Art of The Ancient World XVII

A r t o f t h e A nc i e n t W o r l d Greek, Etruscan, Roman, Egyptian, & Near Eastern Antiquities

Volume XVII - 2006

royal-athena galleries

n ew y o r k

london

No. 83 - Art of the Ancient World - Vol. XVII - January 2006

We are pleased to issue this catalog celebrating our 64th anniversary of dealing in classical numismatics and our 52nd year of dealing in ancient art. It illustrates in full color 233 selected antiquities priced from $1,500 to over $1,000,000.

This publication is one of a continuing series primarily illustrating new acquisitions featured in our New York and London galleries, where over two thousand fine works of art are on permanent display. All of the antiquities in this catalog are displayed at our New York gallery, the largest and most extensive collection of the ancient arts ever exhibited for sale.

In addition to the many masterworks of ancient art, there is a wide variety of fine items on display priced from $100 to $1,000 and up, including Greek and Roman coins, Old Master prints and drawings, and antique Egyptian prints and photographs, perfect for the beginning collector or for that very special gift. A few of the pieces illustrated may not be available since they were sold while the catalog was in preparation, but a number of other newly acquired objects will be on display in our New York gallery and on our website: www.royalathena.com.

We unconditionally guarantee th e authenticity of every work of art sold by Royal-Athena Galleries.

Composed and printed in the United States of America. ©2005 Jerome M. Eisenberg, Inc.

Every object purchased by our galleries has been legally acquired. If imported by us into the United States, we have done so in compliance with all federal regulations and have given full consideration to all international treaties governing objects of cultural importance. Antiquities priced at $10,000 or more are now checked and registered with the Art Loss Registry in London.

All of our objects are clearly labeled with complete descriptions and prices. Condition reports on all the objects are available upon request. We encourage browsing and are happy to assist and advise both the amateur and the serious collector. We urge our prospective clients to ‘shop around’, for we are proud of our quality, expertise, and competitive pricing.

Appointments may be arranged outside of regular gallery hours for clients desiring privacy.

Updated price lists for our catalogs are available upon request. For terms and conditions of sale see the inside back cover.

COVER PHOTOS Roman bronze of Alexander the Great Catalog no. 43, p. 30 Egyptian limestone sarcophagus lid Catalog no. 172, p. 77

Text and catalog design by Jerome M. Eisenberg, Ph.D., and F. Williamson Price Photographs by Brent M. Ridge and Jerome M. Eisenberg, Ph.D.

We will be exhibiting at

Galerie Harmakhis, Brussels, December 1-12, 2005 Palm Beach! Fine Art & Antique Fair, Palm Beach, February 2-12, 2006 TEFAF, The European Fine Arts Fair, Maastricht, The Netherlands, March 10-19, 2006 BAAF Brussels, The Brussels Ancient Art Fair, Brussels, Belgium, June 9-15, 2006 BAAF Basel, The Basel Ancient Art Fair, Basel, Switzerland, November 3-8, 2006 (Check our website to confirm the dates)

ro yal-athe na gallerie s es ta b l i sh ed 1 9 4 2

153 East 57th Street New York, NY 10022 Tel.: (212) 355-2034 Fax.: (212) 688-0412 e-mail:ancientart@aol.com Monday-Saturday, 10 to 6

Jerome M. Eisenberg, Ph.D. Director

VISIT OUR WEBSITE, updated weekly with our latest acquisitions:

www.royalathena.com

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

A r t o f t h e A ncient World

Greek, Etruscan, Roman, Egyptian, & Near Eastern Antiquities

Table of Contents

CLASSICAL ART Greek Marble Sculptures Roman Marble Sculptures Roman Mosaic Greek Bronzes Etruscan Bronzes Roman Bronzes Helmets, Arms, etc.

Greek Terracottas Etruscan Terracottas Roman Terracottas Early Greek Vases Corinthian Vases Attic Black-figure Vases Attic White-ground Vases Attic Red-figure Vases South Italian Vases Etruscan Vases Roman Pottery Ancient Glass Vases Greek Gold and Silver Vessels and Varia Classical Gold Jewelry

Photo above: Roman marble head of Alexander the Great as a Dioscuros. Catalog no. 23, p. 18.

2 7 24 25 28 29 43 46 48 49 50 51 52 56 58 59 62 65 66 67 69

BYZANTINE ART, PREHISTORIC ART, AND VARIA Byzantine Art Prehistoric Stone and Bone Implements Ancient Varia

EGYPTIAN ART Egyptian Stone Sculptures and Reliefs Egyptian Bronzes Egyptian Ushabtis Egyptian Faience and Pottery Egyptian Varia Egyptian Wood Sculptures, etc.

NEAR EASTERN ART Anatolia, Mesopotamia, Phoenicia, Canaan South Arabia, Scythia, Ordos

70 72 74 75 79 83 85 88 89 90 90 92

COLLECTING ANCIENT ART 94 ROYAL-ATHENA GALLERIES 94 95 Expertise and Ethics Royal-Athena Galleries Catalogs Inside back cover Photo above: Roman marble head of Apollo.

Catalog no. 22, p. 16.

1 GREEK MARBLE RELIEF HEAD OF AN ATHLETE from a stele. Ca. 440-420 BC. H. 8 5/8 in. (22 cm.) Ex French collection near Bordeaux, acquired at the beginning of the 20th Century.

2 HELLENISTIC MARBLE PORTRAIT HEAD OF PTOLEMY III EUERGETES TRYPHON, 246-221 BC. 3rd Century BC. H. 7 5/8 in. (19.4 cm.)

Ex private French collection. Soon to be published along with a smaller portrait in the Antikenmuseum Basel by Dr Rudolf Kaenel. Cf. S. Walker and P. Higgs, Cleopatra of Egypt, 2001, no. 10.

Though Ptolemy III had his problems in Egypt, history considers him a prudent ruler, which is demonstrated by the famous Canopus Decree of March 4th, 238 BC, which was issued by the Egyptian priesthood, and paid homage to the king and his wife as Theoi Euergetai, ‘Benefactor Gods’, for their contributions and promotion of Egyptian cults but also for maintaining peace and good government in general. As an example of the latter, the decree singles out Ptolemy's importation, at his own expense, of grain for the population when a nationwide famine threatened.

Ptolemy’s 25 year reign saw Egypt prosper. The great Library at Alexandria was a main interest. In fact, he ordered all books unloaded on the Alexandria docks to be seized, and copies made of them. The Library kept the originals (marked "from the ships"), while the owners were provided with the copies. He is also said to have borrowed from Athens the official copies of all three Greek tragedians (Aeschylus, Sophocles, and Euripides) in order to correct the texts in the Library. He had to put up a considerable deposit for this loan, yet once he had his hands on the originals, he decided to forfeit his deposit and keep them.

Greek Marble Sculptures

2

3

3 HELLENISTIC MONUMENTAL MARBLE HEAD OF APHRODITE (VENUS), the goddess of beauty and marriage, depicted with a serene, steady gaze, her wavy hair centrally parted and gathered to the back of her neck. The base of her neck is carved for insertion into a statue. 2nd Century BC. H. 16 in. (42 cm.)

Ex private French collection. Cf. A. Stewart, Greek Sculpture, 1990, p. 171ff, no. 158ff; Lexicon Iconographicum Mythologicae Classicae (LIMC) II: Aphrodite, pls. 106-108.

7 LATE HELLENISTIC MARBLE STATUE OF PRAXILLA OF SICYON The famed Greek lyric poetess, who lived ca. 450 BC, is depicted in performance, her body turned, and her arms raised in expression. She wears a loosely belted chiton which falls away revealing her body as she moves. Carved from Thasian marble.

Ca. 1st Century BC H. 15 1/2 in. (39.4 cm.)

Ex J.A. collection, Brussels.

The most famous copy remaining is the one in the Staatliche Museum in Berlin known as the ‘Berlin Dancer’.

Cf. Paolo Moreno, Lisippo, l’Arte e la Fortuna, 1995, pp.

208-215. The other known examples are in the Museo Nazionale Romano, found in Hadrian’s villa at Tivoli; the Liebieghaus, Frankfurt; Bonn; Paris; and one in a private midwestern American collection. Additionally, though there is scholarly conjecture, a small bronze in the Santa Barbara Museum of Art is identified as Praxilla and also a figure in a Dionysiac procession carved on a Roman sarcophagus now in the Museo Bardini, Florence.

4 GREEK LIMESTONE RELIEF SECTION OF A WOMAN RUNNING to the right, a sword in her right hand. Taras, South Italy, ca. 300-280 BC. H. 4 1/4 in. (11 cm.); W. 5 1/8 in. (13.2 cm.)

Ex collection of Dr Wilhelm Hartweg, Weinheim, Germany. Cf. Joseph C. Carter, The Sculptures of Taras, 1975, pl. 59b.

5 HELLENISTIC MARBLE HEAD OF APOLLO, the sun god, with oval face and steadfast gaze, centrally parted hair pulled to the back, and a tress falling down either side of his neck.

2nd-1st Century BC. H. 6 5/8 in. (16.8 cm.) Ex private French collection; A. von S. collection, New York.

6 EAST GREEK MARBLE RELIEF OF A YOUTH RIDING A HORSE beneath an arbor from which hang two serpents. At right, a draped male with his right hand raised in salutation.

2nd-1st Century BC. H. 12 1/2 (32 cm.); W. 14 1/2 in. (37 cm.) Ex private German collection.

Cf. E. Pfuhl and H. Möbius, Die ostgriechischen Grabreliefs II, 1979, pl. 194ff.

4

5

8 LATE HELLENISTIC MARBLE MALE HEAD, possibly representing a dynast, a hero, or an athlete.

Ca. 1st Century BC. H. 13 1/2 in. (34.3 cm.)

Ex private English collection.

A remarkable portrait expressively carved with heightened emotion. It has been suggested that this may represent a Hellenistic prince or one of the successor kings of Alexander the Great’s divided empire.

Roman Marble Sculptures 9

ROMAN MARBLE GROUP OF HERAKLES SLAYING THE NEMEAN LION East Greek, ca. 1st Century AD. H. 18 in. (45.7 cm.)

Carved from Thasian marble.

Ex old Belgian collection.

For the hair of the hero, see the Skythopolis Athlete from Beth Shehan, Israel Museum.

The goddess Hera, determined to harm Herakles, made him lose his mind and, in a mad rage, he killed his own wife and children.

When the insanity passed, he was distraught and prayed to Apollo whose oracle told him he would have to serve Eurystheus, the king of Tiryns and Mycenae, for twelve years, as punishment. As part of this sentence, Herakles had to perform twelve Labors, feats so difficult that they seemed impossible. The first of these was to slay the Nemean lion.

His struggles made Herakles the perfect embodiment of an idea the Greeks called pathos, the experience of virtuous struggle and suffering which leads to fame and, in Herakles' case, immortality.

