ART OF THE ANCIENTS A SELECTION OF ANCIENT ART VOLUME II - 201 5
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APHRODITE ANCIENT ART ART OF THE ANCIENTS VOLUME II- 201 5 Welcome to Art of the Ancients’ second volume. It’s quite interesting that this catalog refers to the “art” of the ancients. While some were splendidly designed to be art, many of the pieces discussed in this small compendium were not created with the intention of making art. Rather, they were designed for practical functions in a physically demanding world. Pleasing aesthetic qualities were only an afterthought. The incredible attention to detail displayed in these objects is simply astounding. Much of their allure can be attributed to their visual richness. So much effort went into visually garnishing objects that were expected to be used in everyday scenarios and eventually have to be replaced. Yet, these objects still stand intact today. This is a testament to their quality and a bid for modern enthusiasts’ interest: surely one can’t deny these marvels the attention they deserve after surviving thousands of years with their visual motifs still visible! In this catalog, we are pleased to offer some of the finest antiquities presently in our inventory. The objects selected represent a variety of cultures spanning from the 6th Century B.C. to the 6th Century A.D. All featured pieces are available for sale and can be viewed by appointment at our Museum Mile gallery, which can be reached by phone at +1 (21 2) 987-9878. Additionally, we offer expert advice, guidance, and investment and appraisal services. Enjoy! -J. Rifai
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GREEK 1 HELLENISTIC MARBLE DRAPED FIGURE OF A MUSE A graceful female figure, most likely a muse, standing with her body weight resting on the left leg. She is wearing a chiton and cloak. Cf: For a closely related figure, see the Muses from Agano, Frankfurt, Liebieghaus, pl. 1 27, pp. 252-253, Hellenistic Sculpture I, The Styles of ca. 331 200 B.C.; Another related figure was featured on the front cover of Christie’s London October 2008 auction (slightly larger than ours, at 54 in.); Lot 1 35, Sotheby’s New York Antiquities and Islamic Art. December 1 994; Another similar example, Lot 41 and Lot 42, Christie’s London antiquities auction April, 2006. Circa 3rd – 2nd Century B.C. H. 34 ½ in. (88 cm.) Ex: European private collection, 1 980s
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2 CLASSICAL TREFOIL BRONZE OINOCHOE, WINE JUG Elegance and beauty are manifest in this vessel’s classical austerity and clarity of form. The artist’s virtuosity and creative imagination are evident in the attention to detail. The entire body of this oinochoe – base, belly, neck, and rim – is fashioned from a single, rather thick, sheet of bronze, formed by hammering. The cast handle and the relief head of a satyr were worked separately, and then soldered to the body. The pronounced curvature of the body has seven dents all around the belly, with the latter’s almost globular form and narrow neck dating the object to the late 5th to mid-4th Century B.C., and is balanced by the trefoil mouth with an elegant relief edge. This edge is decorated in two rows of alternating dot-anddart patterns and precious silver inlays. The elegant and well-designed handle is a combination of functionality and decoration: it splays upward past the rim and curves downward, thus fitting perfectly to the soft curve of the shoulder and forming the arc with which the satyr’s head is attached. Decorating the handle’s edges is a dot pattern ending in volutes. The care, precision, and skill of the piece’s craftsmen are lucidly evident in the oinochoe’s beautiful decoration. Highlighting this virtuosity is the satyr’s exquisitely rendered face, and its tasteful placement between the two lion paws. Moreover, the face’s piercing inlaid eyes of silver depict the satyr’s focus and may say more about the focus of the individual who designed its mold. Superb quality, assiduity, and accuracy of the sculpting and decoration of this fine oinochoe reveal the artists’ merits. Cf: For a closely related oinochoe (but in silver), from the burial chamber of the tomb of Philip II, Museum of The Royal Tombs of Aigai, Vergina, inv. BM 2442,fleshed out in Dimitris Pandermalis’s Alexander the Great, Treasures From an Epic Era of Hellenism (see p. 74). Circa 5th – 4th Century B.C. H. 8 1 /8 in. (23 cm.) Ex: European collection; American collection, Maryland, 1 982
