ex. New York private collection, 1980’s; Ex. European private collection

ROMAN

VERY LARGE ROMAN TRANSPORT AMPHORA With rounded belly and knob at the bottom, the twin handles joining at the edge of the rim. Excessive Mediterranean Marine deposits. Circa 1st Century B.C. – 1st Century A.D. H. 35 in. (88.9 cm.), W. 21 in. (53.3 cm.) Ex. Private collection formed in the 1960’s

ROMAN

ROMAN BRONZE ROUNDEL WITH BUST OF A CHILD The child's shoulders in high relief, the head looking to the right, with round cheeks and double chin, his pupils deeply recessed, his hair a wild mass of curls pulled up into a top-knot, with a few single curls along his forehead; his loose cloak pinned at the shoulders, the folds forming a scalloped V-Shape at his neck. The child may represent the infant God Harpocrates; a small hole on top of the head just behind the bound topknot may have received a miniature pschent, the double crown of upper and lower Egypt, see p. 132, no. 21 in Kozloff and Mitten, The Gods' Delight, The Cleveland Museum of Art (exhibition catalogue), Cleveland 1988 - 1989. For a similar roundel with bust of Eros, see no. 301 in Mitten and Doeringer, Master Bronzes from the Classical World, Fogg Art Museum, (exhibtion catalogue), Cambridge, 1967-1968, where it is suggested that these roundels formed the lower, circular decoration of the fulcrum or headboard on a couch. H. 5.5 in. (14 cm.), Diam. 4.5 in. (11.5 cm.) Ex-collection of John Kluge, Charlottesville, Virginia; The Morven Collection of Ancient Art, Christieâ&#x20AC;&#x2122;s New York, June 2004 Published: J. Eisenberg, Art of the Ancient World, vol. VI pt. 2, 1991, no. 38, Christieâ&#x20AC;&#x2122;s New York, December 1992

ROMAN

TWO ROMAN ROUNDEL BRONZE APPLIQUES Each roundel has a bust of Artemis, or perhaps a maenad, in high relief, wearing a chiton with a nebris tied over the right shoulder, the elaborate coiffure centrally parted and bound in high top-knot, eyes with silver inlay, the border with incised zigzag-and-dot motif, with the remains of bronze tangs at the rear. An export certificate from the French Ministry of Culture accompanies this lot. Circa 1st â&#x20AC;&#x201C; 2nd Century A.D. H. 4 3/4 in. (12 cm.) each Ex. French private collection, Christieâ&#x20AC;&#x2122;s London, April 2008

ROMAN

ROMAN MARBLE SARCOPHAGUS RELIEF WITH VICTORY Victoria was the Roman goddess of victory. Her Greek equivalent was Nike. Victoriaâ&#x20AC;&#x2122;s temples were a large part of Roman culture and were featured as key prayer locations for successful generals returning from war. Athletic event attendees (both participants and spectators) also paid worship to Victoria. This relief comes from the right front corner of a Roman sarcophagus. At the right edge is Victoria, her drapery billowing out as if she were alighting. She has an oval face with wavy, centrally parted hair that is brushed off her face and gathered up into a floppy bow atop her head. The goddess wears a high-belted chiton with a long overfold that is draped to reveal her right breast. As she alights, the breeze has blown her chiton open, exposing her right thigh and leg. She holds a small wreath aloft with her sharply bent right arm; her left is now broken off, but presumably once held a palm branch. At the top of the fragment, behind the goddess, is a crisply executed egg-and-dart molding. A left foot, of larger scale than Victoria, appears to float at an angle beside her right leg, obscuring a bit of her billowing drapery. It may once have belonged to an Eros, perhaps holding a clipeus, whose body has been lost to the sideways V-shaped cut on the left side of the fragment. Circa 2nd Century A.D. L. 23 1/2 in. (60 cm.), W. 14 1/4 in. (36 cm.) Ex. American private collection, 1980â&#x20AC;&#x2122;s

