Antiquities

ANTIQUITIES

ANTIQUITIES

AUCTION

Tuesday 4 February at 10:00am (Lots 1-84)

20 Rockefeller Plaza New York, NY 10020

EXHIBITION

Friday 31 January 10.00am-5.00pm Saturday 1 February 10.00am-5.00pm

Sunday 2 February 1.00pm-5.00pm

Monday 3 February 10.00am-5.00pm

AUCTION CODE AND NUMBER

In sending absentee bids or making enquiries, this sale should be referred to as BERNHEIMER-23320

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Tel: +1 212 636 2437

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SPECIALISTS AND SERVICES FOR THIS AUCTION

ANTIQUITIES

G. Max Bernheimer Deputy Chairman, International Head of Department mbernheimer@christies.com

Claudio Corsi Head of Department ccorsi@christies.com

Hannah Fox Solomon Head of Department hsolomon@christies.com

Maxwell Murphy Associate Specialist maxwellmurphy@christies.com

ANTIQUITIES LONDON

Chanel Beaumont Specialist cclarke@christies.com

Emma Saber Consultant esaber@christies.com

SALE COORDINATOR

Kayla Nakeeb knakeeb@christies.com +1 212 636 2239

HEAD OF SALE MANAGEMENT

Mattos Paschal mpaschal@christies.com +1 212 636 2237

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Kayla Nakeeb Sale Coordinator knakeeb@christies.com

Eleonora Pontiggia Sale Coordinator epontiggia@christies.com

PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE COLLECTION

1

AN EGYPTIAN GREYWACKE FISH PALETTE

PREDYNASTIC PERIOD, NAQADA II, CIRCA 3500-3200 B.C.

6Ω in. (16.5 cm.) long

$7,000-9,000

PROVENANCE:

Antiquities, Parke-Bernet, New York, 20 March 1968, lot 34. Private Collection, New York. John Fried, New York, 1993. Art Market, New York. with Ariadne Galleries, New York and London, acquired from the above, 2016. Acquired by the current owner from the above, 2017.

PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE COLLECTION

2

AN EGYPTIAN BLACK-TOPPED RED WARE JAR

PREDYNASTIC PERIOD, NAQADA I TO NAQADA II, CIRCA 3700-3450 B.C.

4√ in. (12.3 cm.) high

$6,000-8,000

PROVENANCE:

Caroline Ransom Williams (1872-1952), Toledo, Ohio, acquired in Luxor, 19261927,

The Toledo Museum of Art, Ohio, gifted from the above, 1927 (Acc. no. 1927.148).

with Harlan J. Berk, Chicago, 2017 (The Toledo Sale, no. 125).

with Ariadne Galleries, New York and London, acquired from the above. Acquired by the current owner from the above, 2017.

For a similar example, see W.M.F. Petrie, Corpus of Prehistoric Pottery and Palettes, pl. VI, type B57b.

PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE COLLECTION

AN EGYPTIAN CHEPHREN DIORITE BOWL

OLD KINGDOM, 3RD-EARLY 4TH DYNASTY, CIRCA 2686-2566 B.C.

5√ in. (14.9 cm.) wide

$8,000-12,000

PROVENANCE:

Ernest Erickson (1893-1983), New York; thence by bequest to the Ernest Erickson Foundation.

Property of the Ernest Erickson Foundation; Antiquities, Sotheby's, New York, 23 June 1989, lot 31.

Art Market, New York.

with Ariadne Galleries, New York and London, acquired from the above, 2012. Acquired by the current owner from the above, 2015.

This elegant shallow bowl with a deeply recurved shoulder imitates a form widespread in terracotta, often bearing a high polish and red slip: the “Meydum ware” bowl, associated with elite eating and drinking. For a discussion of the early origins of the type, including forms similar to this example, see pp. 409-427 in C. Köhler, “Die Entstehung eines Leitfossils: Neues zur Herkunft und Entwicklung der sog. MeydumSchalen,” in R. Bussmann et al., eds., Spuren der Altägyptischen Gesellschaft: Festschrift für Stephan J. Seidlmayer.

AN EGYPTIAN BANDED ALABASTER PIRIFORM JAR

OLD KINGDOM, 5TH-6TH DYNASTY, 2494-2181 B.C.

4¬ in. (11.7 cm.) high

$5,000-7,000

PROVENANCE: with N. Koutoulakis (1910-1996), Paris and Geneva. Dr. Rudolph Schmidt (1900-1970), Solothurn, acquired from the above, 1954; thence by descent.

Property from the Rudolph Schmidt (1900-1970) Collection; Antiquities, Christie's, London, 1 October 2014, lot 33. Private Collection, U.K., acquired from the above. with Ariadne Galleries, New York and London, acquired from the above, 2015.

Acquired by the current owner from the above, 2017.

PUBLISHED:

P. Gunther and R. Welauer, Ägyptische Steingefässe der Sammlung Rudolph Schmidt, Solothurn, Zurich, 1988 p. 64, pls. 19 and 43, no. 151.

PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE COLLECTION

5

AN EGYPTIAN LIMESTONE RELIEF FOR IDU

OLD KINGDOM, 6TH DYNASTY, CIRCA 2345-2300 B.C.

25æ in. (65.4 cm.) long

$200,000-300,000

PROVENANCE: with Mathias Komor (1909-1984), New York (Inv. no Q515). Private Collection, West Coast, acquired from the above, 1962. Property from a West Coast Private Collection; Antiquities, Sotheby's, New York, 12 December 2013, lot 2. with Ariadne Galleries, New York and London, acquired from the above (Ariadne Galleries, 2014, no. 15).

Acquired by the current owner from the above, 2015.

This fragment from an architrave is carved in crisp, sunken relief and depicts one individual, Idu, wearing three types of wigs. In each vignette, he strides to the right and holds a long walking stick in his left hand. The first and last depiction show him holding a sekhem-scepter in his right hand that is alternately shown behind and in front of his triangular kilt. In addition to three columns of vertical hieroglyphic text, each of which provide Idu’s rank and title, these three depictions of Idu serve both as idealized portraits and as hieroglyphic determinatives for his name. Traces of a fourth, leftmost column provide a further title beginning “Overseer,” while traces of Idu’s name may be noticed again below. On the far right edge, a double vertical line indicates that a barely preserved fifth column of text was almost certainly oriented in the opposing direction, heralding a series of figures of Idu facing left (not preserved on this block). The carving of this relief is in the “Second Style,” associated with the 6th Dynasty (see “A Second Style in Egyptian Relief of the Old Kingdom,” in S. Thompson and P. Der Manuelian, eds., Egypt and Beyond: Studies Presented to Leonard H. Lesko, pp. 49-90).

It has been suggested by W.K. Simpson that on architrave reliefs and “pseudo-group” statues depicting the same individual wearing various wigs, the subject is shown at various stages through his official career (see Mastabas of the Western Cemetery, pt. I, Giza Mastabas, vol. IV, p. 26). However, as no signs of progressive aging are shown here, Idu is uniformly presented at the height of his youth. Architraves with multiple standing figures are frequent toward the end of the Old Kingdom. For other examples, see Y. Harpur, Decoration in Egyptian Tombs of the Old Kingdom: Studies in Orientation and Scene Content, pp. 44-45.

A close parallel is observed on similar blocks from the 6th Dynasty mastaba of Vizier Idu/Nefer (G5550), excavated by H. Junker in 1914, now in the Pelizaeus Museum, Hildesheim (see pp. 99-103 in Corpus Antiquitatem Aegyptiacarum: Pelizaeus-Museum Hildesheim, pt. 3). Although the present example is unlikely to belong to the same individual, given the difference in titles and his alternating use of a second name, it is possible that this architrave may instead belong to the son of the vizier, an official known as Idu II, whose coffin and burial equipment were found in the underground remains of a now-destroyed mastaba built onto the face of G5550 (see Junker, Giza VIII, pp. 66-108). Idu II bears the title of “Palace-Official, First Under the King” on the well-preserved wooden coffin found in his tomb, a title also seen on this relief. The mummy, burial equipment, and identity of Idu II have formed the basis for a detailed multi-author study, based on the majority of finds from the tomb now in Hildesheim (see B. Schmitz, Untersuchungen zu Idu II, Giza: Ein interdisziplinäres Projekt).

PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE COLLECTION

AN

EGYPTIAN

WOOD RIGHT FOOT

LATE OLD KINGDOM TO MIDDLE KINGDOM, 6TH-12TH DYNASTY, 23451773 B.C.

6æ in. (17.1 cm.) long

$7,000-9,000

PROVENANCE:

Ägyptische Kunst, Münzen und Medaillen, Basel, 16 June 1981, lot 112. Private Collection, Europe, 1981-2015. with Oliver Forge & Brendan Lynch, London, 2015 (Fragments: From the Tiber to the Ganges, no. 14).

with Ariadne Galleries, New York and London, acquired from the above, 2015. Acquired by the current owner from the above, 2016.

PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE COLLECTION

7

AN EGYPTIAN ANHYDRITE KOHL JAR WITH MONKEYS

MIDDLE KINGDOM TO SECOND INTERMEDIATE PERIOD, 13TH-17TH

DYNASTY, CIRCA 1650-1550 B.C.

2¡ in. (6 cm.) high

$10,000-15,000

PROVENANCE:

Erich Bier (1901-1996), Copenhagen, acquired by 1974; thence by descent. Property from the Estate of the Late Erich Bier, Copenhagen; Antiquities, Sotheby's, London, 10 December 1996, lot 77. Private Collection, Europe, 1996-2013. with Ariadne Galleries, New York and London, 2014 (Ariadne Galleries, no. 10).

Acquired by the current owner from the above, 2015.

EXHIBITED:

Copenhagen, The Ny Carlsberg Glyptotek, 1974-1996.

Anhydrite kohl jars featuring two or more monkeys with outstretched arms and legs carved in raised relief belong to a small category of luxury items. As C. Roehrig notes (p. 20 in Hatshepsut: From Queen to Pharaoh), “Fewer than three dozen have been published, and hardly any of these come from well-documented archaeological contexts. Dated to the Middle Kingdom until the 1980s, the animal vases are now assigned a date range of the Thirteenth to the Seventeenth Dynasty (1802-1550 B.C.), but this distinctive group of luxury vessels is so small and so homogeneous that they were probably all made in one location during a very brief time period.” An extensive study by B. Fay dedicated to monkey vases and larger duck flasks and other types in anhydrite reveals close parallels to the present example (see “Egyptian Duck Flasks of Blue Anhydrite,” Metropolitan Museum Journal, vol. 33, fig. 11). For other examples, see the ones in Bristol and in the Fitzwilliam Museum, p. 142 in J. Bourriau, Pharaohs and Mortals: Egyptian Art in the Middle Kingdom

PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE COLLECTION

AN EGYPTIAN GRANODIORITE

PORTRAIT HEAD OF A MAN

MIDDLE KINGDOM, 2055-1650 B.C.

3¿ in. (7.9 cm.) high

$8,000-12,000

PROVENANCE:

Joseph Lindon Smith (1863-1950), Dublin, New Hampshire, acquired by 1934; thence by descent to his widow, Corinna Lindon Smith (1876-1965).

The Museum of Fine Arts, Boston, gifted from the above, 1952 (Acc. no. 52.355).

Sold to Benefit the Acquisitions Funds of the Museum of Fine Arts, Boston; Antiquities, Christie's, New York, 9 December 2010, lot 7.

with Rupert Wace Ancient Art, London, acquired from the above.

with Ariadne Galleries, New York and London, acquired from the above, 2014.

Acquired by the current owner from the above, 2015.

PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE COLLECTION

AN EGYPTIAN BANDED AGATE KOHL JAR

MIDDLE KINGDOM, 11TH-12TH DYNASTY, 2055-1773 B.C.

1Ω in. (3.8 cm.) high

$5,000-7,000

PROVENANCE: with Nicolas Landau (1887-1979), Paris. Art Market, London. with Ariadne Galleries, New York and London, acquired from the above, 2015. Acquired by the current owner from the above, 2016.

PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE COLLECTION

AN EGYPTIAN WOOD STRIDING OFFICIAL

MIDDLE KINGDOM, 11TH-EARLY 12TH DYNASTY, CIRCA 2055-1911 B.C.

7 in. (17.7 cm.) high

$8,000-12,000

PROVENANCE:

Isaac Newton Phelps Stokes (1867-1944), New York, architect and author of The Iconography of Manhattan Island, acquired by 1926.

with The Brummer Gallery, New York, 1926 (Inv. no. X354); acquired from the above, 1943 (Inv. no. N5459). The Ernest Brummer Collection, Sotheby's, London, 16-17 November 1964, lot 111.

Michael Cane, Esq., U.K.

The Property of Michael Cane, Esq.; Antiquities, Sotheby's, London, 12-13 July 1976, lot 421B. Private Collection, Europe, 1976-2012. with Oliver Forge & Brendan Lynch, London, 2015 (Fragments: From the Tiber to the Ganges, no. 12). with Ariadne Galleries, New York and London, acquired from the above, 2015.

Acquired by the current owner from the above, 2016.

PUBLISHED:

J. Malek, et al., Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Statues, Reliefs and Paintings, vol. 8, part 1, Oxford, 1999, p. 362, no. 801423-190.

ANOTHER PROPERTY

11

AN EGYPTIAN STEATITE COMMEMORATIVE SCARAB FOR AMENHOTEP III

NEW KINGDOM, 18TH DYNASTY, REIGN OF AMENHOTEP III, 1390-1352

B.C.

3 in. (7.6 cm.) long

$8,000-12,000

PROVENANCE:

Reverend William MacGregor (1848-1937), Bolehall Manor, Tamworth. The MacGregor Collection of Egyptian Antiquities, Sotheby’s, London, 26 June-6 July 1922, lot 458.

William Randolph Hearst (1863-1951), San Simeon. with Gimbel Brothers and Saks Fifth Avenue, under the direction of Hammer Galleries, New York, 1941 (Art Objects & Furnishings from the William Randolph Hearst Collection, p. 297, no. 451-65).

The Metropolitan Museum of Art, New York, acquired from the above (Acc. no. 41.2.5); deaccessioned in 1958.

Private Collection, New York. Art Market, New York.

Acquired by the current owner from the above, 2024.

PUBLISHED:

C. Blankenberg van Delden, The Large Commemorative Scarabs of Amenhotep III, Leiden, 1969, p. 156, no. LSC 8, pl. XXXIII.

The nearly forty-year reign of Amenhotep III was one of the most artistically productive in the history of Egypt. The high level of achievement in all the arts is well documented, as evinced by the surviving corpus from his reign. According to L.M. Berman (pp. 67-69 in A.P. Kozloff and B.M. Bryan, eds., Egypt’s Dazzling Sun: Amenhotep III and His World), the invention of the large-scale commemorative scarab beetle is attributed to his reign. Most of them are made from

glazed steatite, either blue or green, all with well-detailed beetles. Five varieties of the commemorative scarab are known. According to the inscriptions on their undersides, each type memorialized an important event in Amenhotep III’s life: the lion hunt, the wild bull hunt, his marriage to Queen Tiye, the creation of an artificial lake for Tiye, and the arrival of Princess Gilukhepa, daughter of the Mitannian King Shuttarna II.

The lion hunt scarabs record that Amenhotep III killed 102 lions from the first year of his reign through the tenth. The purpose of these scarabs was to celebrate his great achievement, informing the population of Egypt and beyond that he was a powerful ruler. Indeed, these scarabs have been found not only throughout Egypt proper, but also as far south as Soleb in Sudan and as far north as Ras Shamra in Syria.

More than 130 examples of commemorative lion-hunt scarabs are known. As P. Clayton noted, “A notable variant in these scarabs is the titulary of Queen Tiye” (see “Some More 'Fierce Lions', and a 'Marriage' Scarab: The Large Commemorative Scarabs of Amenophis III,” Journal of Egyptian Archaeology, vol. 82, p. 209). This example names her simply as “Royal Wife,” as on most lion-hunt scarabs surveyed by Clayton; a smaller number provide the fuller title of “Great Royal Wife.” The standard eight-line text reads: “May he live, the Horus, Mighty Bull Who Appears in Maat; the Two Ladies, Establisher of the Laws and Pacifier of the Two Lands, the Horus of Gold, Great of Strength Who Smites the Asiatics; the King of Upper and Lower Egypt, Nebmaatre; the Son of Re, Amenhotep Ruler of Thebes, endowed with life; and the King’s Wife Tiye, may she live! The number of the lions from regnal year 1 down to regnal year 10, lions 102.”

12

AN EGYPTIAN GRANODIORITE PORTRAIT HEAD OF AN OFFICIAL

NEW KINGDOM, 18TH DYNASTY, REIGN OF AMENHOTEP II-THUTMOSE IV, 1427-1390 B.C. 7√ in. (20 cm.) high $10,000-15,000

PROVENANCE:

with David Peel & Co, London, 1966 (The Connoisseur, vol. 162, p. xviii).

M. Marmor Collection.

The Property of Mrs. M. Marmor; Antiquities, Sotheby's, London, 10-11 July 1989, lot 127. Antiquities, Sotheby's, New York, 18 June 1991, lot 34.

Private Collection, Europe, 1991-2013. with Ariadne Galleries, New York and London, 2014 (Ariadne Galleries, no. 5).

Acquired by the current owner from the above, 2017.

PUBLISHED:

J. Malek, et al., Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Statues, Reliefs and Paintings, vol. 8, part 2, Oxford, 1999, p. 671, no. 801-653-860.

Originally part of a block-statue representing an official crouching with his kilt drawn around his knees, the style of wig worn by this unknown individual is recognized from portraits of Pharaoh Thutmose IV. However, as B. Bryan has suggested, the wig style may have been in fashion before his reign (see “Portrait Sculpture of Thutmose IV,” Journal of the American Research Center in Egypt, 1987, pp. 3-20). A similar example in the Virgina Museum of Fine Arts has been dated by Bryan to the reign of Amenhotep II, though the back pillar on that head ends at the neck, whereas on this example it extends nearly to the top of the head (see H.T.S. Reed, Ancient Art in the Virginia Museum, p. 37). Other similar examples include the block statue of Sobekhotep, governor of the Fayum, in Marseille, also dating to the reign of Amenhotep II (see R. Charles, "La statuecube de Sobek-hotep Gouverneur du Fayoum,” Revue d'Égyptologie, vol. 12, pl. 1). Unlike these examples, however, the eyebrows and cosmetic line on the present head are finer and end in a curved point possibly suggesting an even earlier date.

The inscription in four vertical columns of incised hieroglyphs is largely destroyed and does not preserve the name or specific titles of the owner. The honorifics “hereditary prince” and “count” are widespread and these only denote his relatively high rank. It is possible that the fourth line preserves part of an “Appeal to the Living,” given the apparent use of second-person pronouns reflecting directing speech. The text preserved on the back-pillar reads, “Hereditary Prince and Count…he says…the august/noble…for your children, so that you might see it (?).”

AN EGYPTIAN LIMESTONE OVERSEER SHABTI

NEW KINGDOM, 19TH DYNASTY, 1295-1186 B.C.

10√ in. (27.6 cm.) high

$120,000-180,000

PROVENANCE:

Antiquities, Sotheby's, London, 13 December 1977, lot 182.

Harer Family Trust Collection, Seattle, acquired from the above.

Ancient Egyptian Art from the Harer Family Trust Collection, Christie's, New York, 9 December 2005, lot 17.

Private Collection, New York, acquired from the above. with Ariadne Galleries, New York and London, acquired from the above, 2014.

Acquired by the current owner from the above, 2017.

EXHIBITED:

Los Angeles County Museum of Art, on loan 1986-1991. West Palm Beach, South Florida Science Museum, Imhotep's Egypt: The Dawn of Technology, 8 January-30 March 1989.

San Bernardino County Museum, Temple, Tomb and Dwelling: Egyptian Antiquities from the Harer Family Trust Collection, 8 January-1 March 1992.

San Antonio Museum of Art, Mummies: The Egyptian Art of Death, 6 August 1993-1 October 1995.

Los Angeles County Museum of Art, Ancestors: Art and the Afterlife, 25 October 1998-25 June 1999.

PUBLISHED:

G.D. Scott III, Temple, Tomb and Dwelling: Egyptian Antiquities from the Harer Family Trust Collection, San Bernardino, 1992, pp. 96-97, no. 56. University of Arizona, Museum Notes, Tucson, Fall 1993, p. 3.

J. Hardin, The Lure of Egypt: Land of the Pharaohs Revisited, St. Petersburg, 1996, p. 24, no. 87.

Dressed in the elaborate “clothes of the living,” namely, an echeloned wig, pleated shirt and flounced kilt associated with elite men from the end of the 18th Dynasty into the 19th, this finely carved limestone shabti most likely represents an overseer, responsible for directing the other shabtis under his command. The development of the shabti from simple forms reflecting the mummy of the deceased into elaborate portraits reflecting the appearance of the deceased during life is also mirrored in the sculpted lids of stone sarcophagi of the 19th Dynasty (see, for example, the sarcophagus of Iniuya in the Louvre, p. 82 in C. Ziegler, et al., Les Antiquités égyptiennes: Guide du visiteur, vol. 1).

H. Schneider (Shabtis, pp. 162-164) has suggested that shabtis in the “clothes of the living” reflect the desire of the individual to be “on earth,” implying that the images reflect the unification of Re and Osiris. However, shabtis are not exclusively found in funerary contexts, but also occur as extra-sepulchral offerings, implying that their function extends beyond that of mere servants of the deceased. Most likely, such objects enabled the owner to participate in ritual in much the same ways that Egyptians believed could occur through other types of images, such as statues and stelae. For a recent discussion on the function of shabtis, including those wearing “clothes of the living,” see L. Weiss, The Walking Dead at Saqqara: Strategies of Social and Religious Interaction in Practice, pp. 137-154.

On this example, an area for the addition of the name of the owner is provided on the front of the kilt, in the form of a short vertical column of incised text that only preserves the opening designation of “The Osiris…,” followed at the end by “true of voice,” indicating the justification of the deceased. In all likelihood, this example was provided with an added name in paint that is now lost, along with most other traces of the polychrome decoration, which once enlivened this image and helped it to become effective for the owner.

AN EGYPTIAN PAINTED ALABASTER CANOPIC JAR

LID IN THE FORM OF HAPI

NEW KINGDOM, 19TH DYNASTY, 1295-1186 B.C.

5√ in. (14.9 cm.) high

$15,000-20,000

PROVENANCE: with Mohammed Mohassib (1843-1928), Cairo. Edward Drummond Libbey (1854-1925), Toledo, acquired from the above. The Toledo Museum of Art, Ohio, gifted from the above, 1906 (Acc. no. 1906.18).

Property from the Toledo Museum of Art, Sold to Benefit the Acquisitions Fund; Antiquities, Christie's, New York, 25 October 2016, lot 5. with Ariadne Galleries, New York and London, acquired from the above. Acquired by the current owner from the above, 2017.

EXHIBITED:

The Toledo Museum of Art, Monkey Business, 2 July-30 August 2009. The Toledo Museum of Art, The Egypt Experience: Secrets of the Tomb, 29 October 2010-8 January 2012.

PUBLISHED:

Catalogue of a Collection of Egyptian Antiquities, Brought Together and Presented to The Toledo Museum of Art by Mr. Edward Drummond Libbey, Toledo, 1906, p. 15, no. 18.

W.H. Peck, S.E. Knudsen and P. Reich, Egypt in Toledo: The Ancient Egyptian Collection at The Toledo Museum of Art, Toledo, 2011, p. 52.

An essential part of the mummification process involved removing the internal organs of the deceased and placing them in canopic jars. By the New Kingdom, the four jars were fashioned in the likenesses of the four sons of Horus, falcon-headed Qebeh-senu-ef, human-headed Imsety, jackal-headed Dua-mutef and baboon-headed Hapi, represented in the present example. Each god was meant to protect a particular organ, with the lungs being entrusted to Hapi.