6

7

13 ROMAN MARBLE HEAD OF HERAKLES, the bearded hero with large eyes, pronounced brows, and a steady gaze.

The closely cropped curly hair is bound with a diadem. Later 2nd Century AD. H. 10 7/8 in. (27.6 cm.)

Ex private Swiss collection.

14 ROMAN SMALL MARBLE SEVERED HEAD OF THE GORGON, MEDUSA, being grasped by her snakey hair by the hand of Perseus.

2nd Century AD. H. 3 1/4 in (8.3 cm.)

Ex private English collection.

The gorgons were three sisters who lived at the end of the world, beyond the ocean, in the kingdom of Night. Two of the sisters were immortal, but Medusa was not.

Originally the sisters had been beautiful, but when Poseidon had courted Medusa, she rejected the god’s advances. In his fury, he had cursed Medusa and her sisters so that they became monstrous creatures, with live snakes in place of their hair, and hideously deformed bodies. Medusa’s face remained beautiful, but anyone who looked directly on the face of Medusa was immediately turned to stone.

In order for king Polydectes to get rid of

10 ROMAN MARBLE BUST OF HERMES (MERCURY), messenger of the gods, with wings sprouting from his forehead.

1st Century AD. H. including a later socle, 16 in. (40.6 cm.) Ex collection of Walter I. Farmer (1911-1997), Hyde Park, Ohio, acquired in the 1950s or 60s; thence by descent.

Perseus he had been ordered by the king to bring back the head of Medusa. After praying to the gods, Athena lent him her polished shield so that he could see only the gorgon’s reflection only when he cut off her head, and not be turned to stone by looking directly on her face. To accomplish the deed, the Nereids gave him a diamond-edged sword.

11 ROMAN MARBLE ARCHAISTIC HEAD OF DIONYSOS from a trapezophoros 1st Century AD. H. 5 in. (12.7 cm.) Ex private English collection.

12 ROMAN MARBLE HERM BUST OF HERAKLES with traces of a hieratic inscription. 1st Century AD. H. 5 1/2 in. (14 cm.) Ex Orenga de Gaffory collection, France, acquired in the late 1920s-1960s.

8

9

15 ROMAN MARBLE ARCHAISTIC HEAD OF ATHENA (MINERVA), goddess of wisdom, of war, and of the arts and crafts, wearing a helmet surmounted by a fragmentary sphinx and decorated with ram heads in low relief, her braided hair swept over the temples; with inlaid bronze eyes. Ca. 1st Century AD. H. 9 1⁄2 in. (24.2 cm.)

Ex collection of Paul Landowski (1875-1961), sculptor of the landmark statue of Christ the Redeemer in Rio de Janeiro, Brazil.

16 ROMAN MARBLE ARCHAISTIC HEAD OF A GODDESS, inspired by Greek korai of the late Archaic period, wearing a necklace with three acorn-shaped pendants, her oval face with carefully carved features and finely arched eyebrows. The elaborate coiffure is parted in the center over the forehead and surmounted by a diadem with a fragmentary disk ornament, with deeply undercut braids over the temples in front of her ears, and falling in long, ribbed, wavy plaits over her shoulders in back.

Ca. 1st Century AD. H. 11 in. (27.9 cm.) An outstanding example of the archaistic style.

Ex collection of Josef Kastner (18101871), acquired in Vienna in the 1840s; Franz von Matsch (1861-1942), Vienna, acquired at the Dorotheum, ‘Sammlung Kastner’, December 4th, 1911, p. 21, no.

90, pl. XXXV; Galerie Fischer, Lucerne, June 21st, 1955, no. 238, pl. 10; Galerie Pro Arte auction, Bevaix, Switzerland, 1970.

On the Tyrolian painter and art restorer Josef Kastner see Österreichisches Biographisches Lexikon 1815–1950, vol. 3, p. 259.

10

11

Published: H. Sitte, “Eine archaistische Frauenfigur”, Jahreshefte des Österreichischen Archäologischen Instituts in Wien, vol. 15, 1912, pp. 265ff, figs. 172-174 (with restorations); W. Jacobstahl, Mitteilungen des Deutschen Archäologischen Instituts, Athenische Abteilung, vol. 57, 1932, p. 70; H. Herdejürgen, “Ein Athenakopf aus Ampurias. Untersuchungen zur archaistischen Plastik des 1. Jahrhunderts n. Chr.”, Madrider Mitteilungen, vol. 9, 1968, p. 217ff; P.C. Bol et al., Forschungen zur Villa Albani. Katalog der antiken Bildwerke, vol. 1, Berlin, 1989, p. 240.

Cf. the marble head of Artemis in the archaistic style, published in M. Comstock and C. Vermeule, Sculpture in Stone - Greek, Roman, and Etruscan Sculpture in the Collection of the Museum of Fine Arts, Boston, 1979, p. 137, no. 215.

Other archaistic heads of this type are in the British Museum (A.H. Smith, A Catalogue of Sculpture in the Department of Greek and Roman Antiquities, vol. 3, London, 1904, p. 23, no. 1563), the Villa Albani (P.C. Bol., op. cit., no. 77, pls. 132-135), in the Ostia Museum (R. Calza and M. Floriani Squarciapino, Museo Ostiense, Rome, 1962, p. 40), and the Museo Torlonia (inv. no. 482). Also see G.B. Waywell, The Lever and Hope Sculptures, Berlin, 1986, pl. 51.1. For korai wearing similar necklaces see Gisela M.A. Richter, Archaic Greek Maidens, London, 1968, figs. 139-142, and 322.

17 ROMAN MARBLE TORSO OF APHRODITE (VENUS), the goddess of beauty and marriage.

Sensuously carved in fine grained marble.

1st-2nd Century AD. H. 14 3/4 in. (37.5 cm.)

Ex Parisian collection, acquired in the 1970s.

18 ROMAN NEAR LIFE-SIZE MARBLE APHRODITE OR VENUS GENETRIX of the so-called Charis type, standing in contrapposto, clothed in a sheer, clinging garment that leaves one breast bare and emphasizes her body underneath. This is Venus as the divine ancestress of the Roman people, and in particular the Gens Julia which claimed direct descent from Venus Genetrix and Aeneas.

See: Christine Havelock, The Aphrodite of Knidos and Her Successors, University of Michigan Press, 1995.

12

13

Julius Caesar built a Temple of Venus Genetrix in his new forum and commissioned the Greek sculptor Arkesilaos to create a statue of her from which it is assumed that our work and others such as that in the Louvre ( cf. A. Stewart, Greek Sculpture, 1990, fig. 426) are copies. However, the stance of our statue is in reverse and with the left breast exposed rather than the right. 1st-2nd Century AD. H. 51 1/4 in. (130.2 cm.)

Ex collection of Dr J.C., Portsmouth, Virginia, acquired in London in 1970.

21 ROMAN MARBLE NUDE APOLLO KITHARODOS the god of the sun and of music, prophecy, purification, healing, and patron of young men, stands in contrapposto, his centrally parted hair bound with a thick wreath of laurel, its long tendrils falling on his shoulders; the pillar support surmounted by his kithara (to which the term Kitharodos refers).

Late 1st-early 2nd Century AD. H. 46 1/2 in. (118.1 cm.)

Ex private collection, Woodland Hills, California. Published: J. Eisenberg, Art of the Ancient World, vol. XII, 2001, no. 13.

19 ROMAN MARBLE HEAD OF HERMES (MERCURY), messenger of the gods and guide of souls.

Last quarter of the 2nd Century AD. H. 9 7/8 in (25.1 cm.) Ex Wilhelm collection, Berlin and Basel, acquired in the 1920s. For the style of the face see the Doryphoros of Polykleitos in D. Kreikenbom, Bildwerke nach Polyklet, 1990, 92f, catalog no. III65, pl. 207f; H. Beck and P.C. Bol, Polyklet - der bildhauer der griechischen Klassik, Frankfurt Am Main, 1990, p. 550, no. 58. For the arrangement of the hair, see D. Kreikenbom, op. cit., p. 49, catalog no. II9, pl. 84f.

20 ROMAN MARBLE HEAD OF NIOBE the ill-fated queen of Thebes, whose children were slaughter

by Apollo for her hubris.

Later 2nd Century AD. A rare subject in marble; nose restored.

H. 9 7/8 in. (25 cm.)

Ex Meyer family collection, Zurich, Switzerland, acquired in the 1970s.

Cf. the face with that in the Niobe and Apollo sculpture in the National Museum in Rome: Helbig III 4, no.

2279; W. Fuchs, Die skulptur der Griechen, 1979, p.295f; LIMC VI, Niobe, 21a.

Any mother would be proud of giving birth to seven beautiful daughters and seven handsome sons, however, Niobe, through pride and arrogance, became scornful and boastful, particularly against Leto, mother of Apollo and Artemis. During that goddess’ festival Niobe exhorted the populace to worship her and not the goddess. Whereupon, Apollo killed her children in a hale of arrows. Her husband, Amphion, died of shock, and Niobe was turned to stone.

14

Perhaps the most famous representation of Apollo Kitharodos is that thought to be by the 2nd Century BC Attic sculptor Timarchidas I, Roman copies of which are in the Museo Capitolino, Rome, and the Museo Nazionale, Naples.

15

Probably the most famous site associated with Apollo was Delphi where, since the 9th century BC, his priests and the oracle, called the pythia, answered the questions of pilgrims from within the inner sanctuary adytum, where stood the omphalos stone, the center of the world, and a laurel tree. It was on the walls of this temple that were carved two epithets: ‘ µηδεν αγαν’ (nothing in excess) and ‘γνωθι σεαυτον’ (know thyself).

22 ROMAN MARBLE HEAD OF APOLLO, his deeply carved, wavy hair is centrally parted and tied in a bow atop his head. Ca. 1st Century AD. H. 13 in. (33 cm.) Ex collection of C. Ruxton Love, Jr, New York.

The first temple of Apollo in Rome was built in the campus Martius as the result of a vow by the Senate in 433 B.C. after a plague ravaged the city. The site was chosen because it was either in or near an earlier cult centre of the god, the Apollinar, either a grove or an altar, and was the only temple of Apollo in Rome until Augustus built his on the Palatine Hill. This temple was also known as that of Apollo Medicus, probably because of its origin, and was located near the Temple of Spes, goddess of hope, and next to the Theater of Marcellus.

Like the so-called Belevede Apollo in the Vatican collection which this superb head closely resembles, it is a work of extreme sensitivity, ultimately derived from a Greek prototype thought to be by the 4th Century BC sculptor Leochares. Cf. The Belvedere Apollo in A. Stewart, Greek Sculpture, 1990, fig. 573.

Apollo was originally of Greek origin but was 'adopted' by the Romans early in their history. He was the god of healing, oracles, prophecies, hunting, music, and poetry, and was the embodiment of the Hellenic ideal of beauty in every aspect of life.