ROMAN

ROMAN MARBLE HEAD OF THE YOUNG HERCULES King Eurystheus declared that Hercules’ first of twelve (initially ten) labors would be to bring him the skin of a seemingly invincible lion that was spreading terror throughout the hills of Nemea. Hercules arrived in Nemea and began tracking down the vicious creature. Upon spotting it, the hero began firing his arrows at the beast’s head. The arrows proved ineffective against its coarse hide. Realizing this, Hercules picked up his club and began to chase after the retreating lion. Following it to a cave of two entrances, the hero blocked one of the doorways and approached the beast through the other. Grasping the monstrous cat in his mighty arms and ignoring its lethal claws, he held it tightly until the enormous creature choked to death. This fine marble head depicts Hercules wearing a lion skin on his head. The piercing eyes of the hero are detailed with finely defined pupils. Thick locks jut out from beneath the lion skin. A narrow nose rests atop slightly parted lips. In excellent state of preservation. Circa 2nd – 3rd Century A.D. H. 5 1/8 in. (13 cm.) Ex. American collection; Ex. Royal-Athena Galleries

ROMAN MOSAICS

ROMAN MOSAIC PANEL Decorated with three symmetrical circular motif designs, separated by two emblems, all within two border lines in black and brown, respectively. Circa 200 – 300 A.D. 54 ¼ x 18 ¼ in. (137.7 x 46.4 cm.) Ex. Early private collection, 1980’s

ROMAN MOSAICS

ROMAN MOSAIC OF TWO THEATRICAL MASKS Featuring two tragic theatrical masks in multi-colored tesserae. The face on the left is joyous, perhaps boastful. The one on the right is dominated by sadness, the mouth gaping in an extreme display of emotion. The two ancient Roman theatrical actors are representing extremes of emotion. Circa 2nd – 4th century A.D. 45 ¾ in. x 25 ¼ in. (116.2 cm. x 64 cm.) Cf: For a closely related mosaic (two faces but not masks), lot 144, Sotheby’s New York Antiquities and Islamic Arts Works of Art Auction, December 2000 Ex. New York Art market

ROMAN MOSAICS

ROMAN MOSAIC WITH A STANDING FEMALE The woman depicted standing, she is wearing a himation where the folds are held by her right arm, her breasts and private area are revealed, and the himation is covering her lower legs, her left arm extended. Circa 3rd Century A.D. 56 Âź x 29 1/8 in. (142.9 x 73.9 cm.) Ex. Early private collection; Ex. New York art market For more Roman mosaics, visit our website: www.aphroditeancientart.com

NEAR EASTERN

SYRIAN LARGE TERRACOTTA “EYE” IDOL Eyes were an ever-present part of ancient cultures. Always open, they signified the omnipotence of divinity and the inferiority of man in relation to the gods. Thus, eye idols depicted passive reminders of the gods’ presence. This particular idol is of rare type. Circa 4th Millennium B.C. H. 5 3/8 in. (13.65 cm.) Ex. American private collection, 1970’s

NEAR EASTERN

ANATOLIAN LIMESTONE FERTILITY IDOL Depicted seated, the arms clasped together underneath the large breasts, rare type. Circa 4th – 3rd millennium B.C. H. 3 ¼ in. (8 cm.) Ex. 1960’s private collection, then by descent

NEAR EASTERN

NEAR EASTERN INSCRIBED SHELL POURING VESSEL The vessel is carved from the marine species Fasciolaria trapezium. The central columella was removed and the internal septa was ground smooth to create a distinct container. The exterior is finely engraved with the head of a man in profile. A very rare vessel. Circa 2550 – 2400 B.C. (Early Dynastic) L. 7.5 in. (18 cm.) Ex. Early private collection from the 1960’s, then by descent Cf: For a closely similar vessel, lot 63, Sotheby’s New York, December 2008 (but without the head inscription), the Sotheby’s example is presently in the University of Pennsylvania Museum of Archeology and Anthropology; see also, Art of the First Cities, The Third Millennium B.C., From the Mediterranean to the Indus, J. Aruz and R. Wallenfelds, eds. Cat. Not. 291a, p. 401, for another closely similar example.

NEAR EASTERN

SYRIAN LIMESTONE RELIEF OF TWO BROTHERS Carved in high relief with two brothers joining hands, one holding a cluster of grapes and wearing a himation with a beaded hem along the collar, and the other holding a bird against his chest and wearing a chiton, himation, and bejeweled conical cap, with a pendant over his forehead. Four lines of Palmyrene inscription are engraved between them, which translate as, “Alas! Yarhai et Yaribola, sons of MLBA(?)” Circa 2nd Century A.D. L. 19 in. (48.3 cm.), W. 17 1/2 in. (44.4 cm.) Ex. Sotheby’s New York, June 2011; Ex. private collection, early 1970’s