The use of pigments mixed in a medium of beeswax and applied to the surface of alabaster was typical of the reign of Ramesses II and continued into the later Ramesside period. It is most frequently used on large stone vessels associated with the preparation of the mummy, shabtis, and, as here, canopic vessels. According to P. Lacovara, "The pigments included blue derived from powdered blue frit, green from ground malachite, yellow that was made from an arsenic sulphide known as 'orpiment,' red from iron oxide as in red ochre, and black from simple carbon black" (see pp. 124-125 in P. Lacovara, B.T. Trope and S.H. D'Auria, eds., The Collector's Eye: Masterpieces of Egyptian Art from The Thalassic Collection, Ltd).

15

AN EGYPTIAN STEATITE OVERSEER SHABTI FOR AMENEMOPE

NEW KINGDOM, 19TH-20TH DYNASTY, 1295-1069 B.C.

7¿ in. (18 cm.) high

$40,000-60,000

PROVENANCE:

James-Alexandre de Pourtalès, Comte de Pourtalès-Gorgier (1776-1855), Paris, acquired by 1841.

Catalogue des objets d’art et de haute curiosité, antiques, du Moyen Âge et de la Renaissance, qui composent les collections de feu M. le Comte de Pourtalès-Gorgier, Charles Pillet and Éugene Escribe, Paris, 6 February-21 March 1865, lot 913.

William Amhurst Tyssen-Amherst, 1st Baron Amherst of Hackney (1835-1909), London; thence by descent.

Catalogue of the Amherst Collection of Egyptian and Oriental Antiquities, Sotheby’s, London, 13-17 June 1921, lot 53.

William Randolph Hearst (1863-1951), San Simeon. with Gimbel Brothers and Saks Fifth Avenue, under the direction of Hammer Galleries, New York, 1941 (Art Objects & Furnishings from the William Randolph Hearst Collection, p. 39, no. 455-35).

Private Collection, The Netherlands; thence by descent. Property from a Private Collection, The Netherlands; Antiquities, Sotheby's, New York, 5 June 2013, lot 12. with Ariadne Galleries, New York and London, acquired from the above.

Acquired by the current owner from the above, 2015.

PUBLISHED:

J.J. Dubois, Description des antiques faisant partie des collections de M. le Comte de Pourtalès-Gorgier, Paris, 1841, no. 886.

The eight lines of inscription around the sides and back of the kilt and along the overfold read, “The Osiris is illuminated, the Great Chief of Metalworkers, Amenemope, Justified. He says: O ye Shabty, if I am called at any time in order to do that which is done in the Necropolis, the Great Chief of Metalworkers of the Lord of the Two Lands, Amenemope, in order to convey sand of the East to the West, one thereof, in every time, in order to do any work which is done in the Necropolis…”

PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE COLLECTION

AN EGYPTIAN ROCK CRYSTAL ALABASTRON

THIRD INTERMEDIATE PERIOD, 23RD-25TH DYNASTY, 818-656 B.C.

5æ in. (14.6 cm.) high

$40,000-60,000

PROVENANCE: with Wilhelm Henrich (1906-1980), Frankfurt, 1960. Margret Köser (d. 1986), Hamburg, acquired by 1961; thence by descent. Property from a German Private Collection; Antiquities, Christie's, New York, 13 December 2013, lot 14.

with Ariadne Galleries, New York and London, acquired from the above (Ariadne Galleries, 2014, no. 21).

Acquired by the current owner from the above, 2015.

EXHIBITED:

Essen, Villa Hügel, 5000 Jahre aegyptische Kunst, 15 May-27 August 1961.

PUBLISHED:

H. W. Müller et al., eds., 5000 Jahre aegyptische Kunst, Essen, 1961, p. 78, pl. 9.

Egyptian vessels constructed from rock crystal are exceptionally rare. For a similar example, see the alabastron inscribed for Pharaoh Usermaat-re Rudamun of the 23rd Dynasty in the Louvre, pp. 104-105 in I. Bardiès-Fronty and S. Pennec, eds., Voyage dans le cristal. The present example was likely altered in antiquity; originally, it had small lug handles high on the shoulders and a larger rim.

The famous “Sargon Vase” from Assur, now in the British Museum, reflects the new technological capacity in the 8th century B.C. to cast vessels of this shape in transparent glass, imitating calcite and rock crystal prototypes (see A. Caubet, “Phoenician and East Mediterranean Glass,” in J. Aruz, et al., eds., Assyria to Iberia at the Dawn of the Classical Age, pp. 167-170). Such alabastra had an extraordinarily wide distribution from Egypt to Assyria, and it is possible that this example was modified to reflect local tastes outside of Egypt, its likely place of production. Similar alabastra were repurposed as far away as Spain for funerary use (see. J.L.L. Castro, “Colonials, Merchants, and Alabaster Vases: The Western Phoenician Aristocracy,” Antiquity, vol. 80, no. 307, pp. 74-88).

PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE COLLECTION 17

AN EGYPTIAN WOOD MUMMY MASK

THIRD INTERMEDIATE PERIOD, 22ND DYNASTY, 945-715 B.C.

4Ω in. (11.4 cm.) high

$5,000-7,000

PROVENANCE: with J. Khawam & Cie, Cairo.

Cattaui Collection, Switzerland, acquired from the above, 1975. Property from the Cattaui Family Collection; Antiquities, Christie's, New York, 4 June 2015, lot 4.

with Ariadne Galleries, New York and London, acquired from the above. Acquired by the current owner from the above, 2016.

AN EGYPTIAN FAIENCE SHABTI FOR NESBANEBDJED

LATE PERIOD, 30TH DYNASTY, 380-343 B.C.

7æ in. (19.6 cm.) high

$12,000-18,000

PROVENANCE:

Jean Félix Anne Pozzi (1884-1967), Paris; thence by descent.

Antiques: Succession de M. Jean Pozzi, Mes. Rheims et Laurin, Hôtel Drouot, Paris, 16-17 November 1970, lot 1.

Charles Bouché (1928-2010), Paris; thence by descent.

Antiquites Egyptiennes: Collection Charles Bouché, Thierry de Maigret, Hôtel Drouot, Paris, 24 October 2012, lot 144. with Rupert Wace Ancient Art, London. with Ariadne Galleries, New York and London, acquired from the above, 2014. Acquired by the current owner from the above, 2015.

A LARGE EGYPTIAN ALABASTER ALABASTRON

LATE PERIOD, 664-332 B.C. 17º in. (43.8 cm.) high

$40,000-60,000

PROVENANCE:

Dr. Rudolph Schmidt (1900-1970), Solothurn, acquired in Cairo, 1938; thence by descent. Property from the Rudolph Schmidt (1900-1970) Collection; Antiquities, Christie's, London, 1 October 2014, lot 40. with Ariadne Galleries, New York and London, acquired from the above.

Acquired by the current owner from the above, 2016.

PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE COLLECTION 20

AN EGYPTIAN FAIENCE

SISTRUM

LATE PERIOD, 26TH DYNASTY, REIGN OF AHMOSE II, 570-526 B.C.

8√ in. (22.5 cm.) high $10,000-15,000

PROVENANCE:

Horst and Luise Foehr, Cairo and Bonn. Resandro Collection, Munich, acquired from the above between 1965-1972.

The Resandro Collection, Christie's, London, 6 December 2016, lot 147. with Ariadne Galleries, New York and London, acquired from the above.

Acquired by the current owner from the above, 2017.

EXHIBITED:

Berlin, Ägyptisches Museum und Papyrussammlung; Munich, Staatliche Sammlung Ägyptischer Kunst; Hamburg, Museum für Kunst und Gewerbe, Gott und Götter im Alten Ägypten, 1992-1993.

PUBLISHED:

S. Schoske and D. Wildung, Gott und Götter im Alten Ägypten, Mainz am Rhein, 1993, p. 244, no. 149.

I. Grimm-Stadelmann, ed., Aesthetic Glimpses: Masterpieces of Egyptian Art, The Resandro Collection, Munich, 2012, p. 208, no. R-666.

The single column of hieroglyphs down one side of the handle reads: “The good god, Lord of the Two Lands, Ahmose-sa-Neith, given (or “who gives”) life, endurance/stability and dominion like Re forever.” Down the other: “The good god, Lord of the Two Lands, Khnem-ib-Re (or Khnum-ib-Re), given (or “who gives”) life, endurance/stability and dominion like Re forever.”

PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE COLLECTION 21

AN EGYPTIAN ELECTRUM-INLAID BRONZE APIS BULL

LATE PERIOD, 664-332 B.C.

6Ω in. (16.5 cm.) long

$30,000-50,000

PROVENANCE:

Werke Ägyptischer Kunst, Münzen und Medaillen, Basel, 28 April 1972, lot 68. The Resandro Collection, Munich, acquired from the above. The Resandro Collection, Christie's, London, 6 December 2016, lot 139. with Ariadne Galleries, New York and London, acquired from the above. Acquired by the current owner from the above, 2017.

EXHIBITED:

Munich, Galerie der Bayerischen Landesbank, Entdeckungen: Ägyptische Kunst in Süddeutschland, 30 August-6 October 1985. Berlin, Ägyptisches Museum und Papyrussammlung; Munich, Staatliche Sammlung Ägyptischer Kunst; Hamburg, Museum für Kunst und Gewerbe, Gott und Götter im Alten Ägypten, 1992-1993.

PUBLISHED:

E. Winter, Der Apiskult im alten Ägypten, Mainz, 1983, pp. 32-33, no. 14.

S. Schoske and D. Wildung, Entdeckungen: Ägyptische Kunst in Süddeutschland, Munich, 1985, pp. 127-128, no. 110.

S. Schoske and D. Wildung, Gott und Götter im Alten Ägypten, Mainz am Rhein, 1992, pp. 95-97, no. 65.

J. Malek, et al., Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Statues, Reliefs and Paintings, vol. 8, part 2, Oxford, 1999, p. 1123, no. 802-090-920.

I. Grimm-Stadelmann, ed., Aesthetic Glimpses: Masterpieces of Egyptian Art, The Resandro Collection, Munich, 2012, p. 159, no. R-472.

M. Gerlis, “Frieze Masters,” Apollo Magazine, October 2017, p. 64, fig. 1.

This richly detailed bronze figure of the sacred Apis bull wears not only a winged sun disk with a uraeus, but also a beaded blanket on its back decorated with scarab beetles, above and below which are a winged scarab and a vulture, symbols of solar rebirth and royal power. The dedicatory inscription on the front and right side of the base asks Osiris-Apis for a long life and a perfect old age for the donor, Amen-nuAnet, son of Djed-Hor, born of Neith-ir-di-es (his mother).

For a complete translation, please contact the department.

PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE COLLECTION

AN EGYPTIAN LIMESTONE SCULPTOR'S MODEL OF A STRIDING OFFICIAL

LATE PERIOD, 30TH DYNASTY TO PTOLEMAIC PERIOD, 380-32 B.C

6Ω in. (16.5 cm.) high

$12,000-18,000

PROVENANCE: with Nicolas Landau (1887-1979), Paris. with Galerie J. Kugel, Paris and Axel Vervoordt, Antwerp, 2006 (Hommage à Nicolas Landau: "Prince des antiquaires," front cover).

Antiquities, Sotheby's, New York, 5 June 2013, lot 8. with Ariadne Galleries, New York and London, acquired from the above.

Acquired by current owner from the above, 2015.

PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE COLLECTION

AN EGYPTIAN LIMESTONE SCULPTOR'S MODEL OF PTOLEMY II

PTOLEMAIC PERIOD, REIGN OF PTOLEMY II, 285-246 B.C.

3¬ in. (9.2 cm.) high

$8,000-12,000

PROVENANCE:

Edward Drummond Libbey (1854-1925), Toledo, Ohio. The Toledo Museum of Art, Ohio, gifted from the above, 1906 (Acc. no. 1906.224).

Property from the Toledo Museum of Art, Sold to Benefit the Acquisitions Fund; Antiquities, Christie's, New York, 25 October 2016, lot 10. with Ariadne Galleries, New York and London, acquired from the above. Acquired by the current owner from the above, 2017.

PUBLISHED:

Catalogue of a Collection of Egyptian Antiquities, Brought Together and Presented to The Toledo Museum of Art by Mr. Edward Drummond Libbey, Toledo, 1906, p. 36, no. 224.

Ptolemy II Philadelphos came to the throne of Egypt as co-ruler in 285 B.C. at the age of 25. To celebrate his accession, he staged an elaborate pageant, which included music, images of Egyptian and Greek gods, and a long train of wild beasts and birds unknown to Egypt, including elephants harnessed to chariots. He enriched the city of Alexandria with a lavish building program in an effort to make the new city a cultural rival to Athens, which included the completion of the famed library, the greatest of the Hellenistic world. He was first married to Arsinoe I, daughter of Lysimachus of Thrace, who bore him three children, but she was later accused of treason and banished to Coptos. Her accuser was Ptolemy's sister, Arsinoe II, who later married her brother. Egypt prospered and expanded during his thirty-eight year reign. He died in 246 B.C., at the age of 60, and was succeeded by his son, Ptolemy III Euergetes (see M. Davis and C.M. Kraay, The Hellenistic Kingdoms, Portrait Coins and History, pp. 151-158).

PROPERTY FROM THE JOUKOWSKY COLLECTION

AN EGYPTIAN PAINTED WOOD COFFIN LID

PTOLEMAIC PERIOD, 332-30 B.C.

31Ω in. (80 cm.) high

$10,000-15,000

PROVENANCE: Artemis A.W. Joukowsky (1930-2020) and Dr. Martha Sharp Joukowsky (19362022), Providence, Rhode Island, acquired by 1972; thence by descent to the current owners.

EXHIBITED: Providence, Museum of Art, Rhode Island School of Design, Ancient Art from Rhode Island Collections, 9 September-30 October 1983.

PROPERTY FROM THE ESTATE OF BARBARA AND BERNARD BERGREEN

25

A COPTIC TEXTILE

CIRCA 5TH-7TH CENTURY A.D.

24æ in. (62.8 cm.) high

$10,000-15,000

PROVENANCE:

with Martin and Ullman, Artweave Textile Gallery, New York.

Bernard (1923-2023) and Barbara (1937-2021) Bergreen, New York, acquired from the above, 1982; thence by descent to the current owners.

PUBLISHED:

J. Allen, “Past Perfect: Bernard and Barbara Bergreen on Fifth Avenue,” Architectural Digest, November 1987, p. 191.

Most likely part of a wall hanging or curtain, this tapestry fragment belongs to a group featuring dark-skinned figures (see K. Colburn, “Dark-skinned Figures in Late Antique Egyptian Textiles”, in A. M. Achi, ed., Africa and Byzantium, pp. 116-120) An example in the British Museum may depict Artemis and Actaeon, while an example in the Coptic Museum shows a piper playing an aulos or flute (see op. cit., no. 79). The ancient textile center of Akhmim in Upper Egypt has been suggested as the place of production of these textiles, which are normally preserved from funerary contexts, regardless of their original function.

PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE COLLECTION

A CYCLADIC MARBLE FEMALE FIGURE

EARLY SPEDOS VARIETY, CIRCA 2600-2500 B.C.

6Ω in. (16.5 cm.) high

$15,000-20,000

PROVENANCE:

with Michael Waltz (1938-2010), Munich, acquired late 1960s-1970s. Sammlung Michael Waltz; Kunst der Antike, Auktion 206, Gorny & Mosch, Munich, 20 June 2012, lot 4. with Ariadne Galleries, New York and London, acquired from the above. Acquired by the current owner from the above, 2015.

EXHIBITED:

University of Zurich, Archaeological Collection, 1984-2012 (Loan no. L 107).

This elegant figure features an incised, rounded neckline and sloping shoulders that lead to arms that narrow toward the waist. The widelyspaced breasts are placed high on the torso with the arms below, left over right, with the fingers on the hands unarticulated. There is a straight abdominal groove that serves as the upper boundary for the incised pubic triangle. The beginning of the perforation for the leg cleft is visible above the point where the legs break off.

P. Getz-Gentle, the preeminent Cycladic art scholar, examined this object in 2012 and noted, “The figure was clearly planned and executed with great care and skill. Based on the surviving portion, I know of no close parallel for all of its features.” For another figure that displays a similar treatment of the shoulders and arms, see pl. 31, no. b in GetzGentle, Personal Styles in Early Cycladic Sculpture

A CYCLADIC MARBLE FEMALE FIGURE

LATE SPEDOS VARIETY, CIRCA 2500-2400 B.C. 12 in. (30.4 cm.) high

$40,000-60,000

PROVENANCE: with Bud C. Holland (1922-1994), Chicago. Private Collection, California, acquired from the above, 1980. with Ariadne Galleries, New York and London. Acquired by the current owner from the above, 2017.

This fine Cycladic figure shares some characteristics with the prolific artist today known as the Goulandris Sculptor. Typical are the sloping shoulders, shallow breasts placed far apart and folded arms with the proper right extending to the left elbow. Here, the thin arms are defined only by incision, whereas some of the Goulandris Sculptor’s larger figures are fashioned with more three-dimensionality. The angled lines of the pubic triangle are only faintly visible. There is a ridge for the buttocks, with the legs angled slightly forward and divided by a deep cleft, front and back. The back is defined by an incised spine and a V at the base of the neck. The head has a broad chin and a well-centered nose. For other figures by this sculptor, see pp. 84-93 and 161-166 in P. Getz-Gentle, Personal Styles in Early Cycladic Sculpture.

A LARGE CYCLADIC MARBLE HEAD

EARLY SPEDOS VARIETY, CIRCA 2600-2500 B.C. 9¡ in. (23.8 cm.) high

$200,000-300,000

PROVENANCE: with N. Koutoulakis (1910-1996), Paris and Geneva, acquired by 1976. Private Collection, New York, acquired from the above, 1977; thence by descent to the current owner.

EXHIBITED:

Karlsruhe, Badisches Landesmuseum, Kunst und Kultur der Kykladeninseln im 3. Jahrtausend v. Chr., 25 June-10 October 1976.

Katonah Museum of Art, Ancient Art of the Cyclades, 1 October-31 December 2006.

PUBLISHED:

J. Thimme, ed. Kunst und Kultur der Kykladeninseln im 3. Jahrtausend v. Chr., Karlsruhe, 1976, pp. 281, 474, no. 201.

J. Thimme, ed., Art and Culture of the Cyclades, Karlsruhe, 1977, pp. 281, 477, no. 201.

P. Getz-Gentle, Ancient Art of the Cyclades, Katonah, 2006, p. 36, no. 32, front cover.

P. Getz-Gentle, “Forum Response: The Keros Hoard Revisited,” American Journal of Archaeology, vol. 112, 2008, p. 300, n. 5; p. 303, n. 25.

This impressive lyre-shaped head tapers inwards at the forehead and has a rounded jaw line. The slender triangular nose is well centered. According to Getz-Gentle (op. cit., 2006, p. 36), this head was originally part of an unusually large reclining figure, speculated to be more than 37 in. (95 cm.) in length. For other examples similar in style and size, see no. 171 in C. Doumas, Cycladic Art, Ancient Sculpture and Art from the N.P. Goulandris Collection and p. 41 in J.-L. Martinez, La Grèce au Louvre

PROPERTY FROM AN

A LARGE CYCLADIC MARBLE FEMALE FIGURE

EARLY SPEDOS VARIETY, CIRCA 2600-2500 B.C. 15 in. (38.1 cm.) high

$700,000-900,000

PROVENANCE:

Private Collection, France, acquired early 1960s or prior. with Galerie Segredakis, Paris.

Private Collection, New York, acquired from the above, 1990; thence by descent to the current owner.

EXHIBITED:

Katonah Museum of Art, Ancient Art of the Cyclades, 1 October-31 December 2006.

PUBLISHED:

P. Getz-Gentle, Ancient Art of the Cyclades, Katonah, 2006, p. 30, no. 20, inside front cover and title page.

P. Getz-Gentle, “Forum Response: The Keros Hoard Revisited,” American Journal of Archaeology, vol. 112, 2008, p. 300, n. 5.

This impressive Cycladic marble female figure exemplifies the best of the Spedos style, exhibiting the balance and elegance of the form. Her lyre-shaped head is slightly tilted back, projecting her slender well-centered nose upward, and is atop an elongated neck that is slightly concave along its length. Her shoulders are rounded, gently sloping to her curving arms that cross her torso, folded right over left, with her fingers delineated. Her female anatomy is indicated with rounded breasts and incised pubic triangle, with her curving upper legs below. Also noteworthy is the extensive surviving red pigment on the front of the body, as well as ghosts along the upper portion of the head that were probably once painted blue.

P. Getz-Gentle, the leading scholar of Cycladic art, considered this “a large, robust, and carefully carved work combining round modelling with precise incision work” (see p. 30 in Getz-Gentle, 2006, op. cit.). Although she only published this figure towards the end of her academic career in the 2006 Katonah exhibition, Getz-Gentle informed that it was previously in a French private collection since at least the 1960s. The figure presented here has much in common with a complete figure now in the Israel Museum, Jerusalem, no. 158 in J. Thimme, Art and Culture of the Cyclades, and both figures may be the work of the same individual. For another figure with a similar treatment to the upper torso and arms, now in the British Museum, see pp. 56-57 in J. L. Fitton, Cycladic Art

PROPERTY FROM AN IMPORTANT NEW YORK ESTATE

•30

A MYCENAEAN POTTERY ASKOS

CIRCA 13TH CENTURY B.C.

6√ in. (17.4 cm.) long

$4,000-6,000

PROVENANCE: with N. Koutoulakis (1910-1996), Paris and Geneva. Private Collection, New York, acquired from the above, 1977; thence by descent to the current owner.

A CORINTHIAN BLACK-FIGURED OLPE

ATTRIBUTED TO THE PAINTER OF VATICAN 73, CIRCA 630-620 B.C.

12æ in. (32.3 cm.) high

$25,000-35,000

PROVENANCE: with N. Koutoulakis (1910-1996), Paris and Geneva. Private Collection, New York, acquired from the above, 1974; thence by descent to the current owner.

The Painter of Vatican 73 was one of the most prolific painters from Corinth. To date, more than fifty olpai, similar to the present example, have been attributed to his hand. He favored four registers filled with animals and monsters, typically centering the upper and third with a swan flanked by sphinxes, as here. Additionally on this olpe, lions, panthers, goats, bulls and stags fill the registers, with one bearded male siren, a great rarity. For the Painter of Vatican 73, see D.A. Amyx, Corinthian Vase-Painting in the Archaic Period, pp. 66-70 and C.W. Neeft, “What is in a Name? The Painter of Vatican 73 in The Getty,” in M. True and M.L. Hart, eds., Greek Vases in the J. Paul Getty Museum, vol. 6, pp. 1-34.

AN ATTIC BLACK-FIGURED NECK-AMPHORA

ATTRIBUTED TO THE MANNER OF THE ANTIMENES PAINTER, CIRCA 530-520 B.C. 14æ in. (34.9 cm.) high

$60,000-90,000

PROVENANCE: with N. Koutoulakis (1910-1996), Paris and Geneva.

Private Collection, New York, acquired from the above, 1982; thence by descent to the current owner.

Dionysos with his entourage and battle scenes are two of the most popular on subjects on vases by the Antimenes Painter and his followers. On one side of the amphora presented here, Dionysos is seated on a diphros, enveloped in a long chiton and a himation, with vine leaves in his hair. In his right hand he holds an ivy branch that fills the open spaces around him; in the other, he holds a large rhyton. Before him is a gesticulating satyr and maenad, while behind are two other dancing satyrs. On the other side, a horseman in a short chiton and chlamys rides to the right, a spear in each hand. Opposing him is a fully-armed hoplite moving to the right but looking back. He wears a corselet over a short chiton, greaves and a high-crested Attic helmet, and holds a spear and a pelta shield embellished with incised herringbone. Below him, a collapsing hoplite, similarly armed, crawls forward with his head turned upwards, his pelta shield behind him.