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3 MYCENAEAN LARGE DECORATED POTTERY STIRRUP JAR Ornamented with broad horizontal bands wrapping around the upper body, with striped lines decorating the stirrup handle, and a fake spout top decorated with circular bands crowning the nippled center. Production of stirrup jars, unique in form, began in Crete toward the end of the Middle Minoan Period (1 700 – 1 550 B.C.). This unusual type is also known as the “false neck amphora” because the protrusion between the two handles, seemingly supposed to function as the vessel’s mouth, is actually a false spout capped by a clay disk. Instead, the contained liquid would pour from a spout on the shoulder of the vase. The false spout makes the stirrup jar particularly suited for transportation, as the handles are well designed for holding, while the narrow neck of the true spout allows for accurate and easy pouring. Circa 1 400 B.C. H. 9 ¾ in. (24.8 cm.) Ex: Early German private collection, 1 970s
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4 MYCENAEAN POTTERY PITHOS Tri-handled, decorated with wide bands. Cf. Christie’s London Antiquities, 25 October 2007, Lot 88. Circa 1 4th Century B.C. H. 6 ¼ in. (1 4.9 cm.) Ex: Private American collection, 1 990s
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5 GREEK ATTIC BLACK-FIGURE KRATER WITH THREE DANCING KOMASTS According to ancient Greek drama, a komast is one who performs a komos, or procession, in honor of the Greek god of wine, theater, and ritual madness, Dionysos. Komasts first appeared on Greek vases around 630 B.C. These dancers are important because of what they can tell us about the origins of Greek drama: the first existing Greek drama sources come from around 480 B.C., and we are largely dependent on Greek vase paintings, such as our present example, to shed light on the 1 60 years prior to this. The type of komast illustrated on our vase is called the padded dancer, named so for his padded belly and posterior. Since this costume was worn in later Greek comedy, these particular komasts have attracted much attention in the academic community. Thus, the subject of our vase is quite rare and worthy of further study. For further discussion of komasts on Greek vases, see the following links: 1 - The American Journal of Archeology 2- Origins of Greek Drama: Circa 500 B.C. H. 8 5/8 in. (22 cm.) Ex: American private collection, 1 980s; European art market
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6 ATTIC RED FIGURE CALYX KRATER Gracing the obverse is Dionysos surrounded by maenads led by a flying Eros. The reverse shows three draped youths, with an egg-and-dart pattern (which famously grace some important Ionic capitals in Athens) under the rim, and scrolls below. Circa 4th Century B.C. H. 1 2 他 in. (32.4 cm.) Ex: European art market. 1 990s; American collection
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7 LARGE APULIAN RED-FIGURE POTTERY AMPHORA The obverse depicts a woman’s head rising from a bell flower between elaborate floral patterns. On the reverse is a large woman’s head, adorned with sakkos. This piece most likely originates from the Circle of the Kantharos Group. TL analysis confirming dating consistency is included with the amphora. Circa 320 – 31 0 B.C. H. 24 2/5 in. (61 .9 cm.) Ex: Gorny & Mosch Auction 21 0, Munich, 201 2, Lot 358; German collection K.F., acquired in the 1 970s.
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ROMAN 8 COLOSSAL EARLY ROMAN MARBLE PORTRAIT HEAD OF A MAN Boasting an expressive face that shows Hellenistic influences, the head is turned slightly to the right and has eyes set deep beneath downturned eyebrows and a broad forehead, furrowed by five horizontal wrinkles. Schematically modeled ears naturally frame the face, and the individual’s nose is depicted as long and slightly sloping. The depicted man’s flesh is realistically fashioned; lips are slightly pursed and the cheeks are somewhat sunken, showing the marks of advanced age. Deeply rendered hair, densely incised, curves over the temples. Hellenistic and veristic influences are evident in portraits from the end of the Republic to the early part of the empire, and this splendid portrait is no exception. Cf: For a related head (but smaller and in terracotta), see cat. no. 46, p. 1 1 5, “Roman Art from the Louvre.” Circa 1 st Century B.C. – 1 st Century A.D. H. 1 6 in. (41 cm.) Ex: Early European private collection; American collection, 1 990s