NEAR EASTERN

PALMYRENE FUNERARY RELIEF OF A MALE YOUTH The youth is depicted with a full head of wavy hair, face shaven, pupils and irises incised, and wearing a chiton and robe, a typically Greek style of clothing. In his left hand, he is holding a schedula, a strip of paper used for writing legal documents, which may indicate his occupation as a business man or scribe. Circa 2nd – 3rd Century A.D. H. 18 15/16 in. (48.2 cm.), W. 16 in. (40.6 cm.) Ex. 1960’s private collection, then by descent

PHOENICIAN

GRECO-PHOENICIAN MALE VOTIVE STATUE Standing on its original circular and fluted base, the finely detailed statue reveals the skillful talents of local Phoenician potters as well as the merging of ancient Greek and Phoenician cultures. Mediterranean marine deposits are present. Circa 6th – 5th Century B.C. H. 19 ¾ in. (50.2 cm.) Ex. 1960’s private collection, then by descent

PHOENICIAN

PHOENICIAN VOTIVE MALE STATUE Standing on a rectangular plinth, both hands bent at elbows and raised. Some marine deposits. Circa 5th – 4th Century B.C. H. 26 ¾ in. (68 cm.) Ex. Early private collection from the 1970’s

ISLAMIC

ISLAMIC JAR WITH INSCRIPTIONS AND DECORATIONS Of blue underglazed pottery. The body is rounded and is decorated all around the shoulder with a Kufic inscription. Circa 1200 A.D. H. 10 in. (24 cm.) Ex. Private Mid-Eastern Collection, 1980â&#x20AC;&#x2122;s

ISLAMIC

ISLAMIC GLAZED SHALLOW-FOOTED DISH WITH INSCRIPTIONS Of shallow form, with footed base, and decorated with Kufic Arabic inscriptions all around the inner rim and the four interior quadrants. Circa 12th – 13th Century A.D. Diam. 11 ¾ in. (29.9 cm.), H. 2 in. (5.1 cm.). Ex. Private Mid-Eastern Collection, 1990’s ISLAMIC WHITE OVERGLAZED POTTERY BIRD Over-glazed in white and standing on a rounded base. Circa 13th – 14th Century A.D. L. 4 ½ in. (11.4 cm.), H. 2 ¾ in. (7 cm.) Ex. Private Mid-Eastern Collection, 1990’s

ANCIENT JEWELRY

EASTERN MEDITERRANEAN GLASS ‘EYE’ BEAD NECKLACE Comprised of thirteen cobalt, turquoise, and white ‘eye’ beads of graduating size, re-strung together with ancient blue glass and modern gold spacer beads. Circa 6th – 2nd Century B.C. L. 16.2 in. (41.2 cm.) Cf: Moscati, pl. on p. 481; Fukai, nos. 39-40, found by Tokyo University Archeological Expedition in 1964, “Ghalekuti tomb I-V, Dailaman, Gilan Province, 4th-2nd Century B.C.” Ex. Private collection, 1960’s, then by descent ROMAN CARNELIAN RINGSTONE The oval ringstone is engraved with a bust of Isis, worshiped by the ancient Egyptians as the ideal mother, ideal wife, and a patron of magic and nature, in profile facing right, her coiffure arranged in plaits falling to her shoulders, holding a staff in her left hand. Set in a modern 22-carat solid gold ring with a flat hoop in the interior. Circa 1st Century B.C. – 1st Century A.D. Ringstone: D. 5/8 in. (1.5 cm.), Ring size: 9 (U.S.), Weight: 28.7 g. Ex. American private collection, 1990’s

ANCIENT JEWELRY

ROMAN MOSAIC BEADS NECKLACE Comprising twenty three spherical red, blue, apple green and white ‘splash’ beads, re-strung together with twenty two ancient glass beads and thirty four modern gold beads. Circa 1st – 4th Century A.D. L. 22 in. (55.9 cm.) Ex. New York art market ROMAN SILVER RING The rounded bezel is decorated with the head of a man. Circa 1st Century A.D. Diam. of bezel 5/8 in. (16 mms.) Ex. European art market A PAIR OF BYZANTINE GOLD EARRINGS Decorated with coiled wire, red glass beads. and granulated gold circlets. Circa 4th – 5th Century A.D. Max. H. 1 5/8 in. (4.1 cm.) each. Cf: For similar earrings from a treasure found in Reggio Emilia, Italy, I. Goti, exhibition catalogue Milan, Palazzo Reale 1994, p. 203, no. III.86 Ex. Mid-Eastern private collection, 1990’s