The pelta shield combined with an Attic helmet is the typical armour worn by Amazons. For a Scythian warrior on horseback holding a pelta shield similarly embellished with herringbone, see the Type A amphora attributed to Exekias in Paris, p. 145, no. 12 in J.D. Beazley, Attic BlackFigure Vase-Painters

AN ATTIC RED-FIGURED KYLIX

ATTRIBUTED TO THE BRYGOS PAINTER, CIRCA 490-480 B.C. 11¡ in. (28.8 cm.) diameter, excluding handles $700,000-900,000

PROVENANCE: with N. Koutoulakis (1910-1996), Paris and Geneva, by 1979. Private Collection, New York, acquired from the above, 1980; thence by descent to the current owner.

This hitherto unpublished kylix is a masterpiece by the Brygos Painter and an important addition to the artist’s oeuvre. Dating to the early 5th century B.C., the golden age of Attic red-figured wine cups, it is by one of the foremost artists of the era and is richly ornamented with scenes from daily life as witnessed by elite society.

Nearly twenty cups or cup-fragments with the inscription Brygos epoiesen (Brygos made me) are known. Of them, the five finest are recognized as being by the same hand, who is today called the Brygos Painter. That the others are by different hands suggests that the Brygos Painter and Brygos the potter are separate individuals (see M. Robertson, The Art of Vase-Painting in Classical Athens, p. 93). The Brygos Painter was primarily a cup painter, but he also painted other vessels associated with the symposium (see. p. 54 in D. Williams, Corpus Vasorum Antiquorum, British Museum, vol. 9). Together with the painters Douris, Onesimos and Makron, the Brygos Painter is considered one of the leading cup-painters of his generation. Of particular note is the artist’s use of dilute glaze to skillfully depict anatomical details, a technique used to great effect on the cup presented here.

Both sides of the exterior present scenes from the palestra. On one, two youthful, nude combatants engage in a bout. They are likely pankratists rather than wrestlers, as the bearded referee, clad in a himation and holding a forked stick (rhabdos), looks on from the right side (wrestling referees are thought to observe from the left; see p. 35 in J. Neils, Goddess and Polis, The Panathenaic Festival in Ancient Athens). One combatant stands with his arms splayed, about to deliver a blow, while his opponent leans back, his right arm projecting forward, his left bent back with his hand protecting his head. A second pair of fighters battle to the left, with their referee turning away. One stands with his left arm raised to his head, preparing to deliver a blow with his right, which is pulled back. His opponent cowers in a crouch, his head turned frontally. A fluted pillar stands at the far right.

At the center of the other side is a pederastic courtship scene between a bearded man and a nude youth standing before him, the man wearing a himation and leaning on a walking stick. He holds a purse in his right hand and offers a hare to the youth, which he grasps by the ears and holds out before him. The youth holds a strigil and a dog stands before

them. Looking on from the right is a himation-clad youth leaning on a walking stick, and a youthful nude acontist, walking right but looking back. Between them hangs a pair of jumping weights (haltares). To the left stands a nude youth using a strigil on his left arm, and a boy wearing a chlamys, holding a T-shaped walking stick. The relationship between an older man (erastes) and a youth (eromenos) has been interpreted as “a form of mentorship, inculcating the mores of male society into the youth of the polis” (see J. Neils, “Athens in the Time of the Berlin Painter,” p. 8, in J. M. Padgett, The Berlin Painter and His World). For another courtship scene by the Brygos Painter, and for a recent discussion of the topic, see fig. 1.9 in A. Lear and E. Cantarella, Images of Ancient Greek Pederasty

The tondo depicts the aftermath of overindulgence at the symposium in which a bearded reveler vomits into a lekane held by a nude boy. The man wears his himation over his shoulders and supports himself on a T-shaped walking stick. In his lowered right hand, he holds what

appears to be a feather, which would have been used to tickle the back of his throat to induce vomiting. The youth holds the lekane by the foot and rim; behind him hangs a flute case (sybene). The scene is enclosed within a band of leftward stopt meander, and there is a nonsense inscription in the field. The lekane is ornamented with a black band below the rim, and is similar in form to a two-handled example seen on a cup near the Brygos Painter in Copenhagen, placed next to a reclining symposiast (see no. 21 in B. Sparkes and L. Talcott, Pots and Pans of Classical Athens).

AN ATTIC POTTERY FIGURAL OINOCHOE

ATTRIBUTED TO CLASS G: THE LONDON CLASS, CIRCA 490-480 B.C.

7Ω in. (19 cm.) high

$12,000-18,000

PROVENANCE: with Peter Sharrer Ancient Art, New York. Private Collection, New York, acquired from the above, 1997; thence by descent to the current owner.

Athenian vases molded in the form of a head were classified by J.D. Beazley in his 1929 article “Charinos” in The Journal of Hellenic Studies (vol. 49, pt. 1). The shapes were chiefly kantharoi, oinochoai and aryballoi, sometimes janiform, and typically in the form of a female head, an African (male or female), a satyr, Dionysos, or Herakles.

The oinochoe presented here is in the form of the head of Dionysos, and belongs to Beazley’s Class G: The London Class, named for a kantharos in the British Museum with janiform female heads, the red-figured bowl of which is attributed to the Brygos Painter (see pl. 33C(A) in M. Wegner, Brygosmaler). Here, the god is depicted with a spade-shaped beard in added white with wavy lines in black, a smooth roll of the hair in added red, surmounted by a stephane in added white with black geometric ornament. The style is close to an example from Corinth, now in the Musée Antoine-Vivenel, Compiègne, pl. 18,9 in M. Flot, Corpus Vasorum Antiquorum: Musée de Compiègne. Of that example, Beazley (op. cit. p. 49) suggests that it was made from the same mold used for making female heads, the figure transformed into Dionysos by the addition of the beard.

AN ATTIC RED-FIGURED

LEKYTHOS

ATTRIBUTED TO HERMONAX, CIRCA 475-450 B.C. 15æ in. (40 cm.) high

$40,000-60,000

PROVENANCE: with N. Koutoulakis (1910-1006), Paris and Geneva. Private Collection, New York, acquired from the above, 1985; thence by descent to the current owner.

Hermonax is considered one of three major pupils of the Berlin Painter (the others are the Providence Painter the Achilles Painter). His signature is preserved on ten vases: four stamnoi, five pelikai and one cup. Four of his lekythoi, in addition to this example, have only an egg pattern at the base of the neck. Hermonax favored pursuit scenes, the komos, Dionysiac subjects and departure scenes (see J.H. Oakley, “Associates and Followers of the Berlin Painter,” in J.M. Padgett, ed., The Berlin Painter and His World, pp. 72-74).

On a red-figured lekythos from Gela, now in Palermo, Poseidon moves to the right in pursuit of a woman (see no. 353 in J. Boardman, Athenian Red Figure Vases: The Archaic Period). While the lekythos presented here features only a single figure of a woman moving to the right but looking back, the pose and style has much in common with the woman on the Palermo lekythos, thus suggesting that even in the absence of a protagonist, she too is in flight. Here, she wears a long chiton with grouped vertical lines indicating folds and a himation over her shoulders, concealing the chignon at the nape of her neck. She extends her right hand back and pulls on the edge of her himation with her left hand. A coiled bracelet adorns each wrist, and she wears a circular earring. Her hair is bound in a diadem surmounted by lanceolate leaves. A meander band serves as the groundline.

•36

A GREEK TERRACOTTA FEMALE FIGURE

HELLENISTIC PERIOD, CIRCA 3RD CENTURY B.C.

8 in. (20.3 cm.) high

$8,000-12,000

PROVENANCE:

Said to be from Thespiae.

Albert Désiré Barre (1818-1878), Paris, the French engraver and medalist.

Collection de M. Albert B***: Antiquités grecques; vases peints de la Grande-Grèce et de l'Attique; terres cuites de Tanagra; poterie et verres chypriotes, Maurice Delestre, Paris, 16-17 May 1878, lot 473.

Louis de Clercq (1836-1901), Paris, acquired from the above; thence by descent.

Probably with N. Koutoulakis (1910-1996), Paris and Geneva. Christos G. Bastis (1904-1999), New York, acquired by 1987; thence by descent.

The Christos G. Bastis Collection, Sotheby's, New York, 9 December 1999, lot 113.

Private Collection, New York, acquired from the above through Galerie Nefer, Zurich; thence by descent to the current owner.

EXHIBITED:

New York, The Metropolitan Museum of Art, Antiquities from the Collection of Christos G. Bastis, 20 November 1987-1January 1988.

The Brooklyn Museum; The Detroit Institute of Arts; Munich, Kunsthalle der Hypo-Kulturstiftung, Cleopatra's Egypt: Age of the Ptolemies, 7 October 1988-10 September 1989.

PUBLISHED:

A. de Ridder, Collection de Clercq: Catalogue, vol. 6: Les terres cuites et les verres, Paris, 1909, pp. 24-25, no. 33.

D. von. Bothmer, et al., Antiquities from the Collection of Christos C. Bastis, Mainz, 1987, pp. 154-155, no. 72.

R.A. Fazzini and R.S. Bianchi, Cleopatra's Egypt: Age of the Ptolomies, Brooklyn, 1988, pp. 220-221, no. 113.

D. Wildung and S. Schoske, eds., Kleopatra: Ägypten um die Zeitenwende, Mainz, 1989, pp. 269-271, no. 109.

PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE COLLECTION

37

A FRAGMENTRY GREEK TERRACOTTA PROTOME

SICILY, ARCHAIC PERIOD, CIRCA LATE 6TH CENTURY B.C.

5¬ in. (14.2 cm.) high

$10,000-15,000

PROVENANCE:

Arthur von Arx, Solothurn, acquired by 1967. Elsa Bloch-Diener (1922-2012), Bern; thence by descent. The Elsa Bloch-Diener (1922-2012) Collection; Antiquities, Christie's, London, 5 July 2017, lot 48. with Ariadne Galleries, New York and London, acquired from the above. Acquired by the current owner from the above, 2017.

EXHIBITED:

Solothurn, Zentralbibliothek, Kunst der Antike aus Privatbesitz Bern - BielSolothurn, 21 October-3 December 1967.

PUBLISHED:

A. von Arx, et al., eds., Antike Kunst aus Privatbesitz Bern - Biel - Solothurn, Solothurn, 1967, p. 142, pl. 43, no. 349.

For the "Meander Polos" type, of which this lot is an example, see p. 680, no. 92-I in G.P. Carratelli, ed., The Western Greeks.

THE PROPERTY OF A NEW ENGLAND PRIVATE COLLECTOR

38

AN ATTIC BLACK-FIGURED HYDRIA

ATTRIBUTED TO THE MASTOS PAINTER, CIRCA 530 B.C.

17º (43.8 cm.) high

$20,000-30,000

PROVENANCE:

Theodore (1932-2001) and Aristea (1933-2014) Halkedis, The Thalassic Collection, New York, acquired late 1970s. The Property of the Thalassic Collection; Antiquities, Christie's, New York, 11 December 2003, lot 149.

PUBLISHED:

Beazley Archive Pottery Database no. 9002284.

The Mastos Painter takes his name from a breast-shaped two-handled cup in Würzburg. He is associated with the Lysippides Painter, who was a major follower of Exekias, the most admired and respected of all Attic black-figure artists (see p. 20 in B. Cohen, The Colors of Clay: Special Techniques in Athenian Vases). The hydria presented here is noteworthy for the very early use of an animal frieze in the predella. Also unusual is the use of lotus-palmette chain as a framing ornament

at the sides of the main panel, which more commonly feature ivy vines, and the rosettes on the rim, typically found on ovoid amphorae. Another hydria by the Mastos Painter, now in The Metropolitan Museum of Art, likewise features lotus-palmette chains framing main panel (see p. 261, no. 37 in J.D. Beazley, Attic Black-Figure Vase-Painters). The New York hydria has a kalos inscription praising Onetorides, whose name appears mainly on vases by Exekias, providing a further link between the Mastos Painter and Exekias.

Here, the main panel depicts Herakles mounting a chariot, his team of horses all black but for the second from the left painted in added white, the so-called pole horse. Standing beside the horses is the hero’s patron goddess, Athena, fully armed, and Hermes, who walks to the right but turns back to face her. Standing at the far right is a female onlooker, facing left. Herakles in a chariot in the presence of the gods is thought to depict his arrival on Mt. Olympos, but without Athena driving, “the apotheosis element is suppressed…” (see J. Boardman, “Herakles,” LIMC, vol. V, p. 127, and no. 2904 for a column-krater in Naples with a similar scene by a painter related to Lysippides). Centered on the shoulders is Theseus battling the Minotaur, with a male onlooker to the left and Ariadne seated to the right.

PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE COLLECTION

39

AN ATTIC BLACK-FIGURED OLPE

CIRCA 520-500 B.C.

8º in. (20.5 cm.) high $15,000-20,000

PROVENANCE:

Kunstwerke der Antike, Münzen und Medaillen, Basel, 19 February 1980, lot 78. Private Collection, Germany. The Property of a German Private Collector; Antiquities, Sotheby's, London, 31 May 1990, lot 378. Private Collection, New York, 1990-2014. with Ariadne Galleries, New York and London. Acquired by the current owner from the above, 2015.

PUBLISHED:

C. Fournier-Christol, Catalogue des olpés attiques du Louvre de 550 à 480 environ, Paris, 1990, p. 162, no. 119.

S. Muth, Gewalt im Bild: Das Phänomen der medialen Gewalt im Athen des 6. und 5. Jahrhunderts v. Chr., Berlin, 2008, pp. 209-210, fig. 131.

E. Hatzivassiliou, "Subject matters: The case of the Athenian Black-Figured olpe, 515-470 B.C.," in E.M. Moormann and V.V. Stissi, eds., Shapes and Images: Studies on Attic Black Figure and Related Topics in Honour of Herman A. G. Brijder, Leuven and Walpole, 2009, pp. 156-157, fig. 4; pp. 159-160, no. 30.

J.H. Oakley, A Guide to Scenes of Daily Life on Athenian Vases, Madison, 2020, p. 178, fig. 8.13. Beazley Archive Pottery Database no. 717. Corpus of Attic Vase Inscriptions no. 2126.

Depicted on the body is a wounded warrior striding to the right, with his chlamys tied around his lower abdomen. He wears a Corinthian helmet with two plumes, greaves and a sword at his waist. At his feet is his Boeotian shield with a tripod as the blazon. In the field is a nonsense inscription.

E. Hatzivassiliou (op. cit., p. 156) notes that this scene “finds no parallels in the extant visual record.” Hatzivassiliou asks, “Is this an anti-heroic act, a warrior walking away from the battlefield and leaving his shield behind? Or is he perhaps intended as a ghost, the life-size, wingless eidolon of a warrior who died in battle?...The wounded warrior on our olpe brings to mind a passage in the Iliad…where Aineas, wounded by Diomedes, is removed from the battlefield by Aphrodite and Apollo devises a human-like eidolon resembling the hero.”

THE PROPERTY OF A MIDWEST PRIVATE COLLECTOR

40

AN ATTIC RED-FIGURED PELIKE

ATTRIBUTED TO THE PAINTER OF PASSERI 210, CIRCA 430 B.C.

7¡ in. (18.7 cm.) high

$8,000-12,000

PROVENANCE:

Dr. Franz J. Roesli (1899-1981), Luzern, acquired by 1970.

Private Collection, Luzern.

Kunst- & Antiquitätenauktion, Auktion 157, Schuler Auktionen AG, Zurich, 22 and 24-26 June 2020, lot 1223.

Private Collection, Switzerland, acquired from the above. with Kallos Gallery, London.

Acquired by the current owner from the above, 2021.

PUBLISHED:

J.D. Beazley, Paralipomena, Oxford, 1971, p. 464, no. 1. Beazley Archive Pottery Database no. 340002.

The obverse of this pelike depicts Hera, holding a scepter, and Hebe, the goddess of youth and cupbearer to the deities of Mount Olympos, who presents a phiale in each outstretched hand. Beazley (op. cit.) categorized the Painter of Passeri 210 as a "painter of other small pots." His contemporaries, including the Erichthonios and Phrixos Painters, specialized in the decoration of small pelikai.

PROPERTY FROM A GERMAN PRIVATE COLLECTION

41

A GREEK BRONZE KERYKEION

MAGNA GRAECIA, CLASSICAL PERIOD, CIRCA 5TH CENTURY B.C. 22 in. (55.8 cm.) long

$30,000-50,000

PROVENANCE:

with Wladamir Rosenbaum (1894-1984), Ascona, acquired circa 1950s. with Galleria Serodine, Ascona. Private Collection, Belgium, acquired from the above. with Galerie Harmakhis, Brussels.

Acquired by the current owner from the above, 2010.

The kerykeion (herald’s staff) was typically fashioned out of metal or wood, with a solid shaft terminating in two intertwined serpents, their heads face to face. It was an attribute of the messenger god Hermes and was later adopted as a symbol of the keryx, or herald. A keryx could carry both public and private messages, which addressed topics of political, military, judicial or religious importance.

According to C.L. Lyons, et al., eds. (pp. 90-91 in Sicily: Art and Invention Between Greece and Rome), the kerykeion represents “the most interesting archeological remains concerning ancient diplomacy and war.” Especially during wartime, messengers were indispensable in cities and communities, and the kerykeion represented their inviolability. This theme is echoed in Homer’s epic, the Iliad, when Agamemnon sent a herald to inform Achilles that he was taking Briseis (1.32-1.36).

Many have inscriptions along their lengths that establish "the public use of the staff and the fact that it belonged to the inhabitants of the city” (op. cit., p. 90). The present example is inscribed with the Greek text: “The city of the people of Himera.” For a similar example now in the British Museum, with the inscription, “I am Longenaian public property," and others, see op. cit., figs. 10, 51-52.

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

42

A GREEK MARBLE HEAD OF A WOMAN

CLASSICAL PERIOD, CIRCA MID 4TH CENTURY B.C.

11Ω in. (29.2 cm.) high

$30,000-50,000

PROVENANCE:

Mary Woodard Lasker (1900-1994), Greenwich, CT.; thence by bequest to the Mary Woodard Lasker Charitable Trust.

For the Benefit of the Mary Woodard Lasker Charitable Trust; Antiquities, Christie's, New York, 2 June 1995, lot 69. with Robin Symes (1939-2023), London, acquired from the above. Acquired by the current owner from the above, 1999.

Likely from a life-sized Attic funerary monument or naiskos, this head of a woman features an idealized visage with deeply-set, almondshaped eyes beneath gently-arching brows, a straight nose and full, bow-shaped lips. Her hair is summarily rendered, arranged in a loose double-knot above her forehead and covering the tops of her ears, with the lobes pierced. For related examples, see nos. 3.391a and 3.392b in C.W. Clairmont, Classical Attic Tombstones, vol. III.

PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE COLLECTION

AN APULIAN RED-FIGURED

FISH-PLATE

ATTRIBUTED TO THE PERRONE-PHRIXOS GROUP, CIRCA 340 B.C.

7æ in. (19.6 cm.) diameter

$15,000-20,000

PROVENANCE:

with Barakat Gallery, Los Angeles, 1991 (The Barakat Collection, vol. VI, p. 16, no. P.F. 844).

with Ariadne Galleries, New York and London, acquired in 2015.

Acquired by the current owner from the above, 2016.

PUBLISHED:

A.D. Trendall, "New South Italian Fish-Plates in Sorengo and Elsewhere," Numismatica e antichità classiche - Quaderni Ticinesi, vol. XXI, 1992, p. 114, no. 93a.

Giusti Archive of Ancient Red Figured Fish-Plates no. ZG1355.

This plate is decorated with a striped bream, an octopus and a hornshell with a smaller shrimp, nautilus and mussel in the field. For the PerronePhrixos Group, see A.D. Trendall and A. Cambitoglou, The Red-figured Vases of Apulia, vol. II, pp. 522-529 and I. McPhee and A.D. Trendall, Greek Red-figured Fish-plates, pp. 123-127.

PROPERTY FROM THE ESTATE OF BARBARA AND BERNARD BERGREEN

•44

A GREEK TERRACOTTA GODDESS WITH A PIG CLASSICAL PERIOD, CIRCA EARLY 4TH CENTURY B.C. 14º in. (36.1 cm.) high $4,000-6,000

PROVENANCE: with Simone de Monbrison (1922-2015), Paris.

Bernard (1923-2023) and Barbara (1937-2021) Bergreen, New York, acquired from the above, 1982; thence by descent to the current owners.

For a similar terracotta figure of Demeter, see the example in the Cleveland Museum of Art, acc. no. 1926.521.

A CANOSAN PAINTED TERRACOTTA GANYMEDE

HELLENISTIC PERIOD, CIRCA 3RD CENTURY B.C.

15¬ in. (39.6 cm.) high

$10,000-15,000

PROVENANCE: with Nina Borowski, Geneva. Bernard (1923-2023) and Barbara (1937-2021) Bergreen, New York, acquired from the above, 1984; thence by descent to the current owners.

PUBLISHED:

J. Allen, “Past Perfect: Bernard and Barbara Bergreen on Fifth Avenue,” Architectural Digest, November 1987, pp. 196-197.

A GREEK MARBLE PORTRAIT HEAD OF ARSINOË II

PTOLEMAIC PERIOD, CIRCA LATE 4TH-EARLY 3RD CENTURY B.C.

10º in. (26 cm.) high

$50,000-70,000

PROVENANCE:

Said to be from Famagusta (Arsinoë), Cyprus. Houstoun family, Johnstone Castle, Renfrewshire, Scotland, acquired by the early 20th century (according to label formerly on base).

Private Collection, U.K., acquired either in New York, 1976-1979 or in London, 1980s.

Antiquities, Christie’s, London, 8 December 1993, lot 84. Private Collection, U.K., acquired from the above.

Acquired by the current owner from the above, 1995.

Arsinoë II (circa 316-270 B.C.) endured a violent and tumultuous life against the fractured political landscape of the newly-formed Hellenistic kingdoms after the death of Alexander the Great. Her father, Ptolemy I Soter, founded Egypt’s Ptolemaic dynasty and controlled large sections of the eastern Mediterranean. After the death of her first husband, King Lysimachus of Thrace and Macedonia, Arsinoë II married Lysimachus’ rival, her half-brother Ptolemy Keraunos, to secure the Thracian throne for her sons. This union ended in a bloodbath, with her sons Lysimachus and Philip murdered. Arsinoë then fled to Samothrace before settling in Egypt where she married her brother, Ptolemy II (later given the epithet Philadelphus, “Lover of His Sister”).

In Egypt, Arsinoë set a model for future Ptolemaic queens, actively taking part in managing the empire and advising her husband. Portraits of Ptolemy II often show him alongside Arsinoë, perhaps most notably in the Gonzaga Cameo, now in St. Petersburg. While the popular view of Arsinoë is that of a manipulating, Lady Macbeth-like character, E.D. Carney surmises that these may be the views of later authors of dubious quality and motivations (see p. 9 in Arsinoe of Egypt and Macedon: A Royal Life).

This portrait, said to be from Cyprus, is closely related to one from Soloi, now in the Cyprus Museum (see fig. 4.2 in W.A.P. Childs, et al., eds., City of Gold: The Archaeology of Polis Chrysochous, Cyprus). Arsinoë’s large eyes, angular nose and hair pulled back and over her ears are features similarly observed on coins of the period (see pl. 75, no. 5 in R.R.R. Smith, ed., Hellenistic Royal Portraits). On this portrait, much of her hair is roughly hewn, which together with several mortises suggests that it was finished in separatelymade marble or plaster adjuncts.