16

17

18

19

23 ROMAN MARBLE HEAD OF ALEXANDER THE GREAT AS A DIOSCUROS, his hair parted, centering his characteristic anastole and framing his face in rows of deeply drilled curls. His upturned head with idealized features is capped by a pilos helmet.

Ca. AD 160-180. H. 13 in. (33 cm.)

Ex collection. of Sir Chevrel Darwin, Sydnope Hall, Two Dales, Derbyshire, England.

A magnificent example of Antonine sculpture. Note the contrast of the highly polished face with the hair which originally was no doubt painted.

24 ROMAN MARBLE RELIEF SECTION WITH THE HEAD OF ZEUS SERAPIS with a modius on his head; from a sarcophagus.

Late 2nd-3rd Century AD. H. 10 1/4 in. (26 cm.)

Ex private German collection.

25 ROMAN MARBLE HEAD OF A YOUNG WOMAN, her centrally parted hair coifed in the imperial court style, pulled into a plaited and braided bun at the upper back of her head. Ca. 100-120 AD. H. 9 1/4 in. (23.5 cm.)

Ex private collection, Woodland Hills, California.

26 ROMAN MARBLE HECATEION depicting the triple aspected Hecate Dadouchos as protector of the home and guardian of the soul, holding torches, surmounted by a crescent moon and a bust of Sol Invictus. Ca. 3rd Century AD. H. 14 1/4 in. (36.2 cm.)

Ex private English collection; W. H. collection, Westport, Connecticut, acquired from Royal-Athena Galleries in 1988.

27 ROMAN MARBLE HEAD OF THE EMPEROR HADRIAN (AD 117-138), his brow framed by a thick row of wavy locks crowned by a laurel wreath with a central circular boss.

Ca. AD 120-140.

H. 11 in. (28 cm.)

Ex M.B. collection, Belgium, acquired before 1985.

For portraits of Hadrian see M. Wegner, Hadrian, Plotina, Marciana, Matidia, Sabina, 1956.

Hadrian was a man of extraordinary talents, certainly one of the most gifted that Rome ever produced. He became a fine public speaker, he was a student of philosophy and other subjects, who could hold his own with the luminaries in their fields, he wrote both an autobiography and poetry, and he was a superb architect.

It was in this last area that he left his greatest mark, with several of the empire's most extraordinary buildings and complexes stemming from his fertile mind.

Hadrian was probably the most traveled emperor, spending so little time in Italy, compared with abroad, that his govern

mental policies at home play a lesser role in consideration of his entire principate.

Yet they have significance, because they display the same tendency toward order and consolidation as his external policies. His travels were intended to gain intimate knowledge of people and provinces, of the military in all its aspects, and to help produce a better and securer life for almost all his subjects.

His most famous architectural project was the rebuilding of Agrippa’s Pantheon in Rome, reconstructing the accustomed temple facade, with columns and pediment, but attaching it to a drum which was surmounted by a coffered dome which remained the largest in the world until the twentieth century. As a temple to all the gods and then a church to one god, it has been in continuous use for 1900 years. As was his custom, he replaced the original inscription of Agrippa on the architrave; seldom did he put his own name on a monument.

20

21

28 ROMAN MARBLE PORTRAIT OF THE EMPEROR CARACALLA, AD 211-217, when a child.

Ca. AD 195.

H. 9 3/8 in. (24 cm.)

Ex de Bayser collection, Paris.

29 ROMAN MARBLE PORTRAIT OF THE EMPEROR GALLIENUS, AD 260-268 Later 3rd Century AD H. 12 7/8 in. (32.8 cm.)

A fine and rare portrait.

Ex Hr. R. collection, Laussane, Switzerland, acquired about 1950.

He was born in AD 188 in Lyon, where his father was serving as governor of the province of Gallia Lugdunensis under the emperor Commodus. The child's name originally seems to have been Lucius Septimius Bassianus, but when he was seven years old his name was changed to Marcus Aurelius Antoninus to connect the family of Severus to that of the Antonines. This portrait and others like it were probably made to commemorate this event.

‘Caracalla’ was a nickname for a type of cloak popularized by the emperor, but the nickname was never used officially.

Son of the emperor Valerian. Compared to other Roman emperors of the age, G Publius Licinius Egnatius Gallienus was an exception, as far as he was not a soldier-emperor.

He was rather a thoughtful, intellectual ruler, possessing sophisticated Greek tastes. Between AD 254 to AD 256 he campaigned along the Danube, securing this troubled frontier against the barbarians. In AD 256 he then moved west to fight the Germans along the Rhine.

Cf. V. Poulsen, Les Portraits Romains, II, Ny Carlsberg Glyptotek, 1974, no. 132, pls.

CCX-CCXI..

Cf. Max Wegner, Das römische Herrscherbild – Gordianus II to Carinus, Berlin 1979, pp.

106-120, pl. 45; pp. 108-110, no. 117f, pl.

45.

In AD 211 his father Severus died and Caracalla, at 22 years of age, became emperor jointly with his 21 year old brother, Geta. Lifelong rivalries between the two ended with Geta’s murder later that year.

Caracalla spent little time in Rome after the spring of AD 213. A visit to Gaul and a military campaign along the borders of upper Germany and Raetia occupied much of the rest of the year. Winter may have been spent in Rome, but in the following year Caracalla made a journey to the East in preparation for a war against the Parthians. Along the way, the emperor displayed an increasing fascination and identification with Alexander the Great. Like the Macedonian prince, however, Caracalla would not survive an expedition to the East. Only his ashes would return to Rome. In AD 217 he was murdered by one of his own guards while on a trip to central Greece.

But this success cannot disguise what was a desperate situation for Gallienus. The Franks were attacking in large numbers, crossing the Rhine and forcing their way into Gaul. Gallienus could do little but accept the establishment of a realm by the Marcomanni, north of the Danube -a challenge earlier emperors would have never accepted. In order to come to peaceful terms with this new kingdom it is said that Gallienus even took a Marcomannic princess as a second wife.

22

23

During the rest of his reign he was occupied with quelling rebellions and repulsing invasions until at the siege of Mediolanum, he was struck down in the dark as he emerged from his tent. In a final irony, he was deified by the senate at the request of emperor Claudius II Gothicus, one of the men who had brought about his assassination.

30 ROMAN PALE YELLOW MARBLE GROUP OF TWO HORSES joined by a yoke, their inner front legs upraised.

An excellent example of an unfinished sculpture. 1st-3rd Century AD. H. 8 5/8 in. (22 cm.)

Greek Bronzes

Roman Mosaic 31 ROMAN MOSAIC: POLYCHROME BUST OF A YOUNG MAN with long hair within a frame of gray diamond-shaped lozenges on black with a white border.

2nd-3rd Century AD. H. and W. 23 1/4 in. (59 cm.)

Ex French collection, acquired in Beirut in the 1970s.

32 GREEK BRONZE VOTIVE PLAQUE OF A GOAT walking to the left on a groundline. The animal has a short beard and a large horn; details incised.

Possibly from Thessaly, 7th-6th Century BC. L. 3 3â „4 in. (9.5 cm.) Ex M. Gilet (d. 1973), Lausanne, Switzerland; Robin Symes, London; John Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena Galleries in 1988. Published: C. Vermeule and J. Eisenberg, Catalogue of the Greek, Etruscan, and Roman Bronzes in the Collection of John Kluge, 1992, New York and Boston, nos. 88-89.

33 HELLENISTIC BRONZE NUDE APOLLO, the sun god, after a Greek original of the 4th century BC, in the Polykleitan style.

Ca. 1st Century BC. H. 4 5/8 in. (11.7 cm.)

Ex E.K. collection, Canton, Michigan, acquired from Royal-Athena Galleries in 1987.

Exhibited: Picker Art Gallery, Colgate University, 1987-2005.

34 HELLENISTIC BRONZE DIADOCH AS HERMES, probably Demetrius Poliorcetes, nude, wearing a diadem and a short cloak about his neck that is gathered and wrapped tightly over his left arm and held behind his back. He stands, leaning forward defiantly, his right leg raised to rest on a cask, his right forearm resting on that knee. Originally covered in silver, traces of which remain.

1st Century BC/AD. H. 7 7/8 in. (20 cm.)

Ex Chandon de Briailles collection, France.

24

25

Cf. a similar bronze of Demetrius, as Dionysos Tauros, from the Villa of the Papyri, now in the Naples Museum, published by Claude Rolley, Greek Bronzes, 1986, pp.

202-203, no. 175.

35 LATE HELLENISTIC BRONZE APPLIQUE BUST OF ARTEMIS (DIANA), the virgin huntress and patroness of marriage and childbirth, turning to her left, wearing a chiton leaving her left shoulder bare and a deer-skin cloak tied at her right shoulder.

Ca. 1st Century BC. H. 4 5/8 in. (11.7 cm.)

Ex Royal-Athena Galleries, 1992; Ruttonjee collection, Hong Kong.

Cf. B. Barr-Sharrar, The Hellenistic and Early Imperial Decorative Bust, 1987; C53, pl. 17, British Museum; C55, pl. 18, Antikenmuseum, Basel; C60, pl. 20, Museum of Fine Arts, Boston; C66, pl. 22, Museo Nazionale, Naples; Sabine Faust, Fulcra, 1989, no. 379, pl. 63, Museo Provinciale d’Arte, Trento.

39 LATE HELLENISTIC BRONZE EQUESTRIAN GROUP OF ALEXANDER THE GREAT, his right arm raised as if to hurl his spear, astride a rearing Bucephalus.

Possibly from Alexandria, 2nd-1st Century BC. H. 3 7/8 in. (10 cm.); L. 4 1/2 in. (11.5 cm.)

Ex private German collection, acquired in the 1980’s.

Probably based on the famous Pompeiian mosaic depicting Alexander defeating Darius at the Battle of Issus. Egypt had been under Persian rule during the XXVIIth Dynasty (525-404 BC) and the XXXIth Dynasty (343-332 BC).

The Persian cap he wears here is possibly an iconographic reference to his defeat of the Persians by which he became defacto ruler of Egypt.

36 LATE HELLENISTIC BRONZE APPLIQUE BUST OF A FEMALE WEARING A DIADEM, possibly a Ptolemaic queen as Isis.

1st Century BC/AD. H. 2 in. (5.1 cm.)

Cf. K. Parlasca,“Trauernde Isis, Euthenia oder “Aegyptus capta?”, Antike Welt, 34, 2003, 161-164. See also Jerome M. Eisenberg, Art of the Ancient World, vol. XI, 2000, no. 54.

37 LATE HELLENISTIC BRONZE ITHYPHALLIC DWARF GLADIATOR, his hair styled like a helmet, holding a small round shield.

1st Century BC/AD. H. 1 1/2 in. (3.9 cm.)

Ex private French collection.

38 LATE HELLENISTIC BRONZE ITHYPHALLIC DWARF standing in the combative pose of a wrestler or a boxer with his fists raised.

1st Century BC/AD. H. 2 3/8 in. (6 cm.)