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9 ROMAN MARBLE HEAD OF A RAM Cleanly carved, with boldly natural features: flared nostrils, almond-shaped eyes beneath prominent brows, horns sharply coiled behind resting ears. The head probably once belonged to a piece depicting a recumbent ram from an early Hellenistic prototype. It recalls the Hellenistic bronze statue in Palermo, Italy (Palermo, Museo Cazionale, pl. 28). Cf: A marble pilaster capital in the British Museum, with rams’ heads in place of volutes, suggests another possible context for this head; Sotheby’s New York, Important Antiquities from the Norbert Schimmel Collection, December 1 992, Lot 62. Circa 1 st – 2nd Century A.D. L. 9 ½ in. (24.1 3 cm.), H. 7 ½ in. (1 9 cm.) Ex: Early European collection assembled from the early 1 960s to the late 1 970s
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10 ROMAN MARBLE HEAD OF CUPID Slightly smaller than life-size and preserved down to the shoulders, this precious head is sensitively rendered with the light chubbiness and soft shapes characteristic of Venus’s iconic child. The contour of the face is in the round, with almond-shaped eyes and incised irises. Cupid’s gaze is somewhat melancholic. Hair furrowed with wavy lines covers his head. In understanding anatomy in Greco-Roman art, images of children hold a significant place. Initially, their bodies were depicted like those of adults, but in miniature size; it is only from the 4th century B.C. onward, and especially during the Hellenistic period, that artists became interested in children’s proportions and began to produce them accurately. The archetypal small boy in ancient Greek and Roman art is Eros (corresponding with the Roman deity, Cupid), Aphrodite’s beloved son and most faithful companion, who can be identified with certainty just by the presence of his attributes, the wings and bow. As evidenced by the numerous statues and murals portraying Cupid and/or other children excavated from Pompeii, early childhood was among the favorite subjects used in decorating the walls and gardens of wealthy Romans’ villas. Children are illustrated in varied activities, since they are often represented in pairs or groups, together with different animals (birds, rabbits, and dolphins, to name a few), playing, working, acting, etc. Circa 2nd Century A.D. H. 6 ¾ in. (1 7.2 cm.) Ex: Early European private collection, 1 980s
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11 ROMAN MOSAIC OF APOLLO AND DAPHNE A beautiful depiction of Apollo grasping the nymph Daphne’s hand. He is shown crowned with a shining aureole. The god was madly in love with Daphne, but she had refused him. Her father, Peneus, a Thessalian river god, wished she would get married and give him grandsons, but she did not want this. In Metamorphoses, Ovid relates the story. To retaliate at Apollo for the latter’s mocking of his archery skills, Cupid shot him with one of his love arrows. Apollo then caught sight of Daphne and gave chase to the unyielding nymph. She called out to Peneus for help and he transformed her into a laurel tree, becoming Apollo’s most beloved of plants. The mosaic depicts the moment just before Daphne’s transformation. Cf: For related mosaic of similar composition, see inv. Z5.1 , Antakya Museum, Antakya, Turkey, Antioch, House of Menander; Another mosaic with a take on the theme is displayed in Pafos Archeological Park, Pafos, Cyprus. Circa 2nd Century A.D. H. 39.4 x W. 45.5 in. (1 00 x 1 08 cm.) Ex: Early European private collection, 1 980s
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12 ROMAN MOSAIC FLOOR FRAGMENT The tradition of fine mosaic floor decoration flourished as an art form in Ancient Rome, and was very much appreciated and diffused throughout the Roman Empire. This mosaic was excavated from what was the Eastern Roman Empire, most likely Antioch, in present-day Turkey. This site was an important trading center and one of the four great metropolitan centers of the late classical world. One of Antioch’s most luxurious suburbs, Daphne, was excavated in 1 930, by American and French archeologists, who unearthed floor mosaics as large as thirty feet. Many of these mosaics are now housed in museum collections, such as the Dumbarton Oaks Museum in Washington D.C., The Brooklyn Museum, The Baltimore Museum of Art, and the Princeton University Museum. Floor mosaics were called lithastratum to distinguish them from the wall or vault mosaics, which were referred to as opus musivum. The tesserae (Latin for cubes, or dice), were individually cut in a regular shape so as to fit into the grid cubes and make up the mosaic surface. A highly important characteristic of the material is its natural resistance to wear. Stone and marble, and their natural colors, determined the color schemes of mosaics in Roman times (though later, glass was also used). Two or three layers of mortar served as the setting bed, which carried the tesserae facing up; the first layer rested on a thick foundation that prevented the settling of the mortar bed and the formation of cracks. The longevity of a mosaic depends on its close-set texture. This piece depicts beautiful alternating patterns of colorful geometric motifs. Cf: For an almost identical mosaic, see Lot 31 9, Sotheby’s Antiquities London, July 1 987 auction. Circa 2nd Century A.D. 73 ¾ x 49 1 .2 in. (1 87.3 x 1 25.7 cm.) Ex: European private collection, 1 980s