Ptolemy II founded three cities named after his sister/wife on the island; this example is said to be from the city now known as Famagusta. A cult surrounding Arsinoë II was active on Cyprus and many of the extant sculptures, altars, and inscribed blocks attest to her popularity (see p. 118 in D. Hadjisavvas, ed., From Ishtar to Aphrodite: 3200 Years of Cypriot Hellenism).

AN ETRUSCAN BRONZE WARRIOR

CIRCA LATE 6TH CENTURY B.C.

5¡ in. (13.6 cm.) high

$30,000-50,000

PROVENANCE:

with Spink & Son, London.

Vladimir Simkhovitch (1874-1959), New York, noted collector and professor of economic history at Columbia University. George Ortiz (1927-2013), Geneva, acquired from the above, 1952. Norbert Schimmel (1905-1990), New York, acquired by 1964; thence by descent.

Important Antiquities from the Norbert Schimmel Collection, Sotheby's, New York, 16 December 1992, lot 44. Private Collection, New York.

with Ariadne Galleries, New York and London, acquired from the above, 2014 (Ariadne Galleries, no. 8).

Acquired by the current owner from the above, 2015.

EXHIBITED:

Cambridge, Fogg Art Museum, Harvard University, The Beauty of Ancient Art: The Norbert Schimmel Collection, 15 November 1964-14 February 1965.

Worcester Art Museum, Masterpieces of Etruscan Art, 21 April-4 June 1967.

Cambridge, Fogg Art Museum, Harvard University; City Art Museum of St. Louis; The Los Angeles County Museum of Art, Master Bronzes from the Classical World, 4 December 1967-30 June 1967.

Chapel Hill, The William Hayes Ackland Memorial Art Center, University of North Carolina, Small Sculptures in Bronze from the Classical World, 7 March-18 April 1976.

New York, The Metropolitan Museum of Art, Ancient Art: The Norbert Schimmel Collection, 17 September 1975-1 March 1976.

Berlin, Ägyptisches Museum; Hamburg, Museum für Kunst und Gewerbe; Munich, Museum für Vor- und Frühgeschichte, Von Troja bis Amarna: The Norbert Schimmel Collection, 18 March 1978-6 January 1979.

PUBLISHED:

H. Hoffmann, ed., The Beauty of Ancient Art: The Norbert Schimmel Collection, Mainz, 1964, no. 40.

R.S. Tietz, Masterpieces of Etruscan Art, Worcester, 1967, pp. 25, 117, no. 9.

D.G. Mitten and S.F. Doeringer, Master Bronzes from the Classical World, Mainz am Rhein, 1967, p. 162, no. 159.

H. Jucker, “Etruskische Bronzen,” Archäologischer Anzeiger, vol. 4, 1967, p. 625, fig. 11.

H. Jucker, “Etruscan Votive Bronzes from Populonia,” in D.G. Mitten and S.F. Doeringer, eds., Art and Technology: A Symposium on Classical Bronzes, Cambridge, 1970, p. 210, figs. 29a-c.

O. W. Muscarella, ed., Ancient Art: The Norbert Schimmel Collection, Mainz am Rhein, 1974, no. 79.

G.K. Sams, ed., Small Sculptures in Bronze from the Classical World, Chapel Hill, 1976, no. 44.

J. Settgast, ed., Von Troja bis Amarna: The Norbert Schimmel Collection, Mainz, 1978, no. 46.

E. Richardson, Etruscan Votive Bronzes: Geometric, Orientalizing, Archaic, Mainz am Rhein, 1983, p. 201, no. 8, pl. 137, figs. 463-464.

W. Rudolph and A. Calinescu, eds., Ancient Art From the V G. Simkhovitch Collection, Bloomington, 1988, p. 99, no. 79.

Jucker (op. cit., 1970) assigned this figure to a group from the coastal town of Fufluna (Populonia). For the pose and attributes, compare the example in the British Museum, p. 124 in I. Jenkins, et al., Defining Beauty: The Body in Ancient Greek Art.

PROPERTY FROM A NEW YORK PRIVATE COLLECTION

AN ETRUSCAN BRONZE LIDDED CAULDRON

CIRCA 6TH-5TH CENTURY B.C.

17Ω in. (44.4 cm.) wide

$80,000-120,000

PROVENANCE: with The Merrin Gallery, New York.

Private Collection, New York, acquired from the above, 1994.

Property from a Distinguished Private Collection; Antiquities, Christie’s, New York, 4 June 2015, lot 79.

According to R.D. De Puma (p. 52 in Etruscan Art in The Metropolitan Museum of Art), elaborate banquets with food and wine were an important part of Etruscan life, as observed on the famous painted frescos found at Tarquinia, Chiusi and Orvieto. In addition to other vessels used in banquets, like amphorae and kraters, large cauldrons, such as the present example, were used to cook food, mix wine and water and were also given as prizes. This well-preserved example, formed of hammered sheet, features a lid with four evenly-dispersed spool-shaped handle plates, each with a swiveling tapered ring handle with two small beaded cylinders between. For a similar example found at Monteleone di Spoleto, see no. 4.2 in De Puma, op. cit; for a large spherical example preserving its tripod base, see no. 4.39.

AN ETRUSCAN NENFRO

PORTRAIT HEAD OF A MAN

CIRCA LATE 2ND-EARLY 1ST CENTURY B.C.

15º in. (38.7 cm.) high

$100,000-150,000

PROVENANCE:

with Wladimir Rosenbaum (1894-1984), Galerie Serodine, Ascona, acquired late 1960s. with Galerie Arete, Zurich, acquired from the above, 1972 (Inv. no. 1052).

Private Collection, Switzerland, acquired from the above, 1972.

Property from a Private Collection; Antiquities, Sotheby’s, New York, 5 June 2013, lot 46. with Phoenix Ancient Art, New York and Geneva, 2016 (Catalogue 32, no. 9).

Private Collection, U.S.

Property from an American Private Collection; Ancient Sculpture & Works of Art, Sotheby’s, London, 3 December 2019, lot 37.

Nenfro, a compacted volcanic ash found throughout Central Italy, was the Etruscan’s preferred material for carving large-scale sculpture. Its comparatively soft gradient made it easy to manipulate, but when exposed to air, it gradually hardened (see p. 64 in R.D. De Puma, Etruscan Art in The Metropolitan Museum of Art). This over-lifesized portrait depicts a man of advanced age, with prominent cheekbones, a creased brow and sunken eyes. His straight locks radiate from the crown and fall along his forehead, and he wears a thick, rounded diadem that preserves the remains of yellow pigment; red pigment is preserved on the lips.

In a 1969 letter of expertise, the archaeologist Hans Jucker (1918-1984) relays that similar heads can be found on reclining figures that adorn the lids of late Etruscan sarcophagi, including those now in Viterbo, Bomarzo and Vetralla (see R. Herbig, Die Jüngeretruskischen Steinsarkophage, nos. 66, 243 and 245). Jucker further notes that the realism observed on these heads likely corresponds to Roman influence on late Etruscan artistic production. For another similar head also from a sarcophagus lid, see no. 36 in Art of Ancient Italy, André Emmerich Gallery. ANOTHER PROPERTY

PROPERTY FROM A SWISS FAMILY COLLECTION

50

A PAIR OF ATTIC GOLD EARRINGS

LATE GEOMETRIC PERIOD, CIRCA 750-725 B.C.

Larger: 1√ in. (4.7 cm.) long (2)

$10,000-15,000

PROVENANCE:

Ernst Kofler-Truniger (1903-1990) and Marthe Kofler-Truniger (1918-1999), Luzern, acquired by 1955 (Inv. no. K 719A).

Private Collection, Luzern, acquired from the above circa 1974; thence by continuous descent to the current owner.

EXHIBITED:

Basel, Kunsthalle, Meisterwerke griechischer Kunst, 19 June-13 September 1960.

Zurich, Kunsthaus, Sammlung E. und M. Kofler-Truniger, Luzern, 7 June-2 August 1964.

PUBLISHED:

K. Schefold, Meisterwerke griechischer Kunst, Basel and Stuttgart, 1960, pp. 308-309, no. 554.

R.A. Higgins, "The Elgin Jewellery," The British Museum Quarterly, vol. 23, no. 4, June 1961, p. 103.

R.A. Higgins, Greek and Roman Jewellery, London, 1961, p. 99.

Sammlung E. und M. Kofler-Truniger, Luzern, Zurich, 1964, p. 41, no. 392, pl. 31.

R. A. Higgins, "Early Greek Jewellery," The Annual of the British School at Athens, vol. 64, 1969, pp. 143, 148-149, pl. 41c-d.

D.L. Carroll, "A Group of Asymmetrical Spiral-Form Earrings," American Journal of Archaeology, vol. 74, no. 1, 1970, p. 38, pl. 10, fig. 6.

J.N. Coldstream, Geometric Greece, New York, 1977, pp. 126, 139, n. 51. R.A. Higgins, Greek and Roman Jewellery, second edition, London, 1980, p. 98, pl. 14d.

B. Deppert-Lippitz, Griechischer Goldschmuck, Mainz am Rhein, 1985, p. 74. S. Langdon, ed., From Pasture to Polis: Art in the Age of Homer, Columbia, 1993, p. 71.

Only a small number of related gold earrings dating to the Geometric period are known. All are thought to have been made in Attica, and due to the similarity of the granulation style seen on several contemporary plaques and earrings found at Eleusis, the production center has been assigned to an “Eleusis school” (see Higgins, op. cit., 1969, p. 148). This pair is each composed of a stout rod, octagonal in section, coiled into a spiral and joined at one end to a large disk and at the other in a biconical element with a rectangular extension. The disk was once centered by an inlay, perhaps of either rock crystal, glass or amber, and the inlay collar is encircled by bands of granulation. Framing the inlay is a broad band of double arcades in granulation, with further bands of granulation at the rim. The reverse has a web pattern at the join of the rod, while each end of the rod has granulated triangles and bands. The biconical element has two opposing triangular cloisons, once inlaid, on the obverse, framed by a granulated meander pattern, with other granulated geometric ornament on the reverse. Both sides of the rectangular extension were also once inlaid.

PROPERTY FROM A SWISS FAMILY COLLECTION 51

A GREEK GOLD STRAP NECKLACE

HELLENISTIC PERIOD, CIRCA LATE 4TH CENTURY B.C.

9Ω in. (24.1 cm.) long

$20,000-30,000

PROVENANCE:

Ernst Kofler-Truniger (1903-1990) and Marthe Kofler-Truniger (1918-1999), Luzern, acquired by 1960 (Inv. no. K 728 X).

Private Collection, Luzern, acquired from the above circa 1974; thence by continuous descent to the current owner.

EXHIBITED:

Basel, Kunsthalle, Meisterwerke griechischer Kunst, 19 June-13 September 1960.

Zurich, Kunsthaus, Sammlung E. und M. Kofler-Truniger, Luzern, 7 June-2 August 1964.

Museum of Fine Arts, Boston; The Brooklyn Museum; Richmond, The Virginia Museum of Fine Arts, Greek Gold: Jewelry from the Age of Alexander, 22 November 1965-1 May 1966.

PUBLISHED:

K. Schefold, Meisterwerke griechischer Kunst, Basel and Stuttgart, 1960, pp. 310-312, no. 573.

Sammlung E. und M. Kofler-Truniger, Luzern, Zurich, 1964, p. 41, no. 393, pl. 30. H. Hoffmann and P.F. Davidson, Greek Gold: Jewelry from the Age of Alexander, Boston, 1965, pp. 115-116, no. 35.

The strap necklace with beech-nut pendants along its length was one of the most popular necklace types beginning in the late 4th century B.C. Related examples have been found throughout the Greek world, including at Corinth (G.R. Davidson, Corinth: Results of Excavations conducted by The American School of Classical Studies at Athens, vol. XII, The Minor Objects, pl. 109) in Macedonia, at Kyme (Asia Minor) and on the northern coast of the Black Sea (D. Williams and J. Ogden, Greek Gold Jewellery of the Classical World, nos. 30, 53, & 106). Similar necklaces are painted on the bodies of black-glazed pottery (see for example the Attic calyx-krater, no. 118 in B. DeppertLippitz, Griechischer Goldschmuck). The present example has a strap of interlinked loop-in-loop chains supporting 54 beech-nut pendants, each suspended from a rosette joined to the lower edge of the strap. Each end of the hook-and-loop closure is adorned with a palmette.

PROPERTY FROM A SWISS FAMILY COLLECTION

A GREEK GOLD AND GLASS FINGER RING WITH APHRODITE

HELLENISTIC PERIOD, CIRCA 3RD CENTURY B.C.

1º in. (3.1 cm.) wide

$8,000-12,000

PROVENANCE:

Édouard Guilhou, Paris, acquired prior to 1912; thence by descent. Catalogue of the Superb Collection of Rings formed by the late Monsieur E. Guilhou of Paris, Sotheby's, London, 9-12 November 1937, lot 183. Grosse Kunstauktion in Luzern, Galerie Fischer, Luzern, 17-21 June 1952, lot 858.

Ernst Kofler-Truniger (1903-1990) and Marthe Kofler-Truniger (1918-1999), Luzern, acquired from the above (Inv. no. K 695 D).

Private Collection, Luzern, acquired from the above circa 1974; thence by continuous descent to the current owner.

PUBLISHED:

S. de Ricci, Catalogue of a collection of ancient rings formed by the late E. Guilhou, Paris, 1912, no. 119, pl. 3.

PROPERTY FROM A SWISS FAMILY COLLECTION 53

A PAIR OF GREEK GOLD AND ENAMEL EARRINGS

MAGNA GRAECIA, HELLENISTIC PERIOD, CIRCA EARLY 2ND CENTURY B.C.

Each: 1¡ in. (3.4 cm.) long (2)

$10,000-15,000

PROVENANCE:

with Dr. Jacob Hirsch (1874-1955), New York. Ernst Kofler-Truniger (1903-1990) and Marthe Kofler-Truniger (1918-1999), Luzern, acquired from the above by 1955 (Inv. no. K 731 F).

Private Collection, Luzern, acquired from the above circa 1974; thence by continuous descent to the current owner.

EXHIBITED:

Basel, Kunsthalle, Meisterwerke griechischer Kunst, 19 June-13 September 1960.

Zurich, Kunsthaus, Sammlung E. und M. Kofler-Truniger, Luzern, 7 June-2 August 1964.

PUBLISHED:

K. Schefold, Meisterwerke griechischer Kunst, Basel and Stuttgart, 1960, p. 314, 317, no. 591.

Sammlung E. und M. Kofler-Truniger, Luzern, Zurich, 1964, p. 43, no. 408, pl. 31.

Each earring is composed of a disk centered by a sheet rosette with a granule at the center, encircled by petals rimmed with filigree and framed by rings of granulation and filigree. Above are spiraling tendrils and a blossom of filigree and granulation, forming a stylized Isis crown, with a hooked ear wire on the reverse. Suspended from the disks is a pendant in the form of an eagle holding Zeus’ thunderbolt within its talons (only one preserved). The eagle’s body is ornamented with dense granulation, the spread wings with filigree and granulation. The eagle is flanked by double tassels of globular plain beads interspersed with granulated rings, with granulated clusters at the tips and a sheet disk at the top. To the eagle’s left is a smaller bird adorned with green and white enamel.

This pair belongs to a group of Hellenistic earrings with bird pendants ornamented with dense granulation, all from South Italy and Sicily. For an example in the Museo Archeologico Regionale Paolo Orsi in Syracuse, see pl. XXVII in B. Deppert-Lippitz, Griechischer Goldschmuck, and for two pairs from the Rosenberg Collection, see M. Rosenberg, Geschichte der Goldschmiedekunst auf Technischer Grundlage, Abteilung: Granulation, figs. 26 & 27. For related South Italian earrings surmounted by the Isis crown, see E.M. De Juliis, Gli Ori di Taranto in Età Ellenistica, nos. 79, 80, 82 and 83.

PROPERTY FROM A SWISS FAMILY COLLECTION

AN EGYPTIAN AMETHYST BEAD NECKLACE

ROMAN PERIOD, CIRCA 1ST CENTURY B.C.-1ST CENTURY A.D. 14 in. (35.5 cm.) long

$6,000-8,000

PROVENANCE:

Ernst Kofler-Truniger (1903-1990) and Marthe Kofler-Truniger (1918-1999), Luzern (Inv. no. K 659).

Private Collection, Luzern, acquired from the above circa 1974; thence by continuous descent to the current owner.

PROPERTY FROM A SWISS FAMILY COLLECTION

TWO ROMAN GOLD FINGER RINGS AND A ROMAN GOLD AND CARNELIAN FINGER RING

CIRCA 1ST-4TH CENTURY A.D.

Including one with two heads (circa 3rd-4th century); one with a two-nozzle lamp (circa 4th century); and one with a sphinx intaglio (circa 1st century).

√ in. (2.2 cm.) long (finger ring with two heads) (3)

$5,000-7,000

PROVENANCE:

Ernst Kofler-Truniger (1903-1990) and Marthe Kofler-Truniger (1918-1999), Luzern (Inv. nos. K 695 U, K 695 C and K 695 Y).

Private Collection, Luzern, acquired from the above circa 1974; thence by continuous descent to the current owner.

For another ring with a two-nozzle lamp on the bezel, see no. Q3971.bis in D.M. Bailey, Catalogue of the Lamps in the British Museum.

PROPERTY FROM A SWISS FAMILY COLLECTION 56

AN EGYPTIAN GOLD BUST OF

SERAPIS

ROMAN PERIOD, CIRCA 2ND CENTURY A.D.

2¬ in. (6.6 cm.) high

$15,000-25,000

PROVENANCE:

Ernst Kofler-Truniger (1903-1990) and Marthe Kofler-Truniger (1918-1999), Luzern (Inv. no. K 640).

Private Collection, Luzern, acquired from the above circa 1974; thence by continuous descent to the current owner.

This gold bust of Serapis is unusual for its relatively large scale. While images of him are plentiful in every medium during Roman times, very few large-scale examples are known in precious metal, which likely were offered as a dedication to the god, served in a household shrine or were incorporated into jewelry. For a gold Serapis attached to a diadem, discovered at Douch in the Kharga Oasis, see fig. 3 in M. Reddé, “Le trésor de Douch,” Comptes rendus des séances de l'Académie des Inscriptions et Belles-Lettres, April-June 1989.

The Serapis presented here is adorned with three collar-set gems, one of amethyst, carnelian and probably sapphire, and a gold motif impressed into black enamel on the front of the modius (all likely modern replacements). The back of the bust is engraved with two confronting uraei, their heads both surmounted by a solar disk. The cobras are framed by foliate motifs. Above and below the engraved scene is a perforation reinforced by a ring of filigree wire.

PROPERTY FROM A SWISS FAMILY COLLECTION 57

TWO

EGYPTIAN

GOLD AND GLASS BRACELETS

ROMAN PERIOD, CIRCA 2ND-3RD CENTURY A.D.

Each: 2 in. (5 cm.) wide (2)

$4,000-6,000

PROVENANCE:

Ernst Kofler-Truniger (1903-1990) and Marthe Kofler-Truniger (1918-1999), Luzern (Inv. no. K 720 B)

Private Collection, Luzern, acquired from the above circa 1974; thence by continuous descent to the current owner.

Both bracelets are formed from a stout, hollow tube bent into a hoop. One has separately-made ribbed terminals soldered in place, while the other has grooves cut directly onto the ends of the hoop. Both have loops soldered to the ends, which are hinged to an oval box bezel, closed at one end with a removable pin. Centered within each bezel is a conical glass gem imitating the natural layers of sardonyx. Related pairs are known from throughout the Roman Empire, but many have been found in Egypt. For a discussion of the type, see J. Ogden, Gold Jewellery in Ptolemaic, Roman and Byzantine Egypt, pp. 242-244 and figs. 475-478.

PROPERTY FROM A SWISS FAMILY COLLECTION

58

A ROMAN GOLD NECKLACE

CIRCA 3RD CENTURY A.D.

14Ω in. (36.8 cm.) long

$8,000-12,000

PROVENANCE:

Ludwig Marx, Mainz or Albert Sieck, Munich.

Katalog der Sammlungen Ludwig Marx - Mainz, Albert Sieck - München, Dr. F.X. Weizinger & Co., Munich, 28-31 October 1918, lot 958, pl. 32. Kunstauktion in Luzern, Galerie Fischer, Luzern, 17 June 1950, lot 804. Ernst Kofler-Truniger (1903-1990) and Marthe Kofler-Truniger (1918-1999), Luzern, acquired from the above (Inv. no. K 729).

Private Collection, Luzern, acquired from the above circa 1974; thence by continuous descent to the current owner.

EXHIBITED:

Zurich, Kunsthaus, Kunst und Leben der Etrusker, January-March 1955. Zurich, Kunsthaus, Sammlung E. und M. Kofler-Truniger, Luzern, 7 June-2 August 1964.

PUBLISHED:

H. and I. Jucker, Kunst und Leben der Etrusker, Zurich, 1955, no. 422. Sammlung E. und M. Kofler-Truniger, Luzern, Zurich, 1964, p. 45, no. 439, pl. 32, no. 429.

J.M. Ogden, Gold Jewellery in Ptolemaic, Roman and Byzantine Egypt (Phd. diss., University of Durham, 1990), vol. 1, p. 192, n. 71.

This necklace is composed of 25 embossed elements featuring addorsed birds, perhaps ducks. They are joined by a loop-in-loop chain affixed to the back. The hook-and-loop closure has triangular terminals each embossed with a cantharus. This type of necklace exists throughout the Roman Empire; some examples were found in Egypt, while others were excavated as far afield as Taxila, in modern-day Pakistan (see Ogden, op. cit., p. 192, fig. 319 for an example in a private collection and fig. 320 for one at Dumbarton Oaks).

PROPERTY FROM A SWISS FAMILY COLLECTION

A VISIGOTHIC GARNET AND GLASS-INLAID GILT

BRONZE BELT BUCKLE

CIRCA 6TH CENTURY A.D.

3¿ in. (7.9 cm.) wide (rectangular plate) (2)

$10,000-15,000

PROVENANCE: Ernst Kofler-Truniger (1903-1990) and Marthe Kofler-Truniger (1918-1999), Luzern, acquired by 1955 (Inv. nos. K 723 H and K 723 J). Private Collection, Luzern, acquired from the above circa 1974; thence by continuous descent to the current owner.

EXHIBITED: Zurich, Kunsthaus, Sammlung E. und M. Kofler-Truniger, Luzern, 7 June-2 August 1964.

PUBLISHED: Sammlung E. und M. Kofler-Truniger, Luzern, Zurich, 1964, p. 64, no 608e, pl. 49.

For a similar example, see the one in The Metropolitan Museum of Art, no. 55 in C.T. Little, ed., The Art of Medieval Spain, A.D. 500–1200.

A FRANKISH GILT SILVER AND GARNET HAIR PIN WITH AN EAGLE TERMINAL CIRCA 6TH CENTURY A.D.

Together with a Frankish gold and garnet eagle head fitting (circa 5th-6th century A.D.).

6¬ in. (16.8 cm.) high (2)

$4,000-6,500

PROVENANCE:

Hair pin: Art Market, Paris.

Ernst Kofler-Truniger (1903-1990) and Marthe Kofler-Truniger (1918-1999), Luzern, acquired from the above, by 1964 (Inv. no. K 723 Q).

Private Collection, Luzern, acquired from the above circa 1974; thence by continuous descent to the current owner.

Eagle head fitting:

Dr. Leopold Seligmann, Cologne.

Die Sammlung Dr. Leopold Seligmann, Köln, Hermann Ball and Paul Graupe, Berlin, 28-29 April, 1930, lot 61.