Ex private French collection.

26

27

Etruscan Bronzes 40 PAIR OF ETRUSCAN BRONZE VESSEL HANDLES: NUDE ATHLETES, their bodies curved into a back bend, their feet resting on a leaf-shaped plate, their upraised arms and head joined to a curving plate once attached to the vessel’s rim.

Said to be from Pesce Romana, near Vulci.

Late 4th Century BC. H. 4 1⁄2 in. (11.4 cm.)

Ex private collection, Lugano, Switzerland; collection of John Kluge, Charlottesville, Virginia, acquired from RoyalAthena Galleries in 1988.

Published: C. Vermeule and J. Eisenberg, Greek, Etruscan, and Roman Bronzes in the Collection of John Kluge, 1995, nos. 88-07, 88-08.

41 ETRUSCAN BRONZE HERAKLES BATTLING THE LERNEAN HYDRA The hero’s second labor was to slay this serpent with nine heads, one of which was indestructible. He acomplished this by bashing off the heads with his club as seen here. His companion Iolus would then burn the neck sinews with a torch prohibiting the hydra from growing back its heads. He lopped off the immortal head and buried it by the road.

Ca. 3rd Century BC. H. 4 in. (10.2 cm.)

Ex private French collection.

A rare subject in bronze.

Herakles’ left leg and most of the hydra are now lacking.

Roman Bronzes

28

42 ROMAN BRONZE GROUP OF THE ENTHRONED ZEUS with his lower body draped in a himation and a laurel crown upon his head. His raised left hand once held a lance and in front of him are two eagles, all of which are attached to a square pedestal with an inscription. 1st-2nd Century AD. H. of statue: 6 7/8 in. (17.5 cm.); total 9 1/8 in. (23.3 cm.) Ex private French collection.

Based on the 5th Century BC statue of the Olympian Zeus by the famous Greek sculptor Phidias.

29

43 ROMAN LARGE BRONZE STATUE OF ALEXANDER THE GREAT HOLDING A LANCE Depicted here as a Dioscuros, nude but for a pilos cap on his head, he stands in contrapposto with his weight on his left leg, his left hand on his hip, and his right knee slightly bent. With his raised right arm he holds the lance, a portion of which still remains; his hair is bound with three silver ribbons..

Ca. 50 BC-AD 130.

H. 16 in. (40.5 cm.)

Ex J. A. collection, Brussels, Belgium.

Besides being a superb work of art of the highest quality, iconographically, it is quite compelling. The raised head turned to one side, eyes upward, is typical of representations of Alexander, and the somewhat wild hair with the typical anastole, is similar in feeling to the mosaic of Alexander leading the charge against Darius at the Battle of Issus found in Pompeii in 1831. The basic body type and contrapposto stance are derived from the works of Polykleitos, so favored during the Roman Imperium, but the overall design must be based upon the statue commissioned

by Alexander from his court sculptor, Lysippos. The association with the Dioscuroi is a typical Roman invention as they too were sons of Zeus by a mortal as Alexander was also claimed to be.

30

31

Alexander the Great and his exploits were admired by Romans, many of whom wanted to associate themselves with his achievements and his divinity. Even Julius Caesar wept in Spain at the mere sight of Alexander's statue. Pompey the Great rummaged through the closets of conquered nations for Alexander's 260-year-old cloak, which the Roman general finally retrieved and wore as the costume of greatness. In his zeal to honor Alexander, Octavian (the future emperor Augustus) accidentally broke the nose off the Macedonian's mummified corpse while laying a wreath at the hero's shrine in Alexandria, Egypt.

The emperor Caligula later took the dead king's armor from that tomb and donned it for luck.

Ever after, in shrines to the imperial cult, Roman emperors would often be depicted in this same pose hoping to be associated in the popular mind with Alexander.

44 ROMAN BRONZE SEATED HEPHAISTOS (VULCAN), god of the forge, wearing a tunic and a conical pilos, holding a Medusa head shield on his knee; his upraised right hand once held a hammer.

1st-2nd Century AD. H. 3 in. (7.6 cm.)

Depictions of Vulcan in bronze are rare.

Ex private collection, Westport, Connecticut, acquired from Royal-Athena Galleries in 1997.

Published: Jerome M. Eisenberg, Art of the Ancient World, vol. VII, 1992, no. 103.

47 ROMAN BRONZE NUDE HERAKLES HOLDING A KANTHAROS in his outstretched right hand. The hero stands in a relaxed walking pose, a rolled fillet crowning his curly hair.

Ca. 1st Century AD. H. 3 3/8 in. (8.5 cm.)

In very fine style. Ex private French collection.

48

ROMAN BRONZE MITHRAS, the eastern sun god, wearing a tall peaked cap with lappets, oriental-style short tunic, long himation, and leggings, and holding a patera.

Ca. 1st Century AD. H. 6 5/8 in. (16.8 cm.)

Ex E.K. collection, Canton, Michigan, acquired from Royal-Athena Galleries in 1987. Exhibited: Picker Art Gallery, Colgate University, 1987-1996; Ball State University Art Museum, Muncie, Indiana, 1996-2005.

49 ROMAN BRONZE HERMES (MERCURY), standing in a relaxed pose with the weight on his right leg; nude, but for a short cloak around his shoulders, a pair of small wings flank a lotus leaf atop his head.

His right arm is extended, and in his left hand he holds a bag of money as the patron of merchants.

Ca. 1st-2nd Century AD. H. 5 1/2 in. (14 cm.)

In very fine style. Ex private French collection.

45 ROMAN BRONZE NUDE HERMES (MERCURY), standing in a relaxed pose, wearing a petasos, a cloak hanging over his left forearm.

Ca. 2nd Century AD. H. 5 1/8 in. (13 cm.)

Ex private French collection.

This rare representation of Hermes, probably from Gaul, is characteristic of the syncretistic trend of Roman religion in the Imperial period. Hermes, who is normally shown holding a kerykeion in his left arm, appears here with the double cornucopia of Tyche-Fortuna topped with threee busts of deities (see Barbara Lichocka, L’iconographie de Fortuna dans l’empire romain, Warsaw, 1991, 507, for the double horn, and LIMC, vol. VIII, s.v. Fortuna, no. 62, for the horn busts).

46 ROMAN BRONZES NUDE HERMES SEATED ATOP A ROCKY OUTCROP, wearing a winged helmet, winged sandals, and a cloak over his left shoulder and arm; in his right hand he holds a bag of money.

This type, seated on rocks, is also rare.

1st-2nd Century AD. H. 3 1/2 in. (9 cm.)

Ex private French collection.

Cf. A. Kaufmann-Heinimann, Die Romischen Bronzen der Schweitz I: Augst, Mainz, 1977: pls.

14 and 28-33; S. Adamo-Muscettola, Toreutik und Figurliche Bronzen Romischer Zeit, Berlin, 1984: figs. 3 and 5 (found at Pompéii, Museo Archeologico, Naples no. 133326).

32

33

50 ROMAN IMPERIAL MONUMENTAL BRONZE STATUE OF AN EMPEROR

Late 2nd-early 3rd century AD H. 72 in. (182.9 cm.)

Ex private collection, Boston, Massachusetts, acquired in the 1960s.

This imposing over-life size bronze statue undoubtedly depicts a Roman emperor in full heroic nudity based on Greek classical types. It was part of an important group of such figures found in Bubon, Turkey, in the early 1960s. The body is depicted nude and ripples with musculature. The torso is broad and massive, a feature often encountered in large-scale Roman bronze sculpture of the third century AD. He holds his right hand upward in a proud gesture, and probably originally held a spear as in the statues of Zeus. The left arm is brought to the side and the now-missing hand would have originally grasped an attribute, quite likely a short sword or parazonium representing imperial power. This majestic pose, which emphasizes the sheer physical power of its subject, was a beloved idiom used, since the time of the Republic, by emperors, generals, and other important Romans to glorify themselves and their achievements.

Many of the monumental statues from this group are now in prominent private and public collections in the West: the Metropolitan Museum of Art, the Houston Art Museum, the Leon Levy/Shelby White Collection, and the John Kluge Collection, to name a few. Although not properly excavated, the site apparently housed a sebasteon, a building dedicated to the cult of the imperial family. Within the building was an entire gallery of imperial figures depicting many emperors, empresses, and quite likely other illustrious personages of the Roman imperial family.

See the notes on this bronze and the companion sculpture of an empress, no. 51, on page 36 of this catalog. 34

35

51 ROMAN IMPERIAL MONUMENTAL BRONZE STATUE OF AN EMPRESS

This magnificently draped figure has the distinction of being the only preserved female statue from the Bubon group.

She is wearing a thick dress known as a himation over which is draped a thinner, mantle-like wrapping. Her right hand is enveloped by this latter garment and reaches out as if the figure was about to address its audience.

The artist has lavished a great deal of work on rendering the himation’s very fine linear details which approximate the embroidered patterns of a real himation. The woman’s pose, as well as the arrangement of her drapery, is derived from a Greek Hellenistic sculptural type nicknamed in specialized literature as the ‘Small Herculaneum Woman’. Like the heroic male body employed for the emperor’s statue, the ‘Small Herculaneum Woman’ was deemed to be particularly suitable for the representation of important women, and it too was frequently used by Roman sculptors.

Late 2nd-early 3rd century AD. H. 72 in. (182.9 cm.)

Ex private collection, Boston, Massachusetts, acquired in the 1960s.

Both this sculpture and the preceding were exhibited at the Cleveland Art Museum, Toledo Art Museum, and Indianapolis Museum of Art in 1987-88 and published by Dr Cornelius C. Vermeule, ‘The Late Antonine and Severan Bronze Portraits from Southwest Asia Minor,’ in the catalogue of that exhibition, Ancient Art in Private Collections, 1987, p. 122, nos. O and P. Dr Vermeule states that “These are two of the finest statues from the group and perhaps represent the Emperor Commodus (AD 177 to 192) and his mother, Faustina the younger, who died in Cilicia in AD 175.”

The Bubon group was originally published by J. Inan and E. Alföldi-Rosenbaum, in Römische und frühbyzantinische PorträtpIastik aus der Türkey, Mainz, 1979.

Our G od s a n d Mo r t a l s II catalog (2004), features 85 select bronzes including 48 sculptures from the John W. Kluge collection formed by Dr Eisenberg from 1977 to 1993.

Several were featured in the exhibition of his bronzes at the Museum of Fine Arts, Boston, in 1996.

80 pages in full color $5.00

(Our first Gods & Mortals exhibition took place in 1989.

The catalog, illustrating 180 bronzes, is also $5.00) 36

37

52 ROMAN BRONZE STEELYARD WEIGHT OF ARTEMIS (DIANA) clad in a finely pleated chiton with traces of gilding and a himation wound around her waist and over her left shoulder.

The neck of the sleeved tunic is inlaid with gold and her eyes were also once inlaid.

Ca. 1st Century AD. H. 4 5/8 in. (11.7 cm.)