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13 ROMAN FLOOR MOSAIC DEPICTING THE HEAD OF MEDUSA The expressive head of Medusa occupies the center of this lovely mosaic. Very early Greek depictions of Medusa give her a human-like appearance (this was before her myth was further developed). Although later Greek representations of the famed gorgon emphasize her hideous and monstrous appearance, a humanlike head of Medusa first resurfaced in Hellenistic art and flourished around the time this mosaic was created. This mosaic depicts her with ten snakes springing from her hair. The head is framed by a circular wreath and four tendrils, one on each corner. Like the previously discussed mosaic, this piece was excavated from the Eastern Roman Empire, most likely Antioch, in present-day Turkey. Circa 1 st – 2nd Century A.D. 49 ½ x 48 ½ in. (1 25.7 x 1 23.2 cm.) Ex: European private collection, 1 980s
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14 ROMAN BRONZE BALSAMARIUM IN THE FORM OF A YOUTH Belonging to a class of containers popular in the ancient Roman world, this bronze balsamarium depicts the bust of a youth, likely Antinous, the lover of Hadrian. The young man turns his head slightly to the left, gazing somewhat vacantly into the distance. He has a bit of finely pleated drapery over his left shoulder and is endowed with a full head of thick, long, curly hair, on top of which is the round fill-hole. A complete handle loop remains on the left side of the hole; the right handle, though broken off, preserves a thinner loop, perhaps an ancient repair. Cf: A Bacchus balsamarium, published in A. N. Zakos-Josephus Jitta, W. J. T. Peters, & W. A. van Es, Roman Bronze Statuettes from the Netherlands II (Groningen, The Netherlands, 1 969), cat. no. 1 4, pp. 30 - 35; And another curlyhaired youth formerly in the Hunt collection, published in ?Wealth of the Ancient World ?(Fort Worth, 1 983), cat. no. 52, p. 1 41 . Circa 2nd – 3rd Century A.D. H. 4 3/8 in. (1 1 .5 cm.) Ex: European art market; American collection, 1 980s.
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15 ROMAN BRONZE BUST OF THE YOUNG EMPEROR CARACALLA The young warrior’s bust displays a face teeming with personality, as well as greatly detailed hair and clothing. Caracalla’s facial expression is stern. Juxtaposed with his cascading locks and laurel wreath, his cuirass and facial expression suggest military prowess and counterbalance the more delicate features. One can notice the soft, almost Flavian-like, curls that fall gently in front of the man’s face. This level of detail applied to the hair conveys the artist’s immense efforts. The eyes consist of small holes in which another material, probably silver, would have been inlaid to emphasis the pupils, a technique common in Greek and Roman bronze work done in order to contrast the dullness of the bronze with the luster of a more shimmering material. Caracalla valued ethnic and cultural diversity, having been of Arabic descent and holding a personal fascination with the Germanic and Gallic cultures. Perhaps linked to this, there appears to be what looks like a representation of a Germanic symbol on his cuirass; he was known to have worn Gaulish clothing. In fact, the name Caracalla was given to the Gaul-like cloak that he made popular at the time of his ruling. Furthermore, Caracalla was known to have worn a blonde wig in an attempt to affiliate himself more closely with the Germanic culture. Moreover, this bust can be compared to Herakles steelyard weights. Examples of the latter emphasize the circular suspension piece at the crown of the warrior’s head indicating that it is a weight, and lending that understanding to how this Caracalla piece can be interpreted. Both works also have deeply inlaid eyes that highlight the cold glare of a warrior which represents the art of the Diocletian era around the 3rd century B.C. Cf: Information taken from: Richter, Gisela Marie Augusta. “Tools, Weapons, Armors, Instruments.” Greek, Etruscan and Roman Bronzes. New York: Gilliss, 1 91 5. 438-39. Print. Circa Late 2nd – Early 3rd Century A.D. H. 3 ¾ in. (9.5 cm.) Ex: European art market; American collection, 1 980s.