Ernst Kofler-Truniger (1903-1990) and Marthe Kofler-Truniger (1918-1999), Lucerne (Inv. no. K 723 D).

Private Collection, Luzern, acquired from the above circa 1974; thence by continuous descent to the current owner.

EXHIBITED:

Zurich, Kunsthaus, Sammlung E. und M. Kofler-Truniger, Luzern, 7 June-2 August 1964 (hair pin).

PUBLISHED:

Sammlung E. und M. Kofler-Truniger, Luzern, Zurich, 1964, p. 64, no. 608g, pl. 50 (hair pin).

For a related Frankish silver hair pin in the Walters Art Museum, see no. 373 in A. Garside, ed., Jewelry, Ancient to Modern

PROPERTY FROM A SWISS FAMILY COLLECTION 61

FIVE BYZANTINE GOLD JEWELRY ELEMENTS

CIRCA LATE 6TH-12TH CENTURY A.D.

Including a circular pendant with St. Menas and two camels (circa late 6th-mid 8th century); a circular necklace clasp-plate with an embossed cross (circa 7th-8th century); and three glass-inlaid cross pendants, circa 8th century (rightmost); circa 9th-11th century (leftmost); and circa 12th century (lower left). 1æ in. (4.5 cm.) long (necklace clasp-plate with embossed cross) (5)

$8,000-12,000

PROVENANCE:

Glass-inlaid cross pendant (rightmost): with Elie Bustros, Beirut.

Glass-inlaid cross pendant (leftmost): with Fouad Alouf, Beirut.

All: Ernst Kofler-Truniger (1903-1990) and Marthe Kofler-Truniger (1918-1999), Luzern (Inv. nos. K. 726 W, K 726 V, K 728 D, K 726 M and K 717 B). Private Collection, Luzern, acquired from the above circa 1974; thence by continuous descent to the current owner.

PROPERTY FROM A FRENCH PRIVATE COLLECTION

62

AN ASSYRIAN GYPSUM RELIEF FRAGMENT

REIGN OF SENNACHERIB, CIRCA 705-681 B.C.

14√ in. (37.7 cm.) high

$60,000-80,000

PROVENANCE:

From the Southwest Palace, Nineveh, probably either Room XXXVIII or LX. Lionel Désiré-Marie-René-François de Moustier (1817-1869), the French ambassador to Constantinople from 1861-1866; thence by continuous descent to Roland Marquis de Moustier (1909-2001), Château de Bournel, Cubry, France.

Private Collection, France, acquired from the above, circa 1948; thence by descent to the current owner.

PUBLISHED:

Drawn in-situ by C. D. Hodder (1832-1926) prior to 1860 (preserved in the British Museum, inv. no. 2007,6024.512; his album Or.Dr.VI,9).

R.D. Barnett, E. Bleibtreu and G. Turner, Sculptures from the Southwest Palace of Sennacherib at Nineveh, London, 1998, vol. I, p. 108, no. 455; vol. II, pl. 365. J.M. Russell, “Reviewed Work(s): Sculptures from the Southwest Palace of Sennacherib at Nineveh by Richard D. Barnett, Erika Bleibtreu and Geoffrey Turner,“ American Journal of Archaeology, vol. 104, no. 3, July 2000, p. 612. G. Turner (J.M. Russell, ed.), The British Museum's Excavations at Nineveh, 1846-1855, Leiden, 2021, pp. 384-385, fig. 4.15.

The present relief derives from Sennacherib’s (r. 704-681 B.C.) Southwest Palace, which he named “The Palace Without Rival.” It contained more than seventy rooms, and many of the walls of the public areas were decorated in relief with narratives illustrating "achievements of the various kings in war, in the hunt and in public works," serving as a visual reminder of the king's power (see J.E. Curtis and J.E. Reade, eds., Art and Empire: Treasures from Assyria in the British Museum, p. 41). This relief derives from a larger slab showing a river full of fish with Assyrian spearmen ascending a mountain above. Each warrior carries a large, convex shield on his back, as shown here. Typical of Assyrian artistic convention are the scales, which represent the mountainous hillside. A fragment likely from the same scene showing a cavalryman leading his horse through a river is now in the Metropolitan Museum of Art (see pl. 366 in R.D. Barnett, et. al., op. cit.).

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

63

A GREEK BRONZE APULOCORINTHIAN HELMET

MAGNA GRAECIA, LATE ARCHAIC TO EARLY CLASSICAL PERIOD, CIRCA 525-475 B.C.

11æ in. (29.8 cm.) long

$30,000-50,000

PROVENANCE:

Art Market, acquired in London, circa 1991. Antiquities, Sotheby's, New York, 12 June 2001, lot 70.

PUBLISHED:

“Apulo-Corinthian Helmets,” (online article, sas. upenn.edu).

Also called Pseudo-Corinthian, this helmet was worn cap-like on top of the head, rather than enclosing the head in the manner of the Corinthian predecessor. The cheek-pieces of this new variant no longer serve their original purpose, as they now angle forward to function as a visor, and the nose-guard and eye-openings are now purely decorative.

This elegant example features eyebrows in raised relief and an engraved chevron pattern around the perimeter. The cheek-guards are adorned with engraved boars and there are palmettes next to each eye. This helmet is characteristic of A. Bottini's Type B, all of which feature open eyes, the nose in relief and the cheek-guards joined by one or more bridges (see "Gli Elmi Apulo-Corinzi: Proposta di Classificazione," AION: Annali di archeologia e storia antica, vol. 12, 1990, pp. 23-37). For a related example, see fig. 6, p. 113, in Bottini, et al., eds., Antike Helme

PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE COLLECTION

A CELTIBERIAN BRONZE ALPANSEQUE-ALMALUEZ HELMET

CIRCA 5TH CENTURY B.C.

6Ω in. (16.5 cm.) high

$8,000-12,000

PROVENANCE:

Private Collection, New York, acquired by 1980. with Ariadne Galleries, New York, 1992.

Acquired by the current owner from the above, 2015.

EXHIBITED:

Dallas, Southern Methodist University, The Meadows Museum, Spain: A Heritage Rediscovered, 11 September- 9 November 1992.

PUBLISHED:

F. Burillo, "Celtiberian Art," in J. Rosasco, ed., Spain: A Heritage Rediscovered, 3000 BC-AD 711, New York 1992, no. 74.

M. Barril, “Cascos hallados en necrópolis celtibéricas conservados en el Museo Arqueológico Nacional de Madrid,” Gladius, vol. 23, 2003, p. 51, fig. 32.

R. Graells i Fabregat, A.J. Lorrio and F. Quesada, Cascos Hispano-calcídicos: Símbolo de las élites celtibéricas, Mainz, 2014, figs. 140-141, pp. 100, 102, 104, 153, 181, 187, 253, 268 and 283; n. 703, p. 203; n. 855, p. 234; and n. 916, p. 243.

R. Graells i Fabregat and A.J. Lorrio, “Cascos celtibéricos,” in R.G. Villaescusa and Graells i Fabregat, eds., El retorno de los cascos celtibéricos de Aratis: Un relato inacabado, Aragón, 2021, pp. 76, 78, 81 and 92.

The Alpanseque-Almaluez helmet type is a local production by the Celtiberians, an ethnic group that settled in Spain. The type is characterized by a hemispherical bowl fashioned out of thin bronze sheet. It is constructed from two sections and secured with iron at the central seam across the crown. The simplicity of form contrasts with the elaborate ornamentation adorning the borders and bowl. As seen on the present example, the extensive embossed elements include a band that encircles the lower edge and others that divide the bowl into quadrants, as well as bands of concentric circles (perhaps a solar motif) formed of lines and dots above bands of humans in movement – with arms raised and legs spread with the right bent and raised. The present example is extremely rare, the only known example that has a cut-out face plate and remnants of additional, separatelypinned elements (likely horns or plume-holders), possibly marking it as a transition helmet to the later Aguilar type (see pp. 71- 76 in Graells i Fabregat and A. J Lorrio Alvarado, op. cit.).

A ROMAN COPPER ALLOY MASK FROM A CAVALRY SPORT OR PARADE HELMET

CIRCA LATE 2ND-MID 3RD CENTURY A.D.

7 in. (17.8 cm.) high

$12,000-18,000

PROVENANCE: with Mathias Komor (1909-1984), New York (Inv. no. E383)

Arthur (1928-1986) and Elaine Lustig (1927-2016) Cohen, New York, acquired from the above, 1973; thence by descent.

Property from the Estate of Elaine Lustig Cohen; Ancient Sculpture & Works of Art, Sotheby's, London, 29 November 2017, lot 3. with Ariadne Galleries, New York and London, acquired from the above. Acquired by the current owner from the above, 2018.

This mask, of the "Amazon" type, is closely related to a number of examples discovered in Straubing, Germany (see pp. 213-214 in R. D'Amato and A.E. Negin, Decorated Roman Armour: From the Age of the Kings to the Death of Justinian the Great) When complete, the mask featured a high, conical hairstyle composed of small ringlets and was attached to the helmet by means of a hinge at the top and two rings on either side that allowed the lower part of the mask to be fixed to the bowl through a leather strap across the neck-guard. It is thought that these masks played a role in theatrical Amazonomachy events, which were popular among Roman soldiers.

PROPERTY FROM A NEW YORK PRIVATE COLLECTION

AN OVER-LIFESIZED ROMAN MARBLE HEAD OF APOLLO

CIRCA 1ST CENTURY B.C.-1ST CENTURY A.D.

18 in. (45.8 cm.) high

$400,000-600,000

PROVENANCE:

with K.J. Hewett (1919-1994), London. Agatha (1924-2015) and Charles (1919-2003) Sadler, London, acquired from the above, 1965-1968.

The Sadler Collection, Sotheby's, London, 31 October 2003, lot 51. Private Collection, California, acquired from the above.

The Property of a California Private Collector; Antiquities, Christie’s, New York, 4 June 2015, lot 84.

This colossal head of Apollo is a Roman creation based on a Greek original of circa 480 to 450 B.C. In style, it recalls the Kassel Apollo, named for the best replica of the type now in the Kassel Museum, traditionally associated with the sculptors Pheidias or Kalamis (see B.S. Ridgway, Fifth Century Styles in Greek Sculpture, p. 184). While both share many attributes, including similar facial features and center-parted hair above a spade-shaped forehead, the present examples differs from the Kassell Apollo in the arrangement of hair at the back. As such, this Apollo is probably a Roman creation incorporating traits from Greek sculpture rather than a direct copy of a now-lost Greek original. For the Kassel Apollo, see no. 295 in W. Lambrinudakis, et al., “Apollon,” LIMC, vol. II. For a version of the head in Naples from the Farnese Collection, which shares with this colossal head a frontal placement on a broad neck, see E. M. Schmidt, “Der Kasseler Apollo und seine Repliken,” Antike Plastik, 1966, no. 14, pls. 36-37.

Charles and Agatha Sadler together built an eclectic collection of antiquities and ancient jewelry from across the ancient Mediterranean and Near East from 1954-1992, which was combined with later sculpture and paintings from the Renaissance. The Sadlers filled their home with their treasures, peppering them on every available space, fulfilling the notion of truly living with their objects.

The Sadlers were advised by the distinguished British scholar and dealer John Hewett (1919-1994), who played an active role in shaping many collections of Antiquities and Tribal art from the 1950s-1980s. Besides the Sadlers, Hewett was known for selling to the international elite, including Sir Robert and Lisa Sainsbury, Nelson A. Rockefeller, and George Ortiz, as well as institutions such as the British Museum and The Metropolitan Museum of Art.

PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE COLLECTION

67

A ROMAN MARBLE HEAD OF A BEARDED OLD MAN

CIRCA 1ST CENTURY B.C.-1ST CENTURY A.D.

6¿ in. (15.5 cm.) high

$8,000-12,000

PROVENANCE:

Art Market, Rome, by 1921 (photograph recorded in the Deutsches Archäologisches Instituts, Abteilung Rom Fotothek, no. 21.670, neg. no. 7633).

Dr. Arnold Ruesch (1882-1929), Zurich; thence by continuous descent.

Sammlung A. Ruesch, Zürich, Galerie Fischer, Luzern, 1-2 September 1936, lot 208.

The Property of the Late Dr. Arnold Ruesch; Antiquities, Christie's, London, 2 May 2013, lot 107. with Ariadne Galleries, New York and London, acquired from the above (Ariadne Galleries, 2014, no. 14).

Acquired by the current owner from the above, 2015.

This sensitive study of an old man depicts him with his neck dramatically angled forward. His grizzled face has sunken cheeks, sagging flesh and protruding cheek bones and brow ridges. He has a short, unruly beard and a thick mustache, his open mouth revealing two upper teeth. His abundant hair is summarily rendered, with the top of his head once finished in a separate section, now-missing.

For the position of the head, compare the bronze figure of an old laborer, fig. 69 in S.B. Matheson and J.J. Pollitt, Old Age in Greek and Roman Art. The authors inform that “In some works of art, old men and women appear as laborers or disadvantaged people with bent backs and ragged clothing. Such images can be of high quality and reveal deep sympathy for the subjects by depicting them with expressive poses and gestures, and with carefully rendered signs of age — the weight of the world seems to be on their shoulders. These figures have a presence, a pathos, that evokes empathy in viewers..." (op. cit., p. 119).

A ROMAN MARBLE HEAD OF A DEITY

CIRCA 1ST CENTURY A.D.

9Ω in. (24.1 cm.) high

$7,000-9,000

PROVENANCE:

Private Collection, acquired by 1973 . The Ophiuchus Collection, New York and London, 1982-2010.

with Oliver Forge and Brendan Lynch, London, 2010 (Antiquities from the Ophiuchus Collection, no. 9).

with Ariadne Galleries, New York and London. Acquired by the current owner from the above, 2015.

PUBLISHED:

I. Love, Ophiuchus Collection, Florence, 1989, pp. 52-54, no. 8.

A ROMAN MARBLE ARCHAISTIC HEAD OF A DEITY

CIRCA 1ST CENTURY A.D.

10 in. (25.4 cm.) high

$20,000-30,000

PROVENANCE: with Acanthus Gallery, New York. with Nina Borowski, Paris, acquired from the above.

Ilus W. Davis (1917-1996), Kansas City, MO., mayor from 1963-1971, acquired from the above, 1987. Auktion 8, Cahn Auktionen AG, Basel, 9 November 2013, lot 260. with Ariadne Galleries, New York and London, acquired from the above (Ariadne Galleries, 2014, no. 12).

Acquired by the current owner from the above, 2015.

For a similar example of a youthful archaistic Dionysos in the Torlonia Collection, see fig. 60 in M.D. Fullerton, The Archaistic Style in Roman Statuary.

A ROMAN MARBLE PORTRAIT HEAD OF A MAN

FLAVIAN PERIOD, CIRCA 80-100 A.D. 22 in. (55.8 cm.) high

$70,000-90,000

PROVENANCE:

Probably acquired by Edwin Lascelles, 1st Baron Harewood (17131795), Harewood House, West Yorkshire, during his Grand Tour in 1738; thence by continuous descent to George Henry Hubert Lascelles, 7th Earl of Harewood (1923-2011), Harewood House, West Yorkshire.

Harewood: Collecting in the Royal Tradition, Christie's, London, 5 December 2012, lot 505.

with Ariadne Galleries, New York and London, acquired from the above (Ariadne Galleries, 2014, no. 4).

Acquired by the current owner from the above, 2015.

PUBLISHED:

D. Boschung and H. von Hesberg, Die antiken Skulpturen in Newby Hall sowie in anderen Sammlungen in Yorkshire, Wiesbaden, 2007, p. 120, no. Ha2, pls. 89, 4 and 91. Arachne Online Database no. 1067348.

This fine portrait of an unknown, youthful man is depicted with his head turned to his left. He has a pointed chin, a closed, bow-shaped mouth and a prominent nose. His wide, almond-shaped unarticulated eyes feature thick upper lids beneath arching brows. His smooth beard is indicated by short incised lines. The hair undulates in waves over the top of his head, with thick locks forming a fringe across his forehead; at the back, it is more summarily rendered.

This portrait is close in style, especially in the treatment of the hair, to another example in New York, no. 47 in P. Zanker, Roman Portraits: Sculptures in Stone and Bronze The Metropolitan Museum of Art. Zanker (op. cit., p. 47) suggests that the hair shows the influence of early portraits of the Emperor Domitian, such as the example in Palazzo dei Conservatori (no. 145 in D.E.E. Kleiner, Roman Sculpture).

PROPERTY FROM THE ESTATE OF BARBARA AND BERNARD BERGREEN

•71

A ROMAN GLASS LIDDED CINERARY URN

CIRCA MID 1ST-2ND CENTURY A.D.

10¬ in. (2.9 cm.) high

$5,000-7,000

PROVENANCE:

Art Market, Paris. with Pierre Apraxine (1934-2023), New York, acquired from the above. Bernard (1923-2023) and Barbara (1937-2021) Bergreen, New York, acquired from the above, 1983; thence by descent to the current owners.

PUBLISHED:

J. Allen, “Past Perfect: Bernard and Barbara Bergreen on Fifth Avenue,” Architectural Digest, November 1987, p. 196.

PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE COLLECTION

A ROMAN CHALCEDONY HEAD OF A BEARDED MAN

CIRCA 1ST-2ND CENTURY A.D.

√ in. (2.2 cm.) high

$6,000-8,000

PROVENANCE:

Fahim Joseph Kouchakji (1886-1976), New York; thence by descent.

Property from the Collection of the Late Fahim Kouchakji; Antiquities, Sotheby Parke Bernet, New York, 21 May 1977, lot 184.

Art Market, Geneva.

Antiquities, Christie's, New York, 30 May 1997, lot 164.

with Robin Symes (1939-2023), London, acquired from the above.

Private Collection, U.K.

Art Market, London. with Ariadne Galleries, New York and London, acquired from the above.

Acquired by the current owner from the above, 2016.

PUBLISHED:

D.M. Bailey, "A Chalcedony Barbarian," in M. Henig and D. Plantzos, eds., Classicism to Neo-Classicism: Essays Dedicated to Gertrud Seidmann, Oxford, 1999, p. 80.

E. Gagetti, Preziose sculture di età ellenistica e romana, Milan, 2006, pp. 402-403, no. H5, pl. LXIII.

D. Del Bufalo, Precious Portraits: Small Precious Stone Sculptures of Imperial Rome, Turin, 2020, p. 156, no. 510.

This head of a bearded man is a powerful expression of small-scale lapidary art. The subject is depicted with a furrowed brow, a full beard and moustache and is shown wearing a mantle pulled up over the top of his head with curling locks of hair escaping in front and arranged across his forehead. While Bailey (op. cit.) thought this head depicts a barbarian, it does not conform to any known types.

ANOTHER PROPERTY

A ROMAN MARBLE ARCHAISTIC HEAD OF A GODDESS

CIRCA 1ST-EARLY 2ND CENTURY A.D. 12 in. (30.4 cm.) high

$150,000-250,000

PROVENANCE: Karl Wittgenstein (1847-1913), Vienna; thence by descent to his daughter, Margaret WittgensteinStonborough (1882-1958), Vienna; thence by continuous descent within the family. Property Formerly in the Collection of Karl Wittgenstein; Antiquities, Christie’s, New York, 25 October 2016, lot 97.

PUBLISHED:

P. Wijdeveld, Ludwig Wittgenstein: Architect, Amsterdam, 2000, p. 39.

For a related archaistic portrait of a goddess with similar spiral-corkscrew curls framing the face, perhaps representing the goddess Isis, see no. 185 in A. Giuliano, ed., Museo Nazionale Romano, vol. I, pt. 1. In the absence of other preserved attributes, however, the identity of this enigmatic goddess cannot easily be ascertained.

The head was originally in the collection of Karl Wittgenstein (1847-1913), Vienna, and inherited by his daughter, Margaret Wittgenstein-Stonborough. Archival images from 1931 show the present head on display in her home, Haus Wittegenstein, which she commissioned in 1926. Her home was confiscated by the Nazis during World War II for use as a hospital, and then during the post-war occupation by the Russians it served as the barracks of a cavalry unit. Many assets, including this head, were preserved for the family by a loyal employee who buried objects of value in the basement, only to be returned to the family after the home was restituted. Haus Wittgenstein remained in the family until 1968; it is now used by the Bulgarian Cultural Institute.

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

74

AN OVER-LIFESIZED ROMAN MARBLE BUST OF A BEARDED DEITY

CIRCA LATE 1ST-EARLY 2ND CENTURY A.D. 17¬ in. (44.7 cm.) high

$400,000-600,000

PROVENANCE:

Evert Musch (1918-2007), painter and illustrator, The Netherlands, acquired in the early 1960s. Property from Evert Musch; Kunst & Antiekveiling 105, Veilinghuis Omnia, Kolham/Hoogezand, 10 December 2013, lot 385.

Private Collection, The Netherlands, acquired from the above.

Property of a European Private Collector; Antiquities, Christie's, New York, 4 June 2015, lot 86.

This large and powerful bust, perhaps representing a river god, depicts the deity with a massive beard formed of thick, serpentine locks - incised and deeply drilled - and long, wavy, center-parted hair pulled back and secured by a fillet and tied at the back of the head. According to C. Weiss (p. 139 in LIMC, vol. IV), river gods (fluvii), “ranked among the most important nature deities. Their role as life-giving…made them the object of worship both as individual local entities and as overarching river gods. Cults to these gods were often associated with agriculture, animal husbandry, natural borders, harbors, or as transportation routes, and thus held regional significance.” In Roman art, the most frequently-depicted type is the reclining figure, often shown holding a cornucopia and in the presence of other attributes and symbolic features unique to their local contexts (see Weiss, op. cit., p. 148). In the present example, the shoulders, with the proper right higher than left, indicates that this bust may originate from that context.

For related and complete examples of river gods, see the personifications of the Tiber, nos. 15, 17, and 18 in R. Mambella, "Tiberis, Tiberinus," LIMC, vol. VIII, and for other rivers, nos. 45 and 46 in Weiss, op. cit.

PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE COLLECTION 75

A ROMAN BRONZE VENUS

CIRCA 2ND CENTURY A.D.

10æ in. (27.3 cm.) high $25,000-35,000

PROVENANCE:

Said to be from Tartus.

Louis de Clercq (1836-1901), Paris, acquired in 1868; thence by descent.

with Ariadne Galleries, New York and London. Acquired by the current owner from the above, 2015.

PUBLISHED:

A. de Ridder, Collection de Clercq: Catalogue, vol. 3: Les bronzes, Paris, 1905, pp. 70-71, pl. XVII, no. 94.

S. Reinach, Répertoire de la statuaire grecque et romaine, vol. 4, Paris, 1910, p. 213, no. 3.

M.-O. Jentel, "Aphrodite (In Peripheria Orientali)," Lexicon Iconographicum Mythologiae Classicae, vol. 2, pt. 1, Zurich, 1984, p. 160, no. 143.

P. Pingitzer, “Aphrodite mit Handgirlande. Bronzestatuetten mit oft verkanntem Attribut,” in K. Koller, et al., eds., Stein auf Stein: Festschrift für Hilke Thür zum 80. Geburtstag, Graz, 2021, p. 195, no. 18.

Small-scale bronzes of Venus were placed in lararia (household shrines) across the Roman empire for private devotional use within the domestic sphere. They also functioned as votive gifts to the goddess dedicated in her sanctuaries (see p. 206 in C. Kondoleon and P.C. Segal, eds., Aphrodite and the Gods of Love). In this example, Venus is depicted nude, wearing a foliate crown and holding a folded garland in her right hand (for a discussion of the attribute, see Pingitzer, op. cit.). For another bronze Venus with the same pose and attributes, see the group statue in the Getty Villa with the goddess chastising Eros, fig. 3 in Pingitzer, op. cit.