Ex collection of Edwin L. Weisl, Jr., dispersed at Parke-Bernet Galleries, June 19, 1979, no. 206; Charles Pankow collection, San Francisco.

53 ROMAN SMALL HOLLOW BRONZE HEAD OF A FEMALE, POSSIBLY AN EMPRESS, depicted with a down-turned mouth, incised eyes and lids, with pierced pupils; her thick hair is dressed in curled sections from the fringe to the crown, a few wisps escaping in front of her large ears.

1st Century AD. H. 1 5/8 in. (4.2 cm.)

Ex private English collection.

54 ROMAN BRONZE APPLIQUE MASK OF A YOUNG WOMAN 1st-3rd Century AD. H. 2 3/4 in. (7 cm.)

Ex private German collection.

38

55 ROMAN BRONZE ATHENA (MINERVA), wearing a long chiton, aegis, and a Corinthian helmet s urmounted by a sphinx.

1st-2nd Century AD. H. 7 7/8 in. (20 cm.)

Ex E.K. collection, Canton, Michigan, acquired from Royal-Athena Galleries in 1990. Published: Jerome M. Eisenberg. Gods and Mortals, 1989, no. 105.

Exhibited: Picker Art Gallery, Colgate University, 1990-2005.

56 ROMAN BRONZE NIKE, GODDESS OF VICTORY, her wings outstretched, her peplos fluttering behind, exposing her left breast and her advancing left leg, hefting a cornucopia filled with fruit and topped with a pinecone.

1st Century AD. H. 6 3/8 in. (16.2 cm.)

Ex Ferruccio Bolla collection, Lugano; John Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena Galleries in 1988. Published: C. Vermeule and J. Eisenberg, Greek, Etruscan, and Roman Bronzes in the Collection of John Kluge, 1995, no. 88-64.

57 ROMAN BRONZE ISIS -TYCHE (ISIS-FORTUNA ), the pantheistic goddess wearing a plumed solar disk with buds, a chiton with a himation gathered in the front, and holding in her left hand a cornucopia. She rests her right hand on a rudder; reattached to the pedestal.

1st-2nd Century AD. H. 6 7/8 in. (17.4 cm.)

Ex Louis de Clercq collection. Published: Collection de Clercq, vol. 3, 1905, Paris, no. 309.

39

58 ROMAN BRONZE PENDANT IN THE FORM OF A THEATER MASK The grimacing, beardlesss countenance with a roll of hair across the brow is reminicent of the mask of a slave as depicted in the New Comedy.

1st-2nd Century AD. L. 3 1/8 in. (8 cm.) Ex private French collection. Cf. J. Petit, Bronzes Antiques de la Collection Dutuit, Paris, Petit Palais, 1980, no. 69.

59 ROMAN BRONZE LAMP IN THE FORM OF A THEATER MASK, the grinning, bald, and beardless countenance forming the upper portion of the lamp, the mouth as the fill-hole, the opening for the wick beneath his chin.

Ca. 2nd Century AD. L. 4 3/8 in. (11 cm.) Ex private French collection. Cf. R. Thouvenot, Lampes en Bronze, Publication du Service des Antiquités du Maroc 10, 1954, pp. 220-221, pl. 39, no. 3.

60 ROMAN BRONZE EXTENDED LEFT HAND from a half-lifesize statue. 2nd-3rd Century AD. L. 5 7/8 in. (15 cm.) Ex German collection.

61 ROMAN BRONZE SEATED MUSICIAN PLAYING THE DOUBLE PHRYGIAN TIBIA He wears a short chiton and boots. A very rare representation, possibly unique in bronze; said to have been found near Lyon, France.

Ca. 2nd Century AD. H. 2 3/4 in. (7 cm.) The tibia used a reed for generating sound and was a forerunner of the one used on the clarinet. There wasw no mouthpiece so the protruding section of the reed had to be enclosed within the mouth with the lips pressed against the top rim for support when blowing. The animal horn at the lower end amplified the sound which was warm and buzzy. Images of this Phrygian tibia, with its curved bell, are found carved on Roman sarcophagus lids.

62 ROMAN BRONZE EROS RIDING A DOLPHIN Winged and nude, except for a Phrygian cap, he rides the animal side-saddle. Ca. 2nd Century AD. L. 2 3/4 in. (7 cm.) Ex private collection, Michigan, acquired from Royal-Athena Galleries in 1996. Exhibited: Ball State University Art Museum, Muncie, Indiana, 1996-2005.

63 ROMAN BRONZE LIFESIZE PORTRAIT HEAD OF JULIA MAESA (AD 170-226), sister of Julia Domna, the wife of the emperor Septimius Severus; grandmother of the emperor Elagabalus.

2nd quarter of the 3rd Century AD. H. 11 3/8 in. (29 cm.) Ex Hr. B. collection, Switzerland, acquired between 1960 and 1980. Cf. G. Lahusen, Romischese Bildnisse aus Bronze, 2001, no. 154. Also see H.B. Wigger and M. Wegner, Das Römische Herrsherbild III, 1. Caracalla bis Balbinus, 1971, pp. 153-160.

40

41

In AD 190 she married Julius Avitus and bore him two daughters, Julia Soaemias and Julia Mamaea. She spent many years in Rome with her sister, evidently never being far from the palace until compelled to leave Rome after the death of Caracalla. Being allowed by his successor, Macrinus, to keep her great wealth, she withdrew to Emesa, Syria, her birthplace, where she plotted to supplant the emperor with her elder grandchild, Soaemias' son, by claiming that Caracalla had been the child's father.

Using her wealth, she persuaded the soldiers stationed in the city to swear allegiance to the youth, Elagabalus, and in the battle against Macrinus which ensued she held back the fleeing soldiers by leaping from her chariot. As a consequence, she was hailed as Augusta avia Augusti in early 218. She attempted to restrain the emperor’s peculiar behavior, but, finally realized that this was impossible and transferred her support to her other grandson, Mamaea's son, Alexander Severus, dying not long after his accession. She was then deified with the title Diva Maesa Augusta or Diva Iulia Augusta.

Helmets, Arms,and Military Accouterments 68 CORINTHIAN BRONZE HELMET A heavy guage, sturdy example with fine dotted detailing around the edges.

Early 6th Century BC. H. 9 1/4 in. (23.5 cm.)

Ex private French collection.

64 ROMAN BRONZE DYNASTIC VOTIVE depicting conjoined busts of three emperors each wearing a diadem and a cloak pinned at his right shoulder. The group is gathered onto a narrow columnar shaft at mid-thorax which is set into a hexagonal, domed base.

Ca. 3rd Century AD. H. 5 3/4 in. (14.5 cm.)

Very rare. Ex private French collection.

65 ROMAN BRONZE WINE BOWL finely decorated in high relief with overall grape vines and berries.

Ca. 1st Century AD. Diam. 4 3/4 in. (12.2 cm.)

Ex private French collection.

66 ROMAN LARGE BRONZE APPLIQUE: PROTOME OF A CHARGING BOAR emerging from a leafy background.

2nd-3rd Century AD. Diam. 5 1/4 in. (13.3 cm.)

Ex private French collection.

Cf. H. Pflug, Antike Helme, Lipperheide and Antiken-museums Collections, Mainz, 1988, pp. 77, 404, 405.

Sen d fo r o u r Ancient Arms, Armor, and Images of Warfare catalo g, 2004, 48 pp. - $5

67 ROMAN BRONZE GROUP OF A PANTHER ATTACKING AN ANTELOPE, on an integrally cast rhomboidal base. Ca. 1st- 2nd Century AD. L. 3 1/2 in. (8.8 cm.)

Ex private French collection.

42

43

69 ROMAN IRON SPEARHEAD with a leaf-shaped blade. The base of the shaft has an applied bronze collet and is incised, with two projecting animal heads, one from either side; a partial tang remaining. 3rd -4th Century AD. L. 16 in. (40.6 cm.) Found by Robert Hucks in the Thames while carrying out salvage operations. For the type, see V. I. Evison, The Fifth Century Invasions South of the Thames, 1995, pp. 11-12, fig. 1.f.

70 ROMAN BRONZE VOTIVE PLAQUE inscribed with four lines of Latin text:

DIANAE AUGUSTAE M AVRELIVS QVADRATI TRIBVNS TEM-SOI EX-V-RS

‘To Diana and the Augustae, Marcus Aurelius, Tribune of the Quadrat, having fulfilled his vow in time, dedicates this (R(es) S(acra)’.

2nd Century AD. H. 2 1/2 in. (6.5 cm.); W. 2 in. (5.3 cm.)

‘The Quadrati’ Legion, was based in Pannonia.

The lead at the base is for its attachment. Rare.

For our latest helmet acquisitions, soon to include a series of 20 helmets from the famed Axel Guttman collection, visit our website: www.royalathena.com 71 ROMAN IRON FOLDING CAMPAIGN STOOL with bronze hinge finials and traces of ornamental brass inlay on the horizontal supports. Lacking leather straps (replaced in plastic). 2nd-3rd Century AD. H. 17 5/8 in. (45 cm.) Rare.

Ex private German collection.

72 ROMAN BRONZE MASK OF A GODDESS, POSSIBLY ATHENA, from a helmet of the Silistra type fashioned from a single sheet of metal into the countenance of a goddess. These masked helmets were not only used for cavalry sports, but also in combat.

1st-2nd Century AD. H. 9 1/4 in. (23.5 cm) Ex private German collection.

Cf. J. Garbsch, Römische Paraderüstungen, 1978; D. Cahn, Antikenmuseum, Basel, Waffen Und Zaumzeug; J-L Zimmermann, in J. Paul Getty Museum Journal 10, 1982.

We also have a Roman iron male mask in stock: see our Ancient Arms & Armor catalog, 2004, no. 34.

44

45

Greek Terracottas 73 MYCENAEAN TERRACOTTA ‘PHI’ IDOL with avian features and stripes across the entire body and breasts in brown slip.

Late Helladic III, 1400-1200 BC. H. 5 1/2 in. (14 cm.)

Ex French collection.

Cf. R. A. Higgins, Greek Terracottas, London, 1967, pl.

4F. 74 ARCHAIC GREEK TERRACOTTA DEEP BUST OF A SPHINX with a horizontally incised coiffure of long tresses surmounted by a polos. The paws on her extended forelegs are lacking.

6th Century BC. H. 9 1/2 in. (24.1 cm.)

77 HELLENISTIC TERRACOTTA VOTIVE THEATER MASK with open mouth and pierced eyes, the striated hair rolled back from the face, with brows arched in slight frown, remains of dark red slip, two small attachment holes at rear.

Ca. 2nd Century BC. H. 51⁄4 in. (13.5 cm.)

Ex English collection, acquired in 1970s..