ANCIENT GLASS

ROMAN GLASS CHALICE The deep cup standing on a rounded base with short stem. Excessive weathering and underlying iridescence. Circa: 1st – 2nd Century A.D. H. 2 ¾ in. (7 cm.) Ex. European private collection, 1960’s, then by descent

ANCIENT GLASS

ROMAN GLASS WITH RIBS Of elongated form, with a short neck, and body of irregular pincered projections. Rare type. Circa 3rd – 4th Century A.D. H. 3 1/8 in. (7.94 cm.) Cf: No. 349, p. 199, Roman Glass in the Corning Museum of Glass, Vol I (but as a dropper flask), also no. 663, p. 148, Roman Glass in the Corning Museum of Glass, Vol II . (but as a beaker) Ex. European private collection, 1980’s

ANCIENT GLASS

SIDONIAN GLASS VASE WITH SCROLL PATTERN Light aubergine in color, with ovoid body of this vessel being blown in a two-part mold. Around the body is a frieze with a continuous vine scroll flanked above and below by a band of ridges and vertical flutes. The cylindrical neck extends into a slightly splayed lip, with an in-folded rim and two delicately trailed handles. An extremely fine vase retaining some of its original fire-polished surface. Quite rare, especially in such an excellent condition. Circa 1st Century A.D. H. 3.1 in. (7.8 cm.) Ex. American private collection, 1970â&#x20AC;&#x2122;s

ANCIENT COINS

CARTHAGE, ELECTRUM TRIHEMISTATER Head of Tanit at left, wearing a barley wreath, bar and triple pendant earring, and necklace with pendants. Reverse, unbridled horse standing at right, sun disk above (Jenkins-Lewis 428, this obverse die). Slight flan crack at four o’clock. Very rare. Circa 255 – 241 B.C. Weight 10.31 g. Ex. Ars Classica, Zurich, Switzerland.

ANCIENT COINS

ROMAN IMPERIAL VALENS GOLD SOLIDUS Nicomedia, D N Valens – P F AVG, pearl diademed, draped and cuirassed bust of Valens right/ RESTITVTOR REI PVBLICAE, emperor standing facing in military dress, head right, vexillum emblazoned with Christogram in right hand and Victory on globe in left (in exerge, SM NE. Cohen 34. RIC 2(d)). A lusterous coin in Mint State condition. Circa 364 – 378 A.D. Diam. 22 mm., Weight. 4.35 g., 12 h. Ex. American private collection; Ex. U.S. auctions BYZANTINE NICEPHORUS I AND STAURACIUS GOLD SOLIDUS Constantinople, nICI-FOROS Basile, crowned facing bust of Nicephorus, wearing chlamys, holding cross potent and akakia / STAVRA-CIS Despo’x, crowned facing bust of of Stauracius, wearing chlamys, holding globus cruciger and akakia (DOC 2c. SB 1604). Good Extremely Fine condition. Circa 802 – 811 A.D. Diam. 21 mm., Weight. 4.4 g., 6h. Ex. American private collection; U.S. auctions

Greek Attic Black Figure Olpe by the Painter of the Vatican, Pg 13.

ART OF THE ANCIENTS A selection of ancient art Volume I â&#x20AC;&#x201C; 2013

TERMS AND CONDITIONS OF SALE Each object offered is subject to prior sale, and is unconditionally guaranteed genuine. Sale is for cash payable in U.S. Dollars. All prices are subject to change without notice. International clients must submit payments in U.S. Dollars and drawn on a U.S. bank, or can wire payment directly to our bank account. New York residents must add the appropriate sales tax (currently 8.875%). Every object we offer has been legally acquired and if imported by us, we have done so in accordance with international laws concerning the trade in antiquities. Each object offered has been carefully selected for its eye appeal and upside investment potential and comes with a clear title of ownership. Shipping and packing charges are additional. Title remains with us until payment is made in full.

www.aphroditeancientart.com info@aphroditeancientart.com Gallery: 212-987-9878 Mobile: 917-327-4990

1200 Fifth Avenue, 1F, New York, New York, 10029 U.S.A. Jamal Rifai, Director Gallery hours by appointment only www.aphroditeancientart.com info@aphroditeancientart.com Mobile: 917-327-4990

Front cover photograph, Egyptian Cartonnage Mummy Mask, 2nd Century A.D., Pg 8. Back cover photograph, Egyptian Faience Group of a Monkey and a Jar, 305-30 B.C., Pg 6.