A ROMAN MARBLE HEAD OF ASCLEPIUS

CIRCA 2ND CENTURY A.D.

8¡ in. (21.3 cm.) high

$20,000-30,000

PROVENANCE:

with Ariadne Galleries, New York, 1987. Private Collection, New York, acquired from the above, 1990.

Property from a New York State Private Collection; Antiquities, Christie's, New York, 25 October 2016, lot 100.

with Ariadne Galleries, New York and London, acquired from the above.

Acquired by the current owner from the above, 2018.

For a similar representation of the god, see no. 47 in B. Holtzmann, "Asklepios," LIMC, vol II.

PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE COLLECTION

77

A ROMAN MARBLE CLIPEUS WITH A PORTRAIT BUST OF A YOUTH

CIRCA 2ND CENTURY A.D.

22 in. (55.8 cm.) diameter

$10,000-15,000

PROVENANCE:

David Sylvester (1924-2001), London, modern art critic and curator. The Property of David Sylvester Esq., C.B.E.; Antiquities, Sotheby's, London, 10 July 1990, lot 271.

Private Collection, U.K., 1990-2014. with Ariadne Galleries, New York and London, acquired from the above. Acquired by the current owner from the above, 2016.

PUBLISHED:

D. Del Bufalo, Precious Portraits: Small Precious Stone Sculptures of Imperial Rome, Turin, 2020, p. 57. pl VI.

Imagines clipeatae, or portraits on shields, were first placed in temples by victorious Roman generals to venerate their ancestors. The heroic associations of the form later proved popular in the private sphere, where they were used in the decoration of homes and family tombs as a means to honor the deceased (see N. Budrovic, “Framed and Fabulous: An Ancient Tondo Returns to View,” Getty Blog, 17 April 2018). In addition to freestanding examples cast in bronze or carved in marble, depictions of shield images were later widespread on sarcophagi during the 3rd and 4th centuries. On this clipeus, a young man with wavy hair is shown wearing a tunic and mantle; around the perimeter is an egg-and-dart pattern. For a similar example, see the portrait in Naples, Museo Archeologico Nazionale, pp. 184-185 in R. Winkes, Clipeata imago

A ROMAN MARBLE PORTRAIT BUST OF A WOMAN

ANTONINE PERIOD, CIRCA MID 2ND CENTURY A.D.

14º in. (36.1 cm.) high

$40,000-60,000

PROVENANCE:

Private Collection, London, 1970s. with V.C. Vecchi & Sons, London. Private Collection, Geneva, acquired from the above, 1977. with Ariadne Galleries, New York and London, acquired from the above, circa 2014. Acquired by the current owner from the above, 2017.

EXHIBITED:

Geneva, Musée d'Art et d'Histoire, Bronze et or: Visages de Marc Aurèle, empereur, capitaine, moraliste, 19 April-14 June 1996.

PUBLISHED:

J. Chamay, "Sculpture romaine: Le portrait et le relief historique," in M. Campagnolo, et al., eds., Bronze et or: Visages de Marc Aurèle, empereur, capitaine, moraliste, Geneva, 1996, p. 80

With her center-parted wavy hair cascading in undulating waves, framing her face and concealing most of her ears, the anonymous subject of this portrait fashioned herself after Empress Faustina Minor, wife of Emperor Marcus Aurelius. For a related portrait also with the attributes of Faustina, see the example in the Vatican Museums, W. Amelung, Die Sculpturen des Vaticanischen Museums, vol. I, pl. 78. Of note, the chignon on this portrait is hollow, perhaps indicating that it was finished in another material in antiquity.

A ROMAN MARBLE ASCLEPIUS

CIRCA LATE 2ND CENTURY A.D.

19æ in. (50.1 cm.) high

$40,000-60,000

PROVENANCE:

Janko/Yanko Aristarchi (1811-1897), also known as Iohannes Aristarchis, Baghdad and Berlin, Ottoman ambassador to Berlin. with Alexander Iolas, Athens and New York, acquired between 1950 and 1965, probably in New York or Paris. Private Collection, Europe, 1980-1982.

The Ophiuchus Collection, New York and London, 1982-2013. with Ariadne Galleries, New York and London, acquired by 2013 (Ariadne Galleries, 2014, no. 18).

Ancient Marbles: Classical Sculpture and Works of Art, Sotheby's, London, 13 June 2016, lot 23. with Ariadne Galleries, New York and London.

Acquired by the current owner from the above, 2017.

EXHIBITED:

London, Sotheby's, Classical Antiquities from Private Collections in Great Britain, 15-31 January 1986.

PUBLISHED:

S. Reinach, Répertoire de la statuaire grecque et romaine, vol. IV, Paris, 1924, p. 535, no. 1.

H. Dorsey, "All that Glitters is Gold," Vogue Magazine, December 1981, p. 296.

C. Picón, Classical Antiquities from Private Collections in Great Britain, London, 1986, p. 41, no. 44, pl. 8.

A. Filges, "Marmorstatuetten aus Kleinasien," Istanbuler Mitteilungen, vol. 49, 1999, p. 428, no. 20.

B. Freyer-Schauenburg, "Asklepios, die Buchrolle und das Ei. Zu einem Asklepiostorso auf Samos und weiteren Repliken des Typus Amelung," Il Mar Nero, vol. 8, special issue, 2010-2011, p. 156, no. U/Add33.

V. Mazzuca, “Asclepius with Egg, ‘Type Nea Paphos-AlexandriaTrier’: New Data and Some New Reflections,” Arheologia Moldovei, vol. XXXVII, 2014, pp. 292-294, no. 14; p. 297, no. 3.

The god of medicine and healing is depicted wearing a himation over the left shoulder, enveloping his body but leaving his chest exposed. He leans on a serpent-coiled staff on his right side and holds an egg in his lowered hand. He has a thick beard and undulating, center-parted hair framing his face. The unusual iconography of Asclepius holding an egg is known as the “Nea-Paphos-AlexandriaTrier” type, which takes its name from the location of the museums where examples are known (see Mazzuca, op. cit). The type, excluding the egg, is similar to Asclepius Amelung, and most are relatively small in scale, suggesting they served either as votive offerings or in household shrines. Copies are known from Greece, Asia Minor, Alexandria, the Danubian provinces and Rome. The egg is thought to symbolize the Universe, implying that the entire Universe needs the medicine of Asclepius (see Mazzuca, op. cit., p. 295).

A ROMAN SILVER-INLAID BRONZE ISISAPHRODITE

CIRCA 2ND-3RD CENTURY A.D.

14¿ in. (35.8 cm.) high

$25,000-35,000

PROVENANCE:

Said to be from Tartus.

Louis de Clercq (1836-1901), Paris, acquired in 1868; thence by descent. with N. Koutoulakis (1910-1996), Paris and Geneva, 1965. with Ariadne Galleries, New York and London.

Acquired by the current owner from the above, 2015.

PUBLISHED:

A. de Ridder, Collection de Clercq: Catalogue, vol. 3: Les bronzes, Paris, 1905, pp. 81-82, pl. XXIII, no. 114.

E. Reeder Williams, "A Bronze Statuette of Isis-Aphrodite," Journal of the American Research Center in Egypt, vol. 16, 1979, p. 95, no. 3.

Reeder Williams (op. cit.) places this bronze in a distinct group of Isis-Aphrodite figures, notable for their large scale, silver-inlaid eyes and necklaces that often feature polygonal or oval amulets, among other factors, that position the goddess as one endowed with magical powers and associated with fertility, childbirth and motherhood. In this example, the goddess is depicted nude, wearing an elaborate stephane surmounted by lotus leaves and centered by a sun disc between bovine horns. She wears a necklace with a central crescent-shaped pendant and in her outstretched left hand she holds a flask; the attribute once held in her right hand, perhaps a mirror, is now missing. For a similar example, see the bronze figure in the Römisch-Germanische Museum, Cologne, no. 249a in T.T. Tinh, “Isis,” LIMC, vol. V.

Noteworthy is the Syrian provenance of this bronze. In the 1905 catalogue of the de Clercq collection, de Ridder (op. cit.) records that it originates from Tartus (ancient Antaradus), an important city on the Mediterranean coast. While this figure and related examples were probably imported from Egypt, Reeder Williams suggests that they were viewed by their owners “as depictions of a still more syncretic goddess, Isis-Aphrodite-Astarte” (op. cit., p. 99).

A ROMAN MARBLE SARCOPHAGUS FRAGMENT WITH A NEREID

CIRCA EARLY 3RD CENTURY A.D.

22¡ in. (56.8 cm.) high

$12,000-18,000

PROVENANCE:

with Ariadne Galleries, New York, 1987 (Art & Antiques, January, p. 9; March, p. 19).

Private Collection, New York, acquired from the above, 1990.

Property from a New York State Private Collection; Antiquities, Christie's, New York, 25 October 2016, lot 107.

with Ariadne Galleries, New York and London. Acquired by the current owner from the above, 2017.

The Nereids were sea nymphs who were the fifty daughters of Nereus and Doris. A sort of mythological foil to the Sirens, Nereids were known to be extremely friendly and helpful to sailors lost at sea. They figure prominently in the tale of Jason and the Argonauts, when they assisted the fleet in navigating the treacherous pathway between Scylla, the sea monster, and Charybdis, the whirlpool. In art, they were characteristically depicted with female torsos and fish tails.

The present example derives from a sarcophagus with a Neried seated upon the tail of the sea god, Triton. Marine thiasoi (godly processions) were a common motif on sarcophagi due to the Roman's philosophical association between the journey of the soul to the underworld and the belief that encounter with water purified the soul. For a complete Nereid sarcophagus, see no. 12 in A.M. McCann, Roman Sarcophagi in the Metropolitan Museum of Art

PROPERTY FROM THE ESTATE OF BARBARA AND BERNARD BERGREEN

A PALMYRENE LIMESTONE RELIEF WITH A RECLINING MAN

CIRCA 2ND-3RD CENTURY A.D.

29 in. (73.6 cm.) long

$20,000-30,000

PROVENANCE: with Axia Art Islamique et Byzantin, Liechtenstein. Bernard (1923-2023) and Barbara (1937-2021) Bergreen, New York, acquired from the above, 1984; thence by descent to the current owners.

PUBLISHED:

J. Allen, “Past Perfect: Bernard and Barbara Bergreen on Fifth Avenue,” Architectural Digest, November 1987, p. 196.

As B. Fowlkes-Childs and M. Seymour note (p. 164 in The World Between Empires: Art and Identity in the Ancient Middle East), "representations of reclining male banqueters and attendants provide glimpses of lavish feasts at Palmyra." These scenes likely refer to the deceased's role during his lifetime as a participant in religious banquets rather than depicting his own funerary feast. In this example, the sitter's elaborately-embroidered clothing consisting of a himation over a tunic points to his elevated status in society. For similar examples, see nos. 109 and 112 in Fowlkes-Childs and Seymour, op. cit.

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION 83

A LATE ROMAN MARBLE MOSAIC PANEL WITH A CHARGING BEAR

CIRCA 4TH-5TH CENTURY A.D.

57æ in.(146.6 cm.) long

$30,000-50,000

PROVENANCE:

Private Collection, Texas, acquired by 1992. Antiquities, Sotheby's, New York, 17 December 1997, lot 173.

EXHIBITED:

The San Antonio Museum of Art, 1992-1997 (Loan no. L.93.30).

PROPERTY FROM THE ESTATE OF BARBARA AND BERNARD BERGREEN 84

A LATE ROMAN MARBLE MOSAIC PANEL WITH A LIONESS AND HER CUB

CIRCA 5TH-6TH CENTURY A.D.

53Ω in. (135.8 cm.) long

$20,000-30,000

PROVENANCE: with Simone de Monbrison (1922-2015), Paris, 1980. Bernard (1923-2023) and Barbara (1937-2021) Bergreen, New York, acquired from the above, 1982; thence by descent to the current owners.

PUBLISHED:

J. Allen, “Past Perfect: Bernard and Barbara Bergreen on Fifth Avenue,” Architectural Digest, November 1987, p. 193.

CONDITIONS OF SALE • BUYING AT CHRISTIE’S

CONDITIONS OF SALE

These Conditions of Sale and the Important Notices and Explanation of Cataloguing Practice set out the terms on which we offer the lots listed in this catalogue for sale. By registering to bid and/or by bidding at auction you agree to these terms, so you should read them carefully before doing so. You will find a glossary at the end explaining the meaning of the words and expressions coloured in bold. As well as these Conditions of Sale, lots in which we offer Non-Fungible Tokens are governed by the Additional Conditions of Sale – Non-Fungible Tokens, which are available in Appendix A herein. For the sale of Non-Fungible Tokens, to the extent there is a conflict between the “New York Conditions of Sale Buying at Christie’s” and “Additional Conditions of Sale – Non-Fungible Tokens”, the latter controls.

Unless we own a lot in whole or in part (Δ symbol), Christie’s acts as agent for the seller.

A BEFORE THE SALE

1 DESCRIPTION OF LOTS

(a)Certain words used in the catalogue description have special meanings. You can find details of these on the page headed “Important Notices and Explanation of Cataloguing Practice” which forms part of these terms. You can find a key to the Symbols found next to certain catalogue entries under the section of the catalogue called “Symbols Used in this Catalogue”.

(b)Our description of any lot in the catalogue, any condition report and any other statement made by us (whether orally or in writing) about any lot, including about its nature or condition, artist, period, materials, approximate dimensions, or provenance are our opinion and not to be relied upon as a statement of fact. We do not carry out in-depth research of the sort carried out by professional historians and scholars. All dimensions and weights are approximate only.

2 OUR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS

We do not provide any guarantee in relation to the nature of a lot apart from our authenticity warranty contained in paragraph E2 and to the extent provided in paragraph I below.

3 CONDITION

(a)The condition of lots sold in our auctions can vary widely due to factors such as age, previous damage, restoration, repair and wear and tear. Their nature means that they will rarely be in perfect condition Lots are sold “as is,” in the condition they are in at the time of the sale, without any representation or warranty or assumption of liability of any kind as to condition by Christie’s or by the seller.

(b)Any reference to condition in a catalogue entry or in a condition report will not amount to a full description of condition, and images may not show a lot clearly. Colours and shades may look different in print or on screen to how they look on physical inspection. Condition reports may be available to help you evaluate the condition of a lot Condition reports are provided free of charge as a convenience to our buyers and are for guidance only. They offer our opinion but they may not refer to all faults, inherent defects, restoration, alteration or adaptation because our staff are not professional restorers or conservators. For that reason condition reports are not an alternative to examining a lot in person or seeking your own professional advice. It is your responsibility to ensure that you have requested, received and considered any condition report.

4 VIEWING LOTS PRE-AUCTION

(a)If you are planning to bid on a lot, you should inspect it personally or through a knowledgeable representative before you make a bid to make sure that you accept the description and its condition. We recommend you get your own advice from a restorer or other professional adviser.

(b)Pre-auction viewings are open to the public free of charge. Our specialists may be available to answer questions at preauction viewings or by appointment.

5 ESTIMATES

Estimates are based on the condition, rarity, quality and provenance of the lots and on prices recently paid at auction for similar property. Estimates can change. Neither you, nor anyone else, may rely on any estimates as a prediction or guarantee of the actual selling price of a lot or its value for any other purpose. Estimates do not include the buyer’s premium or any applicable taxes.

6 WITHDRAWAL

Christie’s may, at its option, withdraw any lot from auction at any time prior to or during the sale of the lot. Christie’s has no liability to you for any decision to withdraw.

7 JEWELLERY

(a)Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to improve their look, through methods such as heating and oiling. These methods are accepted by the international jewellery trade but may make the gemstone less strong and/or require special care over time.

(b)It will not be apparent to us whether a diamond is naturally or synthetically formed unless it has been tested by a gemmological laboratory. Where the diamond has been tested, a gemmological report will be available.

(c) All types of gemstones may have been improved by some method. You may request a gemmological report for any item which does not have a report if the request is made to us at least three weeks before the date of the auction and you pay the fee for the report.

(d)Certain weights in the catalogue description are provided for guidance purposes only as they have been estimated through measurement and, as such, should not be relied upon as exact.

(e) We do not obtain a gemmological report for every gemstone sold in our auctions. Where we do get gemmological reports from internationally accepted gemmological laboratories, such reports will be described in the catalogue. Reports from American gemmological laboratories will describe any improvement or treatment to the gemstone. Reports from European gemmological laboratories will describe any improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment, or whether treatment is permanent. The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report. We do not guarantee nor are we responsible for any report or certificate from a gemmological laboratory that may accompany a lot

(f)For jewellery sales, estimates are based on the information in any gemmological report, or if no report is available, assume that the gemstones may have been treated or enhanced.

8

WATCHES & CLOCKS

(a)Almost all clocks and watches are repaired in their lifetime and may include parts which are not original. We do not give a warranty that any individual component part of any watch is authentic. Watchbands described as “associated” are not part of the original watch and may not be authentic. Clocks may be sold without pendulums, weights or keys.

(b)As collectors’ watches often have very fine and complex mechanisms, you are responsible for any general service, change of battery, or further repair work that may be necessary. We do not give a warranty that any watch is in good working order. Certificates are not available unless described in the catalogue.

(c)Most wristwatches have been opened to find out the type and quality of movement. For that reason, wristwatches with water resistant cases may not be waterproof and we recommend you have them checked by a competent watchmaker before use.

Important information about the sale, transport and shipping of watches and watchbands can be found in paragraph H2(f).

B REGISTERING TO BID

1

NEW BIDDERS

(a)If this is your first time bidding at Christie’s or you are a returning bidder who has not bought anything from any of our salerooms within the last two years you must register at least 48 hours before an auction begins to give us enough time to process and approve your registration. We may, at our option, decline to permit you to register as a bidder. You will be asked for the following:

(i)for individuals: Photo identification (driver’s licence, national identity card, or passport) and, if not shown on the ID document, proof of your current address (for example, a current utility bill or bank statement);

(ii)for corporate clients: Your Certificate of Incorporation or equivalent document(s) showing your name and registered address together with documentary proof of directors and beneficial owners; and

(iii)for trusts, partnerships, offshore companies and other business structures, please contact us in advance to discuss our requirements.

(b)We may also ask you to give us a financial reference and/or a deposit as a condition of allowing you to bid. For help, please contact our Client Services Department at +1 212-636-2000.

2 RETURNING BIDDERS

As described in paragraph B(1) above, we may at our option ask you for current identification, a financial reference, or a deposit as a condition of allowing you to bid. If you have not bought anything from any of our salerooms within the last two years or if you want to spend more than on previous occasions, please contact our Client Services Department at +1 212-636-2000.

3 IF YOU FAIL TO PROVIDE THE RIGHT DOCUMENTS

If in our opinion you do not satisfy our bidder identification and registration procedures including, but not limited to completing any anti-money laundering and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register you to bid, and if you make a successful bid, we may cancel the contract for sale between you and the seller.

4 BIDDING ON BEHALF OF ANOTHER PERSON

If you are bidding on behalf of another person, that person will need to complete the registration requirements above before you can bid and supply a signed letter authorising you to bid for him/ her. A bidder accepts personal liability to pay the purchase price and all other sums due unless it has been agreed in writing with Christie’s, before commencement of the auction, that the bidder is acting as an agent on behalf of a named third party acceptable to Christie’s and that Christie’s will only seek payment from the named third party.

5 BIDDING IN PERSON

If you wish to bid in the saleroom you must register for a numbered bidding paddle at least 30 minutes before the auction. You may register online at www.christies.com or in person. For help, please contact the Client Service Department on +1 212-636-2000.

6 BIDDING SERVICES

The bidding services described below are a free service offered as a convenience to our clients and Christie’s is not responsible for any error (human or otherwise), omission, or breakdown in providing these services.

(a) Phone Bids

Your request for this service must be made no later than 24 hours prior to the auction. We will accept bids by telephone for lots only if our staff are available to take the bids. If you need to bid in a language other than in English, you must arrange this well before the auction. We may record telephone bids. By bidding on the telephone, you are agreeing to us recording your conversations. You also agree that your telephone bids are governed by these Conditions of Sale.

(b) Internet Bids on Christie’s LIVE™

For certain auctions we will accept bids over the Internet. For more information, please visit https://www.christies.com/ buying-services/buying-guide/register-and-bid/. As well as these Conditions of Sale, internet bids are governed by the Christie’s LIVE™ Terms of Use which are available at https:// www.christies.com/LiveBidding/OnlineTermsOfUse.aspx

(c) Written Bids

You can find a Written Bid Form at any Christie’s office, or by choosing the sale and viewing the lots online at www. christies.com. We must receive your completed Written Bid at least 24 hours before the auction. Bids must be placed in the currency of the saleroom. The auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the reserve. If you make a written bid on a lot which does not have a reserve and there is no higher bid than yours, we will bid on your behalf at around 50% of the low estimate or, if lower, the amount of your bid. If we receive written bids on a lot for identical amounts, and at the auction these are the highest bids on the lot, we will sell the lot to the bidder whose written bid we received first.

C CONDUCTING THE SALE

1

WHO CAN ENTER THE AUCTION

We may, at our option, refuse admission to our premises or decline to permit participation in any auction or to reject any bid.

2

RESERVES

Unless otherwise indicated, all lots are subject to a reserve. We identify lots that are offered without a reserve with the symbol • next to the lot number. The reserve cannot be more than the lot’s low estimate, unless the lot is subject to a third party guarantee and the irrevocable bid exceeds the printed low estimate. In that case, the reserve will be set at the amount of the irrevocable bid. Lots which are subject to a third party guarantee arrangement are identified in the catalogue with the symbol °◆

3 AUCTIONEER’S DISCRETION

The auctioneer can at their sole option:

(a)refuse any bid;

(b)move the bidding backwards or forwards in any way they may decide, or change the order of the lots;

(c)withdraw any lot;

(d)divide any lot or combine any two or more lots;

(e)reopen or continue the bidding even after the hammer has fallen; and

(f)in the case of error or dispute related to bidding and whether during or after the auction, continue the bidding, determine the successful bidder, cancel the sale of the lot, or reoffer and resell any lot. If you believe that the auctioneer has accepted the successful bid in error, you must provide a written notice detailing your claim within 3 business days of the date of the auction. The auctioneer will consider such claim in good faith. If the auctioneer, in the exercise of their discretion under this paragraph, decides after the auction is complete, to cancel the sale of a lot, or reoffer and resell a lot, they will notify the successful bidder no later than by the end of the 7th calendar day following the date of the auction. The auctioneer’s decision in exercise of this discretion is final. This paragraph does not in any way prejudice Christie’s ability to cancel the sale of a lot under any other applicable provision of these Conditions of Sale, including the rights of cancellation set forth in paragraphs B(3), E(2)(i), F(4), and J(1).

4

BIDDING

The auctioneer accepts bids from:

(a)bidders in the saleroom;

(b)telephone bidders;

(c)internet bidders through Christie’s LIVE™ (as shown above in paragraph B6); and

(d)written bids (also known as absentee bids or commission bids) left with us by a bidder before the auction.

5

BIDDING ON BEHALF OF THE SELLER

The auctioneer may, at their sole option, bid on behalf of the seller up to but not including the amount of the reserve either by making consecutive bids or by making bids in response to other bidders. The auctioneer will not identify these as bids made on behalf of the seller and will not make any bid on behalf of the seller at or above the reserve. If lots are offered without reserve, the auctioneer will generally decide to open the bidding at 50% of the low estimate for the lot. If no bid is made at that level, the auctioneer may decide to go backwards at their sole option until a bid is made, and then continue up from that amount. In the event that there are no bids on a lot, the auctioneer may deem such lot unsold.

6 BID INCREMENTS

Bidding generally starts below the low estimate and increases in steps (bid increments). The auctioneer will decide at their sole option where the bidding should start and the bid increments.