75 ARCHAIC GREEK TERRACOTTA PROTOME OF A GODDESS, her centrally parted hair with traces of red pigment. Ionia, ca. 480-460 BC. H. 5 7/8 in. (15 cm. )

76 ARCHAIC GREEK TERRACOTTA PROTOME OF A GODDESS wearing a stephane over her centrally parted hair which falls in horizontal tiers to her shoulders; traces of white slip remain.

Ca. 5th Century BC. H. 7 7/8 in. (20 cm.) Ex French collection.

78 HELLENISTIC TERRACOTTA WOMAN OF FASHION, standing with a fragmentary fan in her right hand.

She wears a long chiton, her himation falling from her shoulders and over her arms and back; her hair is arranged in a wide chignon at nape of her neck. Ca. 3rd Century BC. H. 8 1/2 in. (21.6 cm.)

Ex collection of Edward D. Freis.

46

78A GREEK TERRACOTTA PROTOME: BUST OF A FEMALE, veiled, holding a fan in her upraised right hand; traces of o riginal paint remaining.

Tarentum, later 4th Century BC. H. 7 7/8 in. (20 cm.)

Ex Tollmann collection, Cologne, acquired in the 1960s-70s.

Cf. G. Laviosa, ‘Le antefisse fittili di Taranto’, Archeologia Classica 6, 1954, pl. 73; Munzen und Medaillen, 40, pl. 60, no. 158.

47

Etruscan Terracottas 79 ETRUSCAN POLYCHROME TERRACOTTA ANTEFIX OF A BEARDED SILENOS, with fragmentary radiating surround of palmettes alternating with lotus flowers. Tarquinia, earlier 5th Century BC. H. 8 7/8 in. (22.5 cm.)

Ex Tollmann collection, Cologne, acquired in the 1970s.

Cf. B. Andren, Architectural Terracottas from Etrusco-Italic Temples, 1940, no. 84, pl. 23.

80 ETRUSCAN POLYCHROME TERRACOTTA VOTIVE HEAD OF A YOUNG MAN with curly hair; extensive original pigment remaining. Ca. 4th Century BC. H. 10 1/2 in. (26.7 cm.)

Ex Seattle Art Museum; private English collection; W. H. collection, Westport, Connecticut. Published: J. Eisenberg, Art of the Ancient World, vol. IV, 1985. no. 193.

81 ETRUSCAN TERRACOTTA VOTIVE HEAD OF A WOMAN, her centrally parted hair falling in ringlets on either side of her head. Ca. 3rd Century BC. H. 10 1/4 in. (26 cm.) Cf. another, possibly from the same mold, part of a statue in the Bologna Museum, in E. Berger, Antike Kunstwerke aus der Sammlung Ludwig, vol. II, 1982, pp. 222-223, pl. 10. Ex Swiss collection.

48

82 ETRUSCAN TERRACOTTA VOTIVE HEAD OF A YOUTH wearing a himation capite velato, his face framed by his curly hair. 4th-3rd Century BC. H. 10 1/4 in. (26 cm.) Ex English collection.

83 ETRUSCAN TERRACOTTA VOTIVE HEAD OF A YOUTH with poignant expression, his head tilted slightly to the left, his brow with a fringe of hair. Ca. 3rd Century BC. H. 7 1/4 in. (18.5 cm.)

Ex Tollmann collection, Cologne, acquired in the 1970s.

84 GALLO-ROMAN TERRACOTTA THEATER MASK OF AN OLD WOMAN with eyes, nose, and mouth open; holes on the side for attachment; reassembled. 3rd-4th Century AD. H. 9 1/2 in. (24 cm.) Ex private Dutch collection, found with no. 85.

Roman Terracottas

85 ROMAN TERRACOTTA THEATER MASK OF A PHLYAX, with eyes, nose, and mouth open; holes on the side for attachment; reassembled. 3rd-4th Century AD. H. 9 in. (22.8 cm.)

Ex private Dutch collection, found with no. 84.

49

Early Greek Vases 86 MYCENAEAN POTTERY STIRRUP JAR with six concentric bands around the body; abstract fan-motifs on the shoulder.

Ca. 1300 BC. H. 4 in. (10.2 cm.)

Ex private collection, Michigan, acquired from Royal-Athena Galleries in 1996.

Exhibited: Ball State University Art Museum, Muncie, Indiana, 1996-2005.

87 MYCENAEAN POTTERY SQUAT ALABASTRON with two applied handles; banding around the neck and body, and a wave on the shoulder; in brown slip.

Late Helladic III, ca. 1350-1000 BC. H. 3 in. (7.6 cm.)

Ex private English collection.

88 GREEK GEOMETRIC POTTERY BOWL of tapering silhouette with stylized birds and linear designs in brown slip.

Ca. 7th Century BC. H. 4 1/4 in. (10.8 cm); Dia. 8 in. (20.3 cm.) Ex private collection, San Jose, California, acquired at auction in Beverly Hills in June 1993.

89 ATTIC GEOMETRIC POTTERY SKYPHOS with two applied handles and in brownish slip, overall banding centering an open Greek key motif.

Kropi, Attica, Middle Geomeric II, ca. 880-750 BC H. 4 1/2 in. ( 11.5 cm.); D. 5 1/8 in. (13.2 cm.)

Ex Hr B. collection, Switzerland, acquired between 1960 and 1980. Published: Katalog Antiken aus Rheinischem Privatbesitz, 1973, no. 31, pl. 16.

Cf: J. N. Coldstream, Greek Geometric Pottery, 1968, pl. 4d.

50

90 CORINTHIAN POTTERY ARYBALLOS, spherical in form, with a siren, her wings spread, and two birds; rosettes in the field.

Ca. 600 BC. H. 4 1/8 in. (10.6 cm.)

Ex private German collection.

91 CORINTHIAN POTTERY ALABASTRON decorated in umber and brick red with a siren with outstretched wings; the ground is ornamented with rosettes and lotus motifs.

Ca. 600 BC. H. 6 3⁄4 in. (17 cm.)

Ex Christie’s London, 1980; private collection, Los Angeles; private English collection.

92 CORINTHIAN POTTERY PYXIS of carinated form, the shoulder with three felines walking to the right. Ca. 585-575 BC. Diam. 3 1/8 in. (8 cm.)

Ex Chandon de Briailles collection, France.

For a similar example, see J. Chamay and J-L. Maier, Céramiques Corinthiennes, Lauffenburger Collection, 1984. pp. 160 and 161.

93 CORINTHIAN BLACK-FIGURE COVERED LEKANIS with a single side handle; around the edge of both is a key design. The cover has a frieze of alternating lotus and palmettes and a key design around the base of the large knop handle.

Ca. 4th Century BC. Diam. 6 3/8 in. (16.2 cm) Ex private collection, New York, acquired in 1998.

51

94 CORINTHIAN LARGE POTTERY PYXIS with a frieze of animals, including a siren, a wild goat, and lionesses; two applied handles at the rim. Ca. 600-575 BC. H. 5 1/8 in.(13 cm); Diam. 8 in. (20.4 cm) Published: Jerome M. Eisenberg, Art of the Ancient World, 1999, vol. X, New York, no. 86.

Attic Black-figure Vases

95 ATTIC BLACK-FIGURE LIDDED AMPHORA A bearded male wearing a himation over his chiton plays a cithara to a draped female. Between them stands a small nude youth. Reverse: Two hoplites wearing Corinthian helmets carry large circular shields. Ca. 540 BC. H. 9 1/2 in. (24 cm.)

Published: Jerome M. Eisenberg, Art of the Ancient World, vol. X, 1999, no. 88.

This vase recalls both the Princeton Painter and the Painter of Berlin 1686.

52

96 ATTIC SMALL BLACK-FIGURE PSEUDO-PANATHENAIC AMPHORA Two nude athletes with javelins, discus, etc. Reverse: Athena Promachos. Late 6th-early 5th Century BC. H. 9 5/8 in. (24.4 cm) Ex E.K. collection, Canton, Michigan, acquired from Royal-Athena Galleries in 1987. Exhibited: Picker Art Gallery, Colgate University, 1989-2005.

97 ATTIC BLACK-FIGURE NECK AMPHORA Mask of Dionysos between apotropaic eyes.

Reverse: draped female between the eyes.

Ca. 520-510 BC. H. 9 3/4 in.(24.8 cm.)

Ex C.F. collection, Monte Carlo.

Published: Jerome M. Eisenberg, Art of the Ancient World, vol. XI, 2000, no. 77.

53

98 ATTIC BLACK-FIGURE NECK AMPHORA OF PANATHENAIC FORM A trainer wearing a himation and carrying a staff and a split cane watches two nude muscular boxers, each of whom has one hand bound with meilichai (leather thongs). Reverse: Athena Promachos wearing a high-crested helmet, aegis, and chiton, armed with a spear and a shield with the device of a winged horse protome. She is flanked by two slender Doric columns, each surmounted by a cockerel.

Ca. 500 BC. H. 16 3/8 in. (41.1 cm.)

Ex collection of the second Marquis of Northampton (1790-1851), Castle Ashby, acquired by him in Italy during the 1820s. Originally conserved by C.A. Ready at the British Museum in the early 20th Century, it was redone in 2004.

Published: E. Gerhard, Archäologische Zeitung, 1846, p. 340ff, no. 3; J. Beazley,‘Notes on the Vases at Castle Ashby’ in Journal of the British School at Rome, XI, 1929, p. 8ff, no. 16, pl. 11.1; E. N. Gardiner, Athletics in the Ancient World, 1930, p. 205ff, fig. 135; H. Philippart, ‘Céramique grecque en Angleterre’ in L’Antiquité Classique, IV, 1935, p. 212; J. Boardman and M. Robertson, Corpus Vasorum Antiquorum: Castle Ashby (Great Britain, Fasc. 15), 1979, pl. 16, no. 12, Oxford; Jerome M. Eisenberg, Art of the Ancient World, vol. X, 1999, no. 101.

The device on the shield of Athena is fully discussed in CVA loc. sit. as is the resemblance of this vase to the work of the Kleophrades Painter.

54

55

99 ATTIC BLACK-FIGURE KYATHOS Between apotropaic eyes, two dancing maenads amid vines. Ca. 510 BC. H. 6 1/2 in. (16.5 cm.)

Ex Hr B. collection, Switzerland, acquired between 1960 and 1980. Cf. M. Eismann, Attic Kyathos Painters, 1971, 282ff, no. 65, pl.24.

100 ATTIC BLACK-FIGURE LEKYTHOS depicting fighting warriors surrounded by approaching horsemen. Ca. 500 BC. H. 7 7/8 in. (20 cm.) Ex collection of Dr Wilhelm Hartweg, Weinheim, Germany.

Published: K. Deppert, Griechische Vasen, 1984, no. 13. Cf. H. Gropengiesser, CVA Heidelberg 4, pl. 170, 1-2; J. Burrow, CVA Tubingen 3, pl.

42, 6-8.

101 ATTIC BLACK-FIGURE LEKYTHOS In the center is a horse restrained with a bridle by a helmeted Amazon on the far side holding two spears; on either side a helmeted Amazon holding a spear and an oval shield.