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ANCIENT GLASS 16 ROMAN TWO HANDLED BLUE GLASS AMPHORISKOS Free-blown in cobalt blue glass, with twin-applied handles, a globular body resting on a flat base, and a stunning cylindrical neck terminating in an everted rim. Cf: Kofler-Truniger collection, Lot 1 22, Luzern 374; Christie’s London antiquities auction, October 201 5, Lot 1 85. Circa 1 st Century A.D. H. 3 5/8 in. (9.2 cm.) Ex: German private collection, 1 980; American collection
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17 ROMAN GLASS PERFUME FLASK WITH INDENTATIONS This small flask of clear glass has a rounded body with indentations all around. The bottom is flat and concaved, supporting a slim cylindrical neck that culminates in an infolded rim. Outstanding hues of silver, blue, and purple iridescence are present throughout the piece. Of a rare type. Circa 2nd– 3rd Century A.D. H. 2 3/8 in. (5.8 cm.) Ex: Private American collection formed in the 1 990s
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18 LATE ROMAN GLOBULAR PERFUME FLASK The globular body rests on a raised base ring. A short neck cleanly protrudes and terminates with an outfolded rim. Fully intact and glittering with rich, dynamically complex iridescence, this piece is remarkable. Circa 5th– 6th Century A.D. H. 4 ½ in. (1 1 .5 cm.) Ex: American collection, New York, 1 982
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19 ROMAN GLASS JUG WITH LOOPED HANDLE The body is molded in the shape of a pear, with indented bottom, and neck flaring out into a funnel-like rim. A looped handle connects the shoulder and neck. Circa 1 st – 2nd Century A.D. H. 4 3/8 in. (1 1 cm.) Ex: European collection; Private ancient glass collection, formed from the late 1 960s to the late 1 970s.
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EGYPTIAN 20 EGYPTIAN LIMESTONE FEMALE FIGURE FRAGMENT Probably from a dyad, wearing a diaphanous pleated gown with a diagonally fringed edge and a broad collar. Her long, fully plaited wig is divided by her shoulders and bound by a diadem. The right arm is held out to the side, set against a back pillar. Cf: A similar work, but on a much larger scale, is the wife of Nakt-Min. In an analysis of this latter piece published by E.L.B. Terrace and H.G. Fischer in Treasures of Egyptian Art From the Cairo Museum (1 970), pp. 1 37-1 40, no. 31 , the work is described as “seducingly beautiful,” “an astonishing realization in stone of human flesh.” Our sculpture might be a portrait of Nakt-Min’s wife, thought to be the son of King Ay (ca. 1 352 - 1 348 B.C.); Another similar example, but slightly larger in scale (1 7 in.), is Lot 425, Christie's South Kensington, November 2001 . Circa 1 390 – 1 21 3 B.C. H. 7 in. (1 7.8 cm.) Ex: Australian private collection, 1 940s; Bonham’s London, 2008
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21 EGYPTIAN BRONZE KNEELING PRIEST The religious official wears a shendyt kilt, closely fitted cap, and incised armbands. An image of Osiris is positioned on his lap, suspended from a cord passing diagonally over his left shoulder and around his waist on the right side. The priest’s figure is framed with a slender back pillar vertically perpendicular to an integral rectangular plinth. Tenons on the underside. Circa 71 2 – 343 B.C. H. 3 in. (7.6 cm.) Ex: H. Phelps Clawson; Ralph M. Chait, 1 950; Estate of Gretta Heckett, Pittsburgh, Sotheby’s New York, 21 May 1 977, lot 352; Dr. Benson Harrer Collection; Christie’s New York Antiquities auction, Ancient Egyptian Art from the Harer Family Trust Collection, 9 December 2005, Lot 26. Exhibited: Pittsburgh Museum of Art, Carnegie Institute, Ancient Bronzes, A selection from the Hackett Collection, 5 November 1 964 – 1 0 January 1 965 (Exhibition catalogue available, to be offered with the piece); Los Angeles County Museum of Art, periodically 1 986 – 1 991 ; San Bernardino, University Art Gallery; California State and elsewhere; Temple Tomb and Dwelling, Egyptian Antiquities from the Harer Family Trust Collection, San Bernardino, 1 992, no. 30. pp. 56 – 57. Literature: P. Verdier, exhibition catalogue, Ancient Bronzes, “A Selection from the Heckett Collection,” Pittsburgh 1 964, no. 40; GD Scott III, exhibition catalogue, “Temple Tomb and Dwelling, Egyptian Antiquities from the Harer Family Trust Collection,” 1 992, no. 30, pp. 56-57