7 CURRENCY

CONVERTER

The saleroom video screens (and Christies LIVE™) may show bids in some other major currencies as well as US dollars. Any conversion is for guidance only and we cannot be bound by any rate of exchange used. Christie’s is not responsible for any error (human or otherwise), omission or breakdown in providing these services.

8 SUCCESSFUL BIDS

Unless the auctioneer decides to use their discretion as set out in paragraph C3 above, when the auctioneer’s hammer strikes, we have accepted the last bid. This means a contract for sale has been formed between the seller and the successful bidder. We will issue an invoice only to the registered bidder who made the successful bid. While we send out invoices by mail and/or email after the auction, we do not accept responsibility for telling you whether or not your bid was successful. If you have bid by written bid, you should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of your bid to avoid having to pay unnecessary storage charges.

9

LOCAL BIDDING LAWS

You agree that when bidding in any of our sales that you will strictly comply with all local laws and regulations in force at the time of the sale for the relevant sale site.

D

1

THE BUYER’S PREMIUM AND TAXES

THE BUYER’S PREMIUM

In addition to the hammer price, the successful bidder agrees to pay us a buyer’s premium on the hammer price of each lot sold. On all lots we charge 26% of the hammer price up to and including US$1,000,000, 21.0% on that part of the hammer price over US$1,000,000 and up to and including US$6,000,000, and 15.0% of that part of the hammer price above US$6,000,000.

2 TAXES

The successful bidder is responsible for any applicable taxes including any sales or use tax or equivalent tax wherever such taxes may arise on the hammer price, the buyer’s premium, and/ or any other charges related to the lot

For lots Christie’s ships to or within the United States, a sales or use tax may be due on the hammer price, buyer’s premium, and/or any other charges related to the lot, regardless of the nationality or citizenship of the successful bidder. Christie’s will collect sales tax where legally required. The applicable sales tax rate will be determined based upon the state, county, or locale to which the lot will be shipped. Christie’s shall collect New York sales tax at a rate of 8.875% for any lot collected from Christie’s in New York.

In accordance with New York law, if Christie’s arranges the shipment of a lot out of New York State, New York sales tax does not apply, although sales tax or other applicable taxes for other states may apply. If you hire a shipper (other than a common carrier authorized by Christie’s), to collect the lot from a Christie’s New York location, Christie’s must collect New York sales tax on the lot at a rate of 8.875% regardless of the ultimate destination of the lot

If Christie’s delivers the lot to, or the lot is collected by, any framer, restorer or other similar service provider in New York that you have hired, New York law considers the lot delivered to the successful bidder in New York and New York sales tax must be imposed regardless of the ultimate destination of the lot. In this circumstance, New York sales tax will apply to the lot even if Christie’s or a common carrier (authorized by Christie’s that you hire) subsequently delivers the lot outside New York.

Successful bidders claiming an exemption from sales tax must provide appropriate documentation to Christie’s prior to the release of the lot or within 90 days after the sale, whichever is earlier. For shipments to those states for which Christie’s is not required to collect sales tax, a successful bidder may have a use or similar tax obligation. It is the successful bidder’s responsibility to pay all taxes due. Christie’s recommends you consult your own independent tax advisor with any questions.

E WARRANTIES

1 SELLER’S WARRANTIES

For each lot, the seller gives a warranty that the seller:

(a)is the owner of the lot or a joint owner of the lot acting with the permission of the other co-owners or, if the seller is not the owner or a joint owner of the lot, has the permission of the owner to sell the lot, or the right to do so in law; and (b)has the right to transfer ownership of the lot to the buyer without any restrictions or claims by anyone else.

(c)If either of the above warranties are incorrect, the seller shall not have to pay more than the purchase price (as defined in paragraph F1(a) below) paid by you to us. The seller will not be responsible to you for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expenses. The seller gives no warranty in relation to any lot other than as set out above and, as far as the seller is allowed by law, all warranties from the seller to you, and all other obligations upon the seller which may be added to this agreement by law, are excluded.

2 OUR AUTHENTICITY WARRANTY

We warrant, subject to the terms below, that the lots in our sales are authentic (our “authenticity warranty”). If, within 5 years of the date of the auction, you give notice to us that your lot is not authentic, subject to the terms below, we will refund the purchase price paid by you. The meaning of authentic can be found in the glossary at the end of these Conditions of Sale. The terms of the authenticity warranty are as follows:

(a)It will be honored for claims notified within a period of 5 years from the date of the auction. After such time, we will not be obligated to honor the authenticity warranty

(b)It is given only for information shown in UPPERCASE type in the first line of the catalogue description (the “Heading”). It does not apply to any information other than in the Heading even if shown in UPPERCASE type

(c)The authenticity warranty does not apply to any Heading or part of a Heading which is qualified Qualified means limited by a clarification in a lot’s catalogue description or by the use in a Heading of one of the terms listed in the section titled Qualified Headings on the page of the catalogue headed “Important Notices and Explanation of Cataloguing Practice”. For example, use of the term “ATTRIBUTED TO…” in a Heading means that the lot is in Christie’s opinion probably a work by the named artist but no warranty is provided that the lot is the work of the named artist. Please read the full list of Qualified Headings and a lot’s full catalogue description before bidding.

(d)The authenticity warranty applies to the Heading as amended by any Saleroom notice

(e)The authenticity warranty does not apply where scholarship has developed since the auction leading to a change in generally accepted opinion. Further, it does not apply if the Heading either matched the generally accepted opinion of experts at the date of the auction or drew attention to any conflict of opinion.

(f)The authenticity warranty does not apply if the lot can only be shown not to be authentic by a scientific process which, on the date we published the catalogue, was not available or generally accepted for use, or which was unreasonably expensive or impractical, or which was likely to have damaged the lot

(g)The benefit of the authenticity warranty is only available to the original buyer shown on the invoice for the lot issued at the time of the sale and only if on the date of the notice of claim, the original buyer is the full owner of the lot and the lot is free from any claim, interest or restriction by anyone else. The benefit of this authenticity warranty may not be transferred to anyone else.

(h)In order to claim under the authenticity warranty you must:

(i)give us written notice of your claim within 5 years of the date of the auction. We may require full details and supporting evidence of any such claim;

(ii)at Christie’s option, we may require you to provide the written opinions of two recognised experts in the field of the lot mutually agreed by you and us in advance confirming that the lot is not authentic. If we have any doubts, we reserve the right to obtain additional opinions at our expense; and

(iii) return the lot at your expense to the saleroom from which you bought it in the condition it was in at the time of sale.

(i)Your only right under this authenticity warranty is to cancel the sale and receive a refund of the purchase price paid by you to us. We will not, under any circumstances, be required to pay you more than the purchase price nor will we be liable for any loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, other damages or expenses.

(j) Books. Where the lot is a book, we give an additional warranty for 21 days from the date of the auction that if any lot is defective in text or illustration, we will refund your purchase price, subject to the following terms:

(a) This additional warranty does not apply to:

(i)the absence of blanks, half titles, tissue guards or advertisements, damage in respect of bindings, stains, spotting, marginal tears or other defects not affecting completeness of the text or illustration;

(ii)drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps or periodicals;

(iii)books not identified by title;

(iv) lots sold without a printed estimate;

(v)books which are described in the catalogue as sold not subject to return; or

(vi)defects stated in any condition report or announced at the time of sale.

(b) To make a claim under this paragraph you must give written details of the defect and return the lot to the sale room at which you bought it in the same condition as at the time of sale, within 21 days of the date of the sale.

(k) South East Asian Modern and Contemporary Art and Chinese Calligraphy and Painting.

In these categories, the authenticity warranty does not apply because current scholarship does not permit the making of definitive statements. Christie’s does, however, agree to cancel a sale in either of these two categories of art where it has been proven the lot is a forgery. Christie’s will refund to the original buyer the purchase price in accordance with the terms of Christie’s Authenticity warranty, provided that the original buyer notifies us with full supporting evidence documenting the forgery claim within twelve (12) months of the date of the auction. Such evidence must be satisfactory to us that the property is a forgery in accordance with paragraph E2(h)(ii) above and the property must be returned to us in accordance with paragraph E2(h)(iii) above. Paragraphs E2(b), (c), (d), (e), (f) and (g) and (i) also apply to a claim under these categories.

(l) Chinese, Japanese and Korean artefacts (excluding Chinese, Japanese and Korean calligraphy, paintings, prints, drawings and jewellery).

In these categories, paragraph E2 (b) – (e) above shall be amended so that where no maker or artist is identified, the authenticity warranty is given not only for the Heading but also for information regarding date or period shown in UPPERCASE type in the second line of the catalogue description (the “Subheading”). Accordingly, all references to the Heading in paragraph E2 (b) – (e) above shall be read as references to both the Heading and the Subheading

3 NO IMPLIED WARRANTIES

EXCEPT AS SET FORTH IN PARAGRAPHS E1 AND E2 ABOVE, NEITHER THE SELLER NOR THE CHRISTIE’S GROUP MAKE ANY OTHER WARRANTY, EXPRESS OR IMPLIED, ORAL OR WRITTEN, WITH RESPECT TO THE LOT, INCLUDING THE IMPLIED WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE, EACH OF WHICH IS SPECIFICALLY DISCLAIMED.

4 YOUR WARRANTIES

(a)You warrant that the funds used for settlement are not connected with any criminal activity, including tax evasion, and you are neither under investigation, nor have you been charged with or convicted of money laundering, terrorist activities or other crimes.

(b)Where you are bidding on behalf of another person, you warrant that:

(i)you have conducted appropriate customer due diligence on the ultimate buyer(s) of the lot(s) in accordance with all applicable anti-money laundering and sanctions laws, consent to us relying on this due diligence, and you will retain for a period of not less than 5 years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by an independent third-party auditor upon our written request to do so;

(ii)the arrangements between you and the ultimate buyer(s) in relation to the lot or otherwise do not, in whole or in part, facilitate tax crimes;

(iii)you do not know, and have no reason to suspect, that the funds used for settlement are connected with, the proceeds of any criminal activity, including tax evasion, or that the ultimate buyer(s) are under investigation, or have been charged with or convicted of money laundering, terrorist activities or other crimes.

F PAYMENT

1 HOW TO PAY

(a)Immediately following the auction, you must pay the purchase price being:

(i)the hammer price; and

(ii)the buyer’s premium; and

(iii)any applicable duties, goods, sales, use, compensating or service tax, or VAT.

Payment is due no later than by the end of the 7th calendar day following the date of the auction (the “due date”).

(b)We will only accept payment from the registered bidder. Once issued, we cannot change the buyer’s name on an invoice or re-issue the invoice in a different name. You must pay immediately even if you want to export the lot and you need an export licence.

(c)You must pay for lots bought at Christie’s in the United States in the currency stated on the invoice in one of the following ways:

(i) Wire transfer

JP Morgan Chase Bank, N.A., 270 Park Avenue, New York, NY 10017; ABA# 021000021; FBO: Christie’s Inc.; Account # 957-107978, for international transfers, SWIFT: CHASUS33.

(ii) Credit Card

We accept Visa, MasterCard, American Express and China Union Pay. Credit card payments at the New York premises will only be accepted for New York sales. Christie’s will not accept credit card payments for purchases in any other sale site.

(iii) Cash

We accept cash payments (including money orders and traveller’s checks) subject to a maximum global aggregate of US$7,500 per buyer.

(iv) Bank Checks

You must make these payable to Christie’s Inc. and there may be conditions. Once we have deposited your check, property cannot be released until five business days have passed.

(v) Checks

You must make checks payable to Christie’s Inc. and they must be drawn from US dollar accounts from a US bank.

(vi) Cryptocurrency

With the exception of clients resident in Mainland China, payment for a lot marked with the symbol ❖ may be made in a cryptocurrency or cryptocurrencies of our choosing. Such cryptocurrency payments must be made in accordance with the Additional Conditions of Sale - Nonfungible Tokens set out at Appendix A to these Conditions of Sale.

(d)You must quote the sale number, your invoice number and client number when making a payment. All payments sent by post must be sent to: Christie’s Inc. Post-Sale Services, 20 Rockefeller Center, New York, NY 10020.

(e)For more information please contact our Post-Sale Services by phone at +1 212 636 2650 or fax at +1 212 636 4939 or email PostSaleUS@christies.com.

2

TRANSFERRING OWNERSHIP TO YOU

You will not own the lot and ownership of the lot will not pass to you until we have received full and clear payment of the purchase price, even in circumstances where we have released the lot to you.

3 TRANSFERRING RISK TO YOU

The risk in and responsibility for the lot will transfer to you from whichever is the earlier of the following:

(a)When you collect the lot; or

(b)At the end of the 30th day following the date of the auction or, if earlier, the date the lot is taken into care by a third party warehouse as set out on the page headed ‘Storage and Collection’, unless we have agreed otherwise with you.

4 WHAT HAPPENS IF YOU DO NOT PAY

(a)If you fail to pay us the purchase price in full by the due date, we will be entitled to do one or more of the following (as well as enforce our rights under paragraph F5 and any other rights or remedies we have by law):

(i)we can charge interest from the due date at a rate of up to 1.34% per month on the unpaid amount due;

(ii)we can cancel the sale of the lot. If we do this, we may sell the lot again, publicly or privately on such terms we shall think necessary or appropriate, in which case you must pay us any shortfall between the purchase price and the proceeds from the resale. You must also pay all costs, expenses, losses, damages and legal fees we have to pay or may suffer and any shortfall in the seller’s commission on the resale;

(iii)we can pay the seller an amount up to the net proceeds payable in respect of the amount bid by your default in which case you acknowledge and understand that Christie’s will have all of the rights of the seller to pursue you for such amounts;

(iv)we can hold you legally responsible for the purchase price and may begin legal proceedings to recover it together with other losses, interest, legal fees and costs as far as we are allowed by law;

(v)we can take what you owe us from any amounts which we or any company in the Christie’s Group may owe you (including any deposit or other part-payment which you have paid to us);

(vi)we can, at our option, reveal your identity and contact details to the seller;

(vii)we can reject at any future auction any bids made by or on behalf of the buyer or to obtain a deposit from the buyer before accepting any bids;

(viii)we can exercise all the rights and remedies of a person holding security over any property in our possession owned by you, whether by way of pledge, security interest or in any other way as permitted by the law of the place where such property is located. You will be deemed to have granted such security to us and we may retain such property as collateral security for your obligations to us; and

(ix)we can take any other action we see necessary or appropriate.

(b)If you owe money to us or to another Christie’s Group company, we can use any amount you do pay, including any deposit or other part-payment you have made to us, or which we owe you, to pay off any amount you owe to us or another Christie’s Group company for any transaction.

5 KEEPING YOUR PROPERTY

If you owe money to us or to another Christie’s Group company, as well as the rights set out in F4 above, we can use or deal with any of your property we hold or which is held by another Christie’s Group company in any way we are allowed to by law. We will only release your property to you after you pay us or the relevant Christie’s Group company in full for what you owe. However, if we choose, we can also sell your property in any way we think appropriate. We will use the proceeds of the sale against any amounts you owe us and we will pay any amount left from that sale to you. If there is a shortfall, you must pay us any difference between the amount we have received from the sale and the amount you owe us.

G COLLECTION AND STORAGE

(a)You must collect purchased lots within seven days from the auction (but note that lots will not be released to you until you have made full and clear payment of all amounts due to us).

(b)If you do not collect any lot within 90 days following the auction we may, at our option

(i)charge you storage costs at the rates set out at www. christies.com/en/help/buying-guide/storage-fees.

(ii)move the lot to another Christie’s location or an affiliate or third-party warehouse and charge you transport costs and administration fees for doing so and you will be subject to the third party storage warehouse’s standard terms and to pay for their standard fees and costs.

(iii)sell the lot in any commercially reasonable way we think appropriate.

(c)The Storage conditions which can be found at www.christies. com/en/help/buying-guide/storage-conditions will apply.

(d)If you do not collect the lot within 90 calendar days of the auction and Christie’s exercises its rights under paragraph G(b) above, the lot will be deemed delivered in New York and therefore subject to New York state and local sales tax.

(e)Nothing in this paragraph is intended to limit our rights under paragraph F4.

H TRANSPORT AND SHIPPING

1 SHIPPING

We would be happy to assist in making shipping arrangements on request. You must make all transport and shipping arrangements. However, we can arrange to pack, transport, and ship your property if you ask us to and pay the costs of doing so. We recommend that you ask us for an estimate, especially for any large items or items of high value that need professional packing. We may also suggest other handlers, packers, transporters, or experts if you ask us to do so. For more information, please contact Christie’s Post-Sale Services at +1 212 636 2650. See the information set out at https://www.christies.com/buyingservices/buying-guide/ship/ or contact us at PostSaleUS@ christies.com. We will take reasonable care when we are handling, packing, transporting, and shipping. However, if we recommend another company for any of these purposes, we are not responsible for their acts, failure to act, or neglect.

2 EXPORT AND IMPORT

Any lot sold at auction may be affected by laws on exports from the country in which it is sold and the import restrictions of other countries. Many countries require a declaration of export for property leaving the country and/or an import declaration on entry of property into the country. Local laws may prevent you from importing a lot or may prevent you selling a lot in the country you import it into.

(a)You alone are responsible for getting advice about and meeting the requirements of any laws or regulations which apply to exporting or importing any lot prior to bidding. If you are refused a licence or there is a delay in getting one, you must still pay us in full for the lot. We may be able to help you apply for the appropriate licences if you ask us to and pay our fee for doing so. However, we cannot guarantee that you will get one. For more information, please contact Christie’s Post-Sale Services Department at +1 212 636 2650 and PostSaleUS@christies.com.

See the information set out at https://www.christies. com/buying-services/buying-guide/ship/ or contact us at PostSaleUS@christies.com.

(b)You alone are responsible for any applicable taxes, tariffs or other government-imposed charges relating to the export or import of the lot. If Christie’s exports or imports the lot on your behalf, and if Christie’s pays these applicable taxes, tariffs or other government-imposed charges, you agree to refund that amount to Christie’s.

(c) Endangered and protected species

Lots made of or including (regardless of the percentage) endangered and other protected species of wildlife are marked with the symbol in the catalogue. This material includes, among other things, ivory, tortoiseshell, whalebone, certain species of coral, Brazilian rosewood, crocodile, alligator and ostrich skins. You should check the relevant customs laws and regulations before bidding on any lot containing wildlife material if you plan to export the lot from the country in which the lot is sold and import it into another country as a licence may be required. In some cases, the lot can only be shipped with an independent scientific confirmation of species and/or age and you will need to obtain these at your own cost. Several countries have imposed restrictions on dealing in elephant ivory, ranging from a total ban on importing African elephant ivory in the United States to importing, exporting and selling under strict measures in other countries. Handbags containing endangered or protected species material are marked with the symbol ≈ and further information can be found in paragraph H2(h) below. We will not be obliged to cancel your purchase and refund

the purchase price if your lot may not be exported, imported or it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to the export or import of property containing such protected or regulated material.

(d) Lots containing Ivory or materials resembling ivory

If a lot contains elephant ivory, or any other wildlife material that could be confused with elephant ivory (for example, mammoth ivory, walrus ivory, helmeted hornbill ivory) you may be prevented from exporting the lot from the US or shipping it between US States without first confirming its species by way of a rigorous scientific test acceptable to the applicable Fish and Wildlife authorities. You will buy that lot at your own risk and be responsible for any scientific test or other reports required for export from the USA or between US States at your own cost. We will not be obliged to cancel your purchase and refund the purchase price if your lot may not be exported, imported or shipped between US States, or it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to interstate shipping, export or import of property containing such protected or regulated material.

(e) Lots of Iranian origin

Some countries prohibit or restrict the purchase, export and/or import of Iranian-origin “works of conventional craftsmanship” (works that are not by a recognized artist and/ or that have a function, (for example: carpets, bowls, ewers, tiles, ornamental boxes). For example, the USA prohibits the import and export of this type of property without a license issued by the US Department of the Treasury, Office of Foreign Assets Control. Other countries, such as Canada, only permit the import of this property in certain circumstances. As a convenience to buyers, Christie’s indicates under the title of a lot if the lot originates from Iran (Persia). It is your responsibility to ensure you do not bid on or import a lot in contravention of the sanctions or trade embargoes that apply to you.

(f) Gold

Gold of less than 18ct does not qualify in all countries as ‘gold’ and may be refused import into those countries as ‘gold’.

(g) Watches

Many of the watches offered for sale in this catalogue are pictured with straps made of endangered or protected animal materials such as alligator or crocodile. These lots are marked with the symbol Ψ in the catalogue. These endangered species straps are shown for display purposes only and are not for sale. Christie’s will remove and retain the strap prior to shipment from the sale site. At some sale sites, Christie’s may, at its discretion, make the displayed endangered species strap available to the buyer of the lot free of charge if collected in person from the sale site within 1 year of the date of the auction. Please check with the department for details on a particular lot

(h)Handbags

A lot marked with the symbol ≈ next to the lot number includes endangered or protected species material and is subject to CITES regulations. This lot may only be shipped to an address within the country of the sale site or personally picked up from our saleroom. Please note, Christie’s cannot facilitate the shipment of any lot containing python, alligator or crocodile into the State of California.

The term “hardware” refers to the metallic parts of the handbag, such as the buckle hardware, base studs, lock and keys and/or strap, which are plated with a coloured finish (e.g. gold, silver, palladium). The terms “Gold Hardware”, “Silver Hardware”, “Palladium Hardware”, etc. refer to the tone or colour of the hardware and not the actual material used. If the handbag incorporates solid metal hardware, this will be referenced in the catalogue description

For all symbols and other markings referred to in paragraph H2, please note that lots are marked as a convenience to you, but we do not accept liability for errors or for failing to mark lots

I OUR LIABILITY TO YOU

(a)We give no warranty in relation to any statement made, or information given, by us or our representatives or employees, about any lot other than as set out in the authenticity warranty and, as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are excluded. The seller’s warranties contained in paragraph E1 are their own and we do not have any liability to you in relation to those warranties.

(b)(i) We are not responsible to you for any reason (whether for breaking this agreement or any other matter relating to your purchase of, or bid for, any lot) other than in the event of fraud or fraudulent misrepresentation by us or other than as expressly set out in these conditions of sale; and (ii) we do not give any representation, warranty or guarantee or assume any liability of any kind in respect of any lot with

regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature, or historical relevance. Except as required by local law, any warranty of any kind is excluded by this paragraph.

(c)In particular, please be aware that our written and telephone bidding services, Christie’s LIVE™, condition reports, currency converter and saleroom video screens are free services and we are not responsible to you for any error (human or otherwise), omission or breakdown in these services.

(d)We have no responsibility to any person other than a buyer in connection with the purchase of any lot

(e)If, in spite of the terms in paragraphs I(a) to (d) or E2(i) above, we are found to be liable to you for any reason, we shall not have to pay more than the purchase price paid by you to us. We will not be responsible to you for any reason for loss of profits or business, loss of opportunity or value, expected savings or interest, costs, other damages, or expenses.

J OTHER TERMS

1

OUR ABILITY TO CANCEL

In addition to the other rights of cancellation contained in this agreement, we can cancel a sale of a lot if : (i) any of your warranties in paragraph E4 are not correct; (ii) we reasonably believe that completing the transaction is, or may be, unlawful; or (iii) we reasonably believe that the sale places us or the seller under any liability to anyone else or may damage our reputation.

2 RECORDINGS

We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law. However, we may, through this process, use or share these recordings with another Christie’s Group company and marketing partners to analyse our customers and to help us to tailor our services for buyers. If you do not want to be videotaped, you may make arrangements to make a telephone or written bid or bid on Christie’s LIVE™ instead. Unless we agree otherwise in writing, you may not videotape or record proceedings at any auction.