Ca. 500 BC. H. 6 3/8 in. (16.2 cm.)

Ex private Swiss collection.

102 ATTIC WHITE-GROUND LEKYTHOS A female seated upon a klismos, a column behind her, wears a himation over her pleated chiton; she holds a disk-shaped mirror in her right hand.

Ca. 470-450 BC. H. 6 7/8 in. (17.5 cm.)

Ex John Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena Galleries in 1991.

103 ATTIC LARGE BLACK-FIGURE COLUMN KRATER depicting a quadriga driven by a godddess; Apollo kitharoidos and Hermes at the sides; Artemis and a faun in front.

Reverse: A quadriga with a hunter and hound standing beside it. Lions and boars on the rim (lacking in part).

Ca. 510 BC H. 18 1/4 in. (46.5 cm.); D. 21 1/4 in. (54 cm.)

56

57

Ex Hr B. collection, Switzerland, acquired between 1960 and 1980.

Cf. The krater Louvre Camp. 11263, published in the CVA Louvre 12, pl.

167, 4-6; pl. 169, 1-2. Also see Bologna C21, CVA 2, pl. 26.

104 ATTIC RED-FIGURE COLUMN KRATER BY THE GERAS PAINTER Archon Basileus (chief magistrate) as Dionysos holding a kantharos, followed by a satyr holding a stool on his head and holding a chous. Rev: Satyr holding a rhyton. Ca. 460 BC. H. 11 1/4 in. (28.6 cm.) Ex private French collection; S.L. collection, New York.

Published: Jerome M. Eisenberg, Art of the Ancient World, vol. VI, part II, 1991, no. 65; M. Padgett, ‘The Geras Painter, an Athenean Eccentric’. Exhibited: Ball State University Art Museum, Muncie, Indiana, 1994-2004.

Attic Red-figure Vases

South Italian Vases 106 APULIAN LARGE RED-FIGURE VOLUTE KRATER BY THE PAINTER OF COPENHAGEN 4223 Two nude youths stand within an ionic naiskos; the larger at left with a cloak and spear, the smaller at right leaning against a shield. Reverse: Stele with four figures. Ca. 440-430 BC. H. 31 in. (78.8 cm.) Ex New York private collection. Published: A.D. Trendall, Red-figure Vases of Apulia, vol. II, Oxford, 1982, pl. 165, 1-4; A. Emmerich, Ancient Vases from Magna Graecia, New York, 1986, no. VII.

105 ATTIC RED-FIGURE HYDRIA Eos, the goddess of dawn, pursues the young hunter Kephalos, with outstretched arms.

He runs ahead holding a pair of spears.

Ca. 420 BC. H. 6 3/4 in. (17.8 cm.)

107 APULIAN RED-FIGURE BELL KRATER A youth holding a krateriskos runs toward a young satyr holding a large calyx krater. Reverse: Himation clad youths flank an altar. Ca. 380-360 BC. H. 13 3/16 in. (33.4 cm.)

Ex K. Minassian, New York; Thomas Barlow Walker; Walker Art Center, Minneapolis, deaccessioned at the Parke Bernet Galleries, New York, October 26, 1972, no. 285; Charles Pankow collection, San Francisco.

Published: Jerome M. Eisenberg, Art of the Ancient World, vol.

X, 1999, no. 107.

58

59

108 APULIAN RED-FIGURE HYDRIA A woman standing at left, holding a fillet in her right hand, extends a patera toward a seated bare-breasted female holding a wedding chest. Later 4th Century BC. H. 10 7/8 in. (27.7 cm.) Ex private French colleection.

109 APULIAN GNATHIA LARGE BELL KRATER Two swans above vine-leaves and grapes, ivy wreath, etc.

Ca. 330-320 BC. H. 12 1/8 in. (30.8 cm.); Diam. 7 1/4 in. (18.4 cm.) Ex Phelps Collection, La Jolla, California. Published: Jerome M. Eisenberg, 1000 Years of Ancient Greek Vases, 1990, no. 132.

110 CAMPANIAN RED-FIGURE SKYPHOS with the profile head of a satyr with wild hair and pointed ear; the other side with a female head in profile, her hair bound in a sakkos. Ca. 350-330 BC. H. 3 7/8 in. (9.8 cm.)

Ex John Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena Galleries in 1991. Published: Jerome M. Eisenberg, One Thousand Years of Ancient Greek Vases, 1990, no. 155.

111 PAESTAN RED-FIGURE FISH PLATE FROM THE ASTEAS PYTHON WORKSHOP with a striped bream, a two-banded bream, and a coris around a central depression; a wave meanders around the wide edge.

Ca. 350-320 BC. Diam. 7 in. (18 cm.)

Ex private collection, Basel, Switzerland.

Cf. I. McPhee and A.Trendall, Greek Red-figure Fish Plates, 1987, p. 34, pl. d, for a nearly identical example..

60

112 PAESTAN RED-FIGURE LEBES GAMIKOS FROM THE ASTEAS PYTHON WORKSHOP NEAR THE APHRODITE PAINTER. The scene probably represents the barebreasted Artemis, a flute playing maenad at left, a satyr at right. In the midst is a basket with a duck and the bust of a goddess above. On the top is Actaeon being killed by his hunting dogs. At the very top is a siren. Reverse: Two youths flanking an altar, the bust of a young woman, a swan beneath and a satyr at right. The lid is surmounted by a small lebes depicting a siren. South Italy, ca. 350 BC. H. 23 5/8 in. (60 cm.)

Ex Orenga de Gaffory collection, France, acquired in the late 1920s-1960s.

61

The young Actaeon, while hunting in the forest with his dogs, came upon the goddess Artemis bathing and cavorting with her entourage. Struck by her beauty, he hid to watch the chaste virgin goddess.

Accidentally giving away his presence, she, furious that a mere mortal man had such an illicit view of her, transformed him into a stag, whereupon his hounds, not recognizing their master, tore him to pieces.

Etruscan Vases 113 VILLANOVAN BROWN IMPASTO WARE WAISTED STAND, hollow with vertical fluting, incised banding above and below, and a large knop at the waist.

Ca. 7th Century BC. H. 11 in ( 28 cm.)

Ex old German collection.

114 ETRUSCAN BUCCHERO CHALICE, the deep bowl with a carinated base supported on struts in the form of maenads with hands clasped over their hearts; high stepped cone beneath bowl.

Late 7th-6th Century BC. H. 8 in. (20.4 cm.) Ex Tollmann collection, Cologne, acquired, in the 1960s-70s. Cf. T. Rasmussen, Bucchero Pottery from Southern Etruria, 1979, p. 95, pl. 26, nos. 128-129.

115 ETRUSCAN BUCCHERO CHALICE with central relief band of sphinxes, griffins, panthers, and stags.

Tarquinia, early 6th Century BC. H. 5 3/4 in. (15 cm.)

Ex Tollmann collection, Cologne, acquired in the 1960s-70s.

116 ETRUSCO-CORINTHIAN ARYBALLOS

BY THE PESCIA-ROMANO PAINTER Spherical in form and decorated with a winged panther and a swan; rosettes in the field.

Ca. 600 BC H. 4 in. (10 cm.)

Ex collection Banque Leu, Zurich, Switzerland.

Cf. J. G. Szilagyi, Ceramica etrusco-corinzia, Figurata I, 1992, 201ff., especially pl. XCIV, f-g.

117 ETRUSCAN POTTERY ‘PONTIC’ TREFOIL OINOCHOE NEAR THE SILEN PAINTER On the shoulder, a frieze of ten nude male dancers cavort on either side of a volute krater. On the belly is a frieze with five lions, a siren, a sphinx, and a griffin; on the neck is a frieze of lotus buds and palmettes.

2nd half of the 6th Century BC. H. 9 in. (22.9 cm.)

Ex private English collection.

Exhibited: Ashmolean Museum, 1970-1989.

Published: C. M. Stibbe, ‘Pontic Vases at Oxford’, in Medelingen van het Nederlands Instuut te Roma, XXXIX, 1977, no. 3.

118 ETRUSCO-CORINTHIAN POTTERY OLPE with three bands of animals, a sphinx, and two cambatant bearded figures in the central regester.

Rare with human figures.

Ca. 600-575 BC. H. 12 1/2 in. (31.8 cm) Ex D. collection, Brussels, Belgium; E.K. collection, Canton, Michigan, acquired from Royal-Athena Galleries in 1987. Exhibited: Picker Art Gallery, Colgate University, 1987-2005.

62

63

Roman Pottery 123 ROMAN BARBOTINE WARE STRAIGHT-SIDED BEAKER with grey-green glaze on both the interior and exterior, the decoration en barbotine, the exterior with five vertical bands of conical projections.

France or Spain, late 1st Century AD. Diam. 2 3⁄4 in. (7 cm.)

Ex English collection.

119 ETRUSCO-CORINTHIAN POTTERY ALABASTRON BY THE PAINTER OF BOBUDA with two stylized panthers and a lizard between.

Ca. 580-550 BC. H. 5 1/2 in. (14.2 cm.)

Ex Tollmann collection, Cologne, acquired in the 1970s. Published: J.G. Szilágyi, Ceramica Etrusco-corinzia, Figurata II, 1998, p. 546, no.

17, p. 548, pl. 210d.

120 ETRUSCO-CORINTHIAN POTTERY PHIALE FROM THE WORKSHOP OF THE FLYING BIRDS PAINTER with a frieze of stylized flying birds. Vulci, ca. 580-550 BC. Diam. 11 7/8 in. (30.1 cm.) Ex Tollmann collection, Cologne, acquired in the 1970s.

Published: J.G. Szilágyi, Ceramica Etruscocorinzia, Figurata I, 1992, p. 201, pl. 86d.

124 ROMAN GREEN GLAZED POTTERY SKYPHOS with two ring handles surmounted by a molded thumbpiece, the body has relief decorations in the form of pine cone scales and is covered with a silvery iridescence; ochre glazed interior. 1st Century BC/AD. H. 3 1/2 in. (8.9 cm.); W. 6 5/8 in (16.8 cm.); Diam. 4 1/8 in. (10.5 cm.)

Ex van Driesum collection, France.

125 ROMAN RED SLIP WARE POTTERY JUG with appliques including an erotic scene with a female straddling the male, a lion below.

Reverse: A nude Aphrodite with a garland ar ching above, and a running dog below.

1st-2nd Century AD. H. 6 in. (15.2 cm.)

Ex Nancy Mallen, London, 1972; Haddad collection.

Our collection of ancient vases, numbering over 300 museum quality examples from Minoan to Roman, is arguably the finest and most comprehensive available for sale anywhere today.

For an overview, consult our recent catalogs, especially volumes XII through XVI, visit the New York gallery, or go to www.royalathena.com.