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22 EGYPTIAN TURQUOISE GLAZED AMULET OF HORUS This faience piece depicts Horus seated atop a square-base column with a cavetto capital. He is wearing a tripartite wig with the Pschent (the crown of Upper and Lower Egypt). The nature of his seating is similar to a bird being perched. Since Horus as a falcon was symbolic of hunting, our piece may have been symbolic of a good hunt. A beautiful glaze of varying shades garnishes the intact item. This is a very rare piece. For the majority of ancient Egyptian history, Horus stood as the national patron god. He was depicted as a man with the head of a falcon, wearing the red and white Pschent, illustrative of his kingship over all of Egypt. The famous eye known as the wedjat is symbolic of Horus. The iconic deity notably served the ancient Egyptian religious functions of being the god of the sun, war, hunting, and protection, with religious attributions changing throughout history. Some religious traditions believed him to be the son of Osiris (deification of the afterlife), and Isis (deification of magic, motherhood, and fertility), whereas others held that he was born of Geb (deification of earth), and Nut (deification of the sky). Regardless, his physical role in Egyptian life always remained consistent: in life, the pharaoh was believed to be the incarnation of Horus, becoming the incarnation of Osiris in death. As the physical manifestation of Horus, the pharaoh was expected to display the god’s characteristics in every action. The ancient Egyptian ruler would illustrate the power of the sun in his boldness, decisive finality, and significant religious involvement. When waging war, a pharaoh was expected to (and in the majority of cases did) bravely lead his men into battle. While not physically expected to hunt for his subjects, a pharaoh was expected to provide his people with a time of prosperity. These three Horus-based characteristics comprise the general final characteristic of a ruler being a good protector. Circa 664 – 30 B.C. H. 3 3/1 6 in. (8.1 cm.) Ex: Collection of David Garfield; Collection of Edwards Freis; Acquired Sotheby’s Antiquities auction 23, June 1 989, Lot 60
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23 EGYPTIAN FAIENCE BABOON AMULET In the form of a baboon, an animal held sacred for its connection with Thoth. Depicted squatting, with paws resting on knees, the details of the face and body incised, resting on an integral base. A suspension loop horizontally runs through the back of the head. Cf: The Beauty of Ancient Art, The Norbert Schimmel Collection, 1 964, no. 86 illus. Circa 1 800 – 1 700 B.C. (Late 1 2th – Early 1 3th Dynasty). H. 1 ¼ in. (3.2 cm.) Ex: Early private collection assembled during the 1 960s and 1 970s.
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24 EGYPTIAN GREEN GLAZED COMPOSITION BES AMULET Flat-backed, with characteristic furrowed brow and snub nose, both ears pierced, and a suspension loop above. Circa 664 - 332 B.C. (Late Period) H. 1 ½ in. (4 cm.) Ex: Bonham’s London, September 201 4, Lot 240; American collection, New York, acquired before 1 980
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25 EGYPTIAN BRIGHT-BLUE GLAZED COMPOSITION UDJAT EYE AMULET Carefully executed, with details in relief and added touches of black. Circa 1 550 – 1 070 B.C. (New Kingdom - Third Intermediate Period). L. 2 ¼ in. (5 cm.) Ex: Bonham’s London, September 201 4, Lot 241 ; American private collection, New York, acquired before 1 980.
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NEAR EASTERN 26 PARTHIAN GREEN GLAZED POTTERY AMPHORA Green-glazed, the ovoid body tapers to a narrowly rounded bottom, with a cylindrical neck and outsplayed rim, the handles twisted. Circa 1 st – 2nd Century A.D. H. 1 0 ¼ in. (26 cm.) Ex: Early European private collection, acquired in 1 976.
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27 SUMERIAN ALABASTER HEAD OF A MAN Made of alabaster and finely modeled with a beak-like nose, the masterfully recessed eye sockets would have once held beautiful inlays of some precious material(s). Horizontally drilled through the back of the head, for suspension, in antiquity. Circa 3rd millennium B.C. H. 1 in. (2.5 cm.) Ex: Oxford Collection, California. Acquired in Europe in 1 999.
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TERMS AND CONDITIONS OF SALE All objects offered in this catalog are subject to prior sale, and are unconditionally guaranteed genuine. A certificate of guarantee will accompany every object sold. Sale is for cash payable in U. S. Dollars and drawn on a U. S. bank, or payment can be wired directly to our bank account. New York state residents must add the appropriate sales tax. Every object we offer has a clear title and has been legally acquired. If imported by us, the importation was done in accordance with international laws concerning the trade in antiquities. Condition reports are available upon request. Packing and shipping charges are additional. Title remains with us until payment is made in full.
Research: Julian Rifai, Jamal Rifai. Editing: Julian Rifai
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