3 COPYRIGHT

We own the copyright in all images, illustrations and written material produced by or for us relating to a lot (including the contents of our catalogues unless otherwise noted in the catalogue). You cannot use them without our prior written permission. We do not offer any guarantee that you will gain any copyright or other reproduction rights to the lot

4 ENFORCING THIS AGREEMENT

If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as being deleted and the rest of this agreement will not be affected.

5 TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES

You may not grant a security over or transfer your rights or responsibilities under these terms on the contract of sale with the buyer unless we have given our written permission. This agreement will be binding on your successors or estate and anyone who takes over your rights and responsibilities.

6 TRANSLATIONS

If we have provided a translation of this agreement, we will use this original version in deciding any issues or disputes which arise under this agreement.

7 PERSONAL INFORMATION

We will hold and process your personal information and may pass it to another Christie’s Group company for use as described in, and in line with, our privacy notice at www.christies.com/aboutus/contact/privacy and if you are a resident of California you can see a copy of our California Consumer Privacy Act statement at https://www.christies.com/about-us/contact/ccpa

8 WAIVER

No failure or delay to exercise any right or remedy provided under these Conditions of Sale shall constitute a waiver of that or any other right or remedy, nor shall it prevent or restrict the further exercise of that or any other right or remedy. No single or partial exercise of such right or remedy shall prevent or restrict the further exercise of that or any other right or remedy.

9 LAW AND DISPUTES

This agreement, and any non-contractual obligations arising out of or in connection with this agreement, or any other rights you may have relating to the purchase of a lot (the “Dispute”) will be governed by the laws of New York. Before we or you start any court proceedings (except in the limited circumstances where the dispute, controversy or claim is related to proceedings brought by someone else and this dispute could be joined to those proceedings), we agree we will each try to settle the Dispute by mediation submitted to JAMS, or its successor, for mediation in New York. If the Dispute is not settled by mediation within 60 days from the date when mediation is initiated, then the

Dispute shall be submitted to JAMS, or its successor, for final and binding arbitration in accordance with its Comprehensive Arbitration Rules and Procedures or, if the Dispute involves a non-U.S. party, the JAMS International Arbitration Rules. The seat of the arbitration shall be New York and the arbitration shall be conducted by one arbitrator, who shall be appointed within 30 days after the initiation of the arbitration. The language used in the arbitral proceedings shall be English. The arbitrator shall order the production of documents only upon a showing that such documents are relevant and material to the outcome of the Dispute. The arbitration shall be confidential, except to the extent necessary to enforce a judgment or where disclosure is required by law. The arbitration award shall be final and binding on all parties involved. Judgment upon the award may be entered by any court having jurisdiction thereof or having jurisdiction over the relevant party or its assets. This arbitration and any proceedings conducted hereunder shall be governed by Title 9 (Arbitration) of the United States Code and by the United Nations Convention on the Recognition and Enforcement of Foreign Arbitral Awards of June 10, 1958.

10 REPORTING ON WWW.CHRISTIES.COM

Details of all lots sold by us, including catalogue descriptions and prices, may be reported on www.christies.com. Sales totals are hammer price plus buyer’s premium and do not reflect costs, financing fees, or application of buyer’s or seller’s credits. We regret that we cannot agree to requests to remove these details from www.christies.com

K GLOSSARY

auctioneer: the individual auctioneer and/or Christie’s.

authentic: a genuine example, rather than a copy or forgery of:

(i) the work of a particular artist, author or manufacturer, if the lot is described in the Heading as the work of that artist, author or manufacturer;

(ii) a work created within a particular period or culture, if the lot is described in the Heading as a work created during that period or culture;

(iii) a work for a particular origin source if the lot is described in the Heading as being of that origin or source; or

(iv) in the case of gems, a work which is made of a particular material, if the lot is described in the Heading as being made of that material.

authenticity warranty: the guarantee we give in this agreement that a lot is authentic as set out in paragraph E2 of this agreement.

buyer’s premium: the charge the buyer pays us along with the hammer price

catalogue description: the description of a lot in the catalogue for the auction, as amended by any saleroom notice

Christie’s Group: Christie’s International Plc, its subsidiaries and other companies within its corporate group.

condition: the physical condition of a lot

due date: has the meaning given to it paragraph F1(a).

estimate: the price range included in the catalogue or any saleroom notice within which we believe a lot may sell. Low estimate means the lower figure in the range and high estimate means the higher figure. The mid estimate is the midpoint between the two.

hammer price: the amount of the highest bid the auctioneer accepts for the sale of a lot

Heading: has the meaning given to it in paragraph E2. lot: an item to be offered at auction (or two or more items to be offered at auction as a group).

other damages: any special, consequential, incidental or indirect damages of any kind or any damages which fall within the meaning of ‘special’, ‘incidental’ or ‘consequential’ under local law. purchase price: has the meaning given to it in paragraph F1(a). provenance: the ownership history of a lot

qualified: has the meaning given to it in paragraph E2 and Qualified Headings means the paragraph headed Qualified Headings on the page of the catalogue headed ‘Important Notices and Explanation of Cataloguing Practice’.

reserve: the confidential amount below which we will not sell a lot

saleroom notice: a written notice posted next to the lot in the saleroom and on www.christies.com, which is also read to prospective telephone bidders and notified to clients who have left commission bids, or an announcement made by the auctioneer either at the beginning of the sale, or before a particular lot is auctioned.

subheading: has the meaning given to it in paragraph E2. UPPER CASE type: means having all capital letters.

warranty: a statement or representation in which the person making it guarantees that the facts set out in it are correct. 18/12/2024

IMPORTANT NOTICES AND EXPLANATION OF CATALOGUING PRACTICE

IMPORTANT NOTICES

∆ Property in which Christie’s has an ownership or financial interest

From time to time, Christie’s may offer a lot in which Christie’s has an ownership interest or a financial interest. Such lot is identified in the catalogue with the symbol ∆ next to its lot number. Where Christie’s has an ownership or financial interest in every lot in the catalogue, Christie’s will not designate each lot with a symbol, but will state its interest in the front of the catalogue.

º Minimum Price Guarantees

On occasion, Christie’s has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the lot. This is known as a minimum price guarantee. Where Christie’s holds such financial interest we identify such lots with the symbol º next to the lot number.

º ♦ Third Party Guarantees/Irrevocable bids

Where Christie’s has provided a Minimum Price Guarantee, it is at risk of making a loss, which can be significant if the lot fails to sell. Christie’s sometimes chooses to share that risk with a third party who agrees prior to the auction to place an irrevocable written bid on the lot. If there are no other higher bids, the third party commits to buy the lot at the level of their irrevocable written bid. In doing so, the third party takes on all or part of the risk of the lot not being sold. Lots which are subject to a third party guarantee arrangement are identified in the catalogue with the symbol º ♦

In most cases, Christie’s compensates the third party in exchange for accepting this risk. Where the third party is the successful bidder, the third party’s remuneration is based on a fixed financing fee. If the third party is not the successful bidder, the remuneration may either be based on a fixed fee or an amount calculated against the final hammer price. The third party may continue to bid for the lot above the irrevocable written bid.

Third party guarantors are required by us to disclose to anyone they are advising their financial interest in any lots they are guaranteeing. However, for the avoidance of any doubt, if you are advised by or bidding through an agent on a lot identified as being subject to a third party guarantee you should always ask your agent to confirm whether or not they have a financial interest in relation to the lot

∆ ♦ Property in which Christie’s has an interest and Third Party Guarantee/Irrevocable bid

Where Christie’s has a financial interest in a lot and the lot fails to sell, Christie’s is at risk of making a loss. As such, Christie’s may choose to share that risk with a third party whereby the third party contractually agrees, prior to the auction, to place an irrevocable written bid on the lot. Such lot is identified with the symbol ∆ ♦ next to the lot number.

Where the third party is the successful bidder on the lot, they will not receive compensation in exchange for accepting this risk. If the third party is not the successful bidder, Christie’s may compensate the third party. The third party is required by us to disclose to anyone they are advising of their financial interest in any lot in which Christie’s has a financial interest. If you are advised by or bidding through an agent on a lot in which Christie’s has a financial interest that is subject to a contractual written bid, you should always ask your agent to confirm whether or not they have a financial interest in relation to the lot

¤ Bidding by interested parties

When a party with a direct or indirect interest in the lot who may have knowledge of the lot’s reserve or other material information may be bidding on the lot, we will mark the lot with this symbol ¤. This interest can include beneficiaries of an estate that consigned the lot or a joint owner of a lot. Any interested party that successfully bids on a lot must comply with Christie’s Conditions of Sale, including paying the lot’s full buyer’s premium plus applicable taxes.

Post-catalogue notifications

If Christie’s enters into an arrangement or becomes aware of bidding that would have required a catalogue symbol, we will notify you by updating christies.com with the relevant information (time permitting) or otherwise by a pre-sale or prelot announcement.

Other Arrangements

Christie’s may enter into other arrangements not involving bids. These include arrangements where Christie’s has advanced money to consignors or prospective purchasers or where Christie’s has shared the risk of a guarantee with a partner without the partner being required to place an irrevocable written bid or otherwise participating in the bidding on the lot. Because such arrangements are unrelated to the bidding process they are not marked with a symbol in the catalogue.

EXPLANATION OF CATALOGUING PRACTICE

Terms used in a catalogue or lot description have the meanings ascribed to them below. Please note that all statements in a catalogue or lot description as to authorship are made subject to the provisions of the Conditions of Sale, including the authenticity warranty. Our use of these expressions does not take account of the condition of the lot or of the extent of any restoration. Written condition reports are usually available on request.

A term and its definition listed under ‘Qualified Headings’ is a qualified statement as to authorship. While the use of this term is based upon careful study and represents the opinion of specialists, Christie’s and the consignor assume no risk, liability and responsibility for the authenticity of authorship of any lot in this catalogue described by this term, and the authenticity warranty shall not be available with respect to lots described using this term.

PICTURES, DRAWINGS, PRINTS AND MINIATURES

Name(s) or Recognised Designation of an artist without any qualification: in Christie’s opinion a work by the artist.

QUALIFIED HEADINGS

“Attributed to …”: in Christie’s qualified opinion probably a work by the artist in whole or in part.

“Studio of …”/“Workshop of …”: in Christie’s qualified opinion a work executed in the studio or workshop of the artist, possibly under his supervision.

“Circle of …”: in Christie’s qualified opinion a work of the period of the artist and showing his influence.

“Follower of… ”: in Christie’s qualified opinion a work executed in the artist’s style but not necessarily by a pupil.

“Manner of… ”: in Christie’s qualified opinion a work executed in the artist’s style but of a later date.

“After …”: in Christie’s qualified opinion a copy (of any date) of a work of the artist.

“Signed …”/“Dated …”/ “Inscribed …”: in Christie’s qualified opinion the work has been signed/dated/inscribed by the artist.

“With signature …”/“With date …”/ “With inscription …”: in Christie’s qualified opinion the signature/ date/inscription appears to be by a hand other than that of the artist.

The date given for Old Master, Modern and Contemporary Prints is the date (or approximate date when prefixed with ‘circa’) on which the matrix was worked and not necessarily the date when the impression was printed or published.

CHINESE CERAMICS AND WORKS OF ART

When a piece is, in Christie’s opinion, of a certain period, reign or dynasty, its attribution appears in uppercase letters directly below the Heading of the description of the lot

e.g. A BLUE AND WHITE BOWL

18TH CENTURY

If the date, period or reign mark mentioned in uppercase letters after the bold type first line states that the mark is of the period, then in Christie’s opinion, the piece is of the date, period or reign of the mark.

e.g. A BLUE AND WHITE BOWL

KANGXI SIX-CHARACTER MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1662-1722)

If no date, period or reign mark is mentioned in uppercase letters after the bold description, in Christie’s opinion it is of uncertain date or late manufacture.

e.g. A BLUE AND WHITE BOWL

QUALIFIED HEADINGS

When a piece is, in Christie’s opinion, not of the period to which it would normally be attributed on stylistic grounds, this will be incorporated into the first line or the body of the text of the description.

e.g. A BLUE AND WHITE MING-STYLE BOWL; or

The Ming-style bowl is decorated with lotus scrolls…

In Christie’s qualified opinion this object most probably dates from Kangxi period but there remains the possibility that it may be dated differently.

e.g. KANGXI SIX-CHARACTER MARK IN UNDERGLAZE BLUE AND PROBABLY OF THE PERIOD

In Christie’s qualified opinion, this object could be dated to the Kangxi period but there is a strong element of doubt.

e.g. KANGXI SIX-CHARACTER MARK IN UNDERGLAZE BLUE AND POSSIBLY OF THE PERIOD

JEWELLERY

“Boucheron”: when maker’s name appears in the title, in Christie’s opinion it is by that maker.

“Mounted by Boucheron”: in Christie’s opinion the setting has been created by the jeweller using stones originally supplied by the jeweller’s client.

QUALIFIED HEADINGS

“Attributed to”: in Christie’s qualified opinion is probably a work by the jeweller/maker but no warranty is provided that the lot is the work of the named jeweller/maker.

Other information included in the catalogue description

“Signed Boucheron / Signature Boucheron”: in Christie’s qualified opinion has a signature by the jeweller.

“With maker’s mark for Boucheron”: in Christie’s qualified opinion has a mark denoting the maker.

Periods

Art Nouveau 1895-1910

Belle Epoque 1895-1914

Art Deco 1915-1935

Retro 1940s

WATCHES

Removal of Watch Batteries

A lot marked with the symbol ⊕ next to the lot number incorporates batteries which may be designated as “dangerous goods” under international laws and regulations governing the transport of goods by air freight. If a buyer requests shipment of the lot to a destination outside of the country in which the saleroom is located, the batteries will be removed and retained by us prior to shipment. If the lot is collected from the saleroom, the batteries will be made available for collection free of charge.

FABERGÉ

QUALIFIED HEADINGS

“Marked Fabergé, Workmaster …”: in Christie’s qualified opinion a work of the master’s workshop inscribed with his name or initials and his workmaster’s initials.

“By Fabergé …”: in Christie’s qualified opinion, a work of the master’s workshop, but without his mark.

“In the style of …”: in Christie’s qualified opinion a work of the period of the master and closely related to his style.

“Bearing marks …”: in Christie’s qualified opinion not a work of the master’s workshop and bearing later marks.

HANDBAGS

Condition Reports

The condition of lots sold in our auctions can vary widely due to factors such as age, previous damage, restoration, repair and wear and tear. Condition reports and grades are provided free of charge as a courtesy and convenience to our buyers and are for guidance only. They offer our honest opinion but they may not refer to all faults, restoration, alteration or adaptation. They are not an alternative to examining a lot in person or taking your own professional advice. Lots are sold “as is,” in the condition they are in at the time of the sale, without any representation or warranty as to condition by Christie’s or by the seller.

Grades in Condition Reports

We provide a general, numeric condition grade to help with overall condition guidance. Please review the specific condition report and extra images for each lot before bidding.

Grade 1: this item exhibits no signs of use or wear and could be considered as new. There are no flaws. Original packaging and protective plastic are likely intact as noted in the lot description.

Grade 2: this item exhibits minor flaws and could be considered nearly brand new. It may never have been used, or may have been used a few times. There are only minor condition notes, which can be found in the specific condition report.

Grade 3: this item exhibits visible signs of use. Any signs of use or wear are minor. This item is in good condition.

Grade 4: this item exhibits wear from frequent use. This item either has light overall wear or small areas of heavy wear. The item is considered to be in fair condition.

Grade 5: this item exhibits normal wear and tear from regular or heavy use. The item is in good, usable condition but it does have condition notes.

Grade 6: this item is damaged and requires repair. It is considered in fair condition.

Any reference to condition in a catalogue entry will not amount to a full description of condition, and images may not show the condition of a lot clearly. Colours and shades may look different in print or on screen to how they look in real life. It is your responsibility to ensure that you have received and considered any condition report and grading.

References to “HARDWARE”

Where used in this catalogue the term “hardware” refers to the metallic parts of the bag, such as the buckle hardware, base studs, lock and keys and /or strap, which are plated with a coloured finish (e.g. gold, silver, palladium). The terms “Gold Hardware”, “Silver Hardware”, “Palladium Hardware” etc. refer to

SYMBOLS USED IN THIS CATALOGUE

the tone or colour of the hardware and not the actual material used. If the bag incorporates solid metal hardware this will be referenced in the lot description.

POST 1950 FURNITURE

All items of post-1950 furniture included in this sale are items either not originally supplied for use in a private home or sold as collector’s items. These items may not comply with the provisions of the Furniture and Furnishings (Fire) (Safety) Regulations 1988 (as amended in 1989, 1993 and 2010, the “Regulations”). Accordingly, these items should not be used as furniture in your home in their current condition. If you do intend to use such items for this purpose, you must first ensure that they are reupholstered, restuffed and/or recovered (as appropriate) in order that they comply with the provisions of the Regulations.

The meaning of words coloured in bold in this section can be found in paragraph K, Glossary, of the section of the catalogue headed ‘Conditions of Sale’. Please note that lots are marked as a convenience to you and we shall not be liable for any errors in, or failure to, mark a lot.

º Christie’s has a direct financial interest in the lot. See Important Notices in the Conditions of Sale for further information.

º ♦

Christie’s has provided a minimum price guarantee and has a direct financial interest in this lot. Christie’s has financed all or a part of such interest through a third party. Such third parties generally benefit financially if a guaranteed lot is sold. See the Important Notices in the Conditions of Sale for further information.

∆

Christie’s has a financial interest in the lot. See Important Notices in the Conditions of Sale for further information..

∆

Christie’s has a financial interest in this lot and has financed all or a part of such interest through a third party. Such third parties generally benefit financially if a guaranteed lot is sold. See the Important Notices in the Conditions of Sale for further information. `

¤

A party with a direct or indirect interest in the lot who may have knowledge of the lot’s reserve or other material information may be bidding on the lot

• Lot offered without reserve

Lot incorporates material from endangered species which could result in export restrictions. See paragraph H2(c) of the Conditions of Sale for further information.

≈

Handbag lot incorporates material from endangered species. International shipping restrictions apply. See paragraph H2 of the Conditions of Sale for further information.

∝

Lot incorporates elephant ivory material. See paragraph H2 of the Conditions of Sale for further information.

Lot incorporates material from endangered species which is shown for display purposes only and is not for sale. See paragraph H2(h) of the Conditions of Sale for further information.

Lot is a Non Fungible Token (NFT). Please see Appendix A – Additional Conditions of Sale – Non- Fungible Tokens in the Conditions of Sale for further information.

◗

Lot contains both a Non Fungible Token (NFT) and a physical work of art. Please see Appendix A –Additional Conditions of Sale – Non-Fungible Tokens in the Conditions of Sale for further information.

■

See Storage and Collection pages in the catalogue.

With the exception of clients resident in Mainland China, you may elect to make payment of the purchase price for the lot via a digital wallet in the name of the registered bidder, which must be maintained with one of the following: Coinbase Custody Trust; Coinbase, Inc.; Fidelity Digital Assets Services, LLC; Gemini Trust Company, LLC; or Paxos Trust Company, LLC. Please see the lot notice and Appendix B – Terms for Payment by Buyers in Cryptocurrency in the Conditions of Sale for further requirements and information

φ

Please note that this lot is subject to an import tariff. The amount of the import tariff due is a percentage of the final hammer price plus buyer’s premium. The buyer should contact Post Sale Services prior to the sale to determine the estimated amount of this import tariff. If the buyer instructs Christie’s to arrange shipping of the lot to a foreign address, the buyer will not be required to pay an import tariff, but the shipment may be delayed while awaiting approval to export from the local government. If the buyer instructs Christie’s to arrange the shipment of the lot to a domestic address, if the buyer collects the property in person, or if the buyer arranges their own shipping (whether domestically or internationally), the buyer will be required to pay the import tariff. For the purpose of calculating sales tax, if applicable, the import tariff will be added to the final hammer price plus buyer’s premium and sales tax will be collected as per The Buyer’s Premium and Taxes section of the Conditions of Sale.

18/12/2024

© Christie, Manson & Woods Ltd. (2025)

STORAGE AND COLLECTION

PAYMENT OF ANY CHARGES DUE

Specified lots (sold and unsold) marked with a filled square (■) not collected from Christie’s by 5.00pm on the day of the sale will, at our option, be removed to Christie’s Fine Art Storage Services (CFASS in Red Hook, Brooklyn). Christie’s will inform you if the lot has been sent offsite.

If the lot is transferred to Christie’s Fine Art Storage Services, it will be available for collection after the third business day following the sale.

Please contact Christie’s Post-Sale Service 24 hours in advance to book a collection time at Christie’s Fine Art Services. All collections from Christie’s Fine Art Services will be by pre-booked appointment only.

Please be advised that after 50 days from the auction date property may be moved at Christie’s discretion. Please contact Post-Sale Services to confirm the location of your property prior to collection.

Tel: +1 212 636 2650

Email: PostSaleUS@christies.com

Operation hours for both Christie’s Rockefeller and Christie’s Fine Art Storage are from 9:30 am to 5:00 pm, Monday – Friday.

COLLECTION AND CONTACT DETAILS

Lots will only be released on payment of all charges due and on production of a Collection Form from Christie’s. Charges may be paid in advance or at the time of collection. We may charge fees for storage if your lot is not collected within ninety days from the sale. Please see paragraph G of the Conditions of Sale for further detail.

Tel: +1 212 636 2650

Email: PostSaleUS@christies.com

SHIPPING AND DELIVERY

Christie’s Post-Sale Service can organize domestic deliveries or international freight. Please contact them on +1 212 636 2650 or PostSaleUS@christies.com.

Long-term storage solutions are also available per client request. CFASS is a separate subsidiary of Christie’s and clients enjoy complete confidentiality. Please contact CFASS New York for details and rates: +1 212 636 2070 or storage@cfass.com

CHRISTIE’S ROCKEFELLER CENTER

20 Rockefeller Plaza, New York 10020

Tel: +1 212 636 2000

PostSaleUS@christies.com

Main Entrance on 49th Street

Receiving/Shipping Entrance on 48th Street

Hours: 9.30 AM - 5.00 PM

Monday-Friday except Public Holidays

CHRISTIE’S FINE ART STORAGE SERVICES (CFASS)

62-100 Imlay Street, Brooklyn, NY 11231

Tel: +1 212 974 4500

PostSaleUS@christies.com

Main Entrance on Corner of Imlay and Bowne St

Hours: 9.30 AM - 5.00 PM

Monday-Friday except Public Holidays

As a leader in the art market,

Christie’s is committed to building a sustainable business model that promotes and protects the environment. Our digital platform on christies.com offers a conscious approach, creating an immersive space where we bring art to life through high quality images, videos and in-depth essays by our specialists.

With this robust online support, Christie’s will print fewer catalogues to ensure that we achieve our goal of Net Zero by 2030. However, when we do print, we will uphold the highest sustainable standards.

Please scan for more information about our sustainability goals and projects.

The catalogue you are reading is:

printed on fully recycled paper;

printed with vegetable-based ink and biodegradable laminates;

printed in close proximity to our markets in an effort to reduce distribution emissions.

Identity Verification

Anti-money laundering regulations require Christie’s and other art businesses to verify the identity of all clients. To register as a new client, you will need to provide the following documents, or if you are an existing client, you will be prompted to provide any outstanding documents the next time you transact.

Private Individuals

• A copy of your passport or other government-issued photo ID.

• Proof of your residential address (such as a bank statement or utility bill) dated within the last three months.

Please upload your documents through your christies.com account: click ‘My Account’ followed by ‘Complete Profle’. You can also email your documents to info@christies.com or provide them in person.

Organisations

• Formal documents showing the company’s incorporation, its registered office and business address, and its officers, members and ultimate beneficial owners

• A passport or other governmentissued photo ID for each beneficial owner and authorised user.

Please email your documents to info@christies.com or provide them in person.