121 ETRUSCO-CORINTHIAN POTTERY PHIALE FROM THE WORKSHOP OF THE PAINTERS WITHOUT GRAFFITO Around a central depression are a deer, a panther, and two birds. Tarquinia, ca. 580-550 BC. Diam. 9 5/8 in. (24.4 cm.) Ex Tollmann collection, Cologne, acquired in the 1970s.

Published: J.G. Szilágyi, Ceramica Etruscocorinzia, Figurata II, 1998, p. 448, no. 136, pl.

179c.

122 FALISCAN RED-FIGURE SKYPHOS On one side, a roosting owl; on the other, a draped male figure. Later 4th Century BC. H. 6 1/2 in. (16.6 cm.)

Ex Tollmann collection, Cologne, acquired in the 1960s-70s. For another by the same hand in the University of Berkeley, see J. Beazley, Etruscan Vase-Painting, 1947, p. 158, no. 5, pl. 26-4.

64

65

Classical Gold and Silver 132 HELLENISTIC GOLD FLACON IN THE FORM OF A POMEGRANATE formed by two hemispheres joined with an equatorial seam, the short cylindrical neck with triangular cut edge to simulate the leaves. Rare.

4th-2nd Century BC.H. 1 7/8 in. (4.8 cm.)

126 HELLENISTIC COBALT BLUE GLASS ALABASTRON, core-formed, and of slender outline with a rounded base, flaring lip, and twin ledge handles. The translucent matrix is decorated with white and yellow ‘feathering’.

4th-3rd-Century BC. H. 4 3/8 in. (11.2 cm.) Ex private French collection.

127 HELLENISTIC BLACK GLASS BICONIC ALABASTRON, core-formed, of slender outline with a pointed base, a flaring lip, and twin ledge handles. The translucent matrix is decorated with blue and white ‘feathering’.

2nd-1st Century BC. H. 4 3/4 in. (12.2 cm.) Ex private French collection.

128 ROMAN MARVERED RED GLASS ALABASTRON with a rounded body, tall cylindrical neck, and folded lip.

Ca. 1st Century AD. H. 5 3/8 in. (13.7 cm.) Ex Mme. N. collection, Paris.

129 ROMAN MOLD-BLOWN GLASS JUGLET with ribbed cylindrical body and green ribbon glass forming the handle and applied to the trefoil lip. 3rd-4th Century AD. H. 4 3/8 in. (11 cm.) Ex collection of M. and Mme. M., Paris.

Ancient Glass

130 ROMAN IRIDESCENT PALE GREEN GLASS SPRINKLER FLASK, pear-shaped with grooved lip and overall pinched decoration. 3rd-4th Century AD. H. 3 3/8 in. (8.6 cm.) Ex J. Camper collection, Pennington, New Jersey.

131 ROMAN IRIDESCENT GREEN GLASS STEMMED CUP, the deep body on a slender stemmed foot, with a large folded rim with three applied handles; areas of milky white iridescence. Ca. 5th Century AD. H. 4 1⁄2 in. (11.5 cm.)

Ex Prof. E. T. Hall (1924-2001) collection, acquired from Howard Phillips, London, 1970.

66

First introduced from western Asia during the late Bronze Age, they symbolized life, fertility, and abundance. Their juice was prized as a drink but could also be used as an astringent to shrink tissues and reduce swelling in wounds. The fruit was used for dye and the Romans called the pomegranate the ‘Punic apple’ and named its particular shade of purple puniceus.

133 HELLENISTIC CARINATED SILVER PHIALE, finely worked with two registers of radiating tongues and a floral repoussé around the central omphalos. Choice and intact.

4th-3rd Century BC. Diam. 5 1/2 in. (14.2 cm.)

Ex private American collection.

134 HELLENISTIC SILVER SKYPHOS on a stemmed foot, with deep ovoid body, the twin flat-winged thumb plates supported on foliate rings.

Adornments are attached below the handles.

3rd-2nd Century BC. H. 4 3/4 in. (12.3 cm.)

Ex French collection. Cf. Donald E. Strong, Greek and Roman Gold and Silver Plate, 1966, p. 134, fig. 27C, for the type. For a similar, unadorned and smaller example, see Jerome M. Eisenberg, Art of the Ancient World, 1997, no. 130.

67

Classical Gold Jewelry

135 ROMAN SILVER CUP INSCRIBED FOR RVMINVS decorated in continuous low relief with a pair of confronting chimeras, a trident between, terminating in swirls, a flame between; incised with a dedication to Jupiter as ‘Optimus Maximus’ with a raised ‘egg and dart’ rim. 1st Century AD H. 2 1/2 in. (6.5 cm.); D.4 in.

(10.2 cm.) Ex collection of Pierre Bisch, Paris, acquired in the early 1980s.

139 HELLENISTIC BRONZE ARMLET COVERED IN REPOUSSE SHEET GOLD of open ring design with two lion-head termini. Taras, South Italy, early 3rd Century BC. Dia. 2 5/8 in. ( 6.7 cm.) Ex J.B. collection, Switzerland, assembled in the 1960s and 70s. Cf. the lion heads in pl. XXXVII of F.H. Marshall, Catalogue of the Jewelry - Greek, Etruscan, and Roman, British Museum, 1968; A.Greifenhagen, Schmuckarbeiten in Edelmetall I, 1970, pl. 27, 4-6.

140 LATE HELLENISTIC BRONZE BUCKLE COVERED IN SHEET GOLD designed as two circular medalions, one with the face of the god Bes in low relief, the other, a lion and joined with a central bar.

Crete or Cyprus, 1st Century BC/AD. L. 5 5/8 in. (14.3 cm.) Ex W.N. collection, Wiesbaden, Germany.

Cf. A. Hermary, LIMC III, 1986, Bes, 111.

136 GREEK SILVER GORGON MASK APPLIQUE The grinning countenance is worked in repoussé.

Ca. 5th Century BC. H. 2 1/4 in. (5.7 cm.)

Ex private French collection.

141 ETRUSCAN GOLD HAIR SPIRAL composed of two parallel wires spiralling in five turns and bent into a tight wave formation at each end; terminating in a leaf and serpent head design. 6th Century BC. L. 1 1/2 in. (3.8 cm.); Wt. 6 gr.

Ex private German collection. Published: H. A. Cahn, Art of Ancient Italy, Emmerich, New York, 1970, no. 24g.

137 ROMAN GILT SILVER ROUND APPLIQUE: HELMETED HEAD OF ATHENA wearing a Corinthian helmet, bead necklace, and emerging from a border of projecting leaves or feathers.

1st-2nd Century AD. Diam. 1 3/8 in. (3.5 cm.)

Ex private German collection.

142 ETRUSCAN GOLD FINGER RING: WINGED NIKE IN A GALLOPING QUADRIGA, worked in repoussé in a central elipse within a dotted border surrrounded by incised radiants. Later 5th Century BC. Ring size 7 1/4; L. of bezel, 27 mm; Wt. 10 gr. Similar to the so-called Fortnum Group. Cf. J. Boardman, 'Etruscan and South Italian Finger Rings in Oxford', Papers of the British School at Rome, 34, 1966, 1-17.

143 ROMAN GOLD FINGER RING WITH A CARNELIAN INTAGLIO PORTRAIT of a woman in profile.

The bezel-set oval stone is mounted with a simple, round cross-section shank. 2nd-3rd Century AD. Ring size 2 1/2; Diam. 4.2 cm.; Wt. 3.6 gr. Ex German collection.

144 ROMAN GOLD FINGER RING WITH CARNELIAN INTAGLIO OF ATHENA OR ROMA The helmeted bust is in profile to the left, and is set in a hollow gold shank with broad shoulders.

1st-2nd Century AD. Ring size 6 1/2; Diam. 2.5 cm.; Wt. 4 gr. Ex English collection.

138 ROMAN PAIR OF SILVER STRIGILS with the original silver ring; part of the handle is lacking on one. Strigils were used for scraping the body clean while bathing. 1st-4th Century AD. L. 7 1/2 in. (19 cm.) Ex private German collection.

Strigils in silver are rare.

68

145 ROMAN GOLD AND GARNET FINGER RING, the openwork band composed of C-scrolls and centering a piriform cabochon garnet bezel-set to form the body of an amphora.

3rd-4th Century AD. Ring size 6; Diam. 2 in. 5.3 cm.; Wt. 2 gr.

Ex German collection.

146 ROMAN PAIR OF GOLD AND GARNET EAR PENDANTS, each designed as a reticulated disc centering a garnet. Below each, a reticulated horizontal bar with three pendants of two bezels-set garnets.

Ca. 3rd Century AD. L. 1 5/8 in. (4.1 cm.) Ex German collection.

Byzantine Art

146A BYZANTINE PAIR OF GRANULATED GOLD AND CARNELIAN EAR PENDANTS, each designed as a disc centering a carnelian, from which hang two elongated gold tear drop pendants. The upper sections and ends of the pendants are decorated with fine granulation and rosettes. 5th-7th Century AD. L. 2 1/2 in. (6.4 cm.); Wt. 15.53 gr.

Ex German collection.

147 BYZANTINE GOLD CROSS WITH A CABOCHON GARNET set in the center, and green glass beads suspended on gold wire from both arms and the base. 5th-7th Century AD. L. 1 1/2 in. (3.9 cm.); Wt. 13.4 gr.

Cf. Ludwig Wamser, Die Welt von Byzanz-Europas östliches Erbe.

Ausstellung, Munich, 2004, 310ff, no. 529.

148 BYZANTINE AMETHYST AND GOLD OPENWORK FINGER RING set with a flat circular amethyst, in a gold ribbon border, the openwork shank composed of conjoined spirals on either side of a central sheet gold band with twisted gold wire edges. Germanic Migration Period, 7th-8th Century AD. Ring size 6; Diam. 7/8 in. (20 mm.); Wt. 4 gr.

Ex English collection.

70

149 BYZANTINE ALLEGORICAL MOSAIC OF APOLAUSIS AND PLOUTOS Depicted in multi-colored stone and glass tesserae on a white ground are two personifications seated upon a bench. The woman, with her head turned slightly to her left, wears a long short-sleeved robe, armlet, bracelet, pearl necklace, and a wreath of flowers. She has the Greek inscription: ΑΠΟΛΑΥ[ΣΙΣ] (Pleasure) above her. The man, with his gaze directed toward her, wears a long robe with dotted clavi and a jeweled crown, gold coins escaping from his open right hand; he has the Greek inscription ΠΛΟΥΤΟ[Σ] (Wealth) in the field above him. Antioch on the Oronte, ca. 6th Century AD. H. 53 in. (134.6 cm.); W. 33 in. ( 83.8 cm.) Ex Barling of Mount Street Ltd., London, 1969; private collection, New York..

Another fragment from the same mosaic floor, now in the Royal Ontario Museum, inv. no. 967.132, shows Tryphe (Soft and leisurely living) and Bios (Life) seated on a couch (see Neda Leipen, “A New Mosaic in the Royal Ontario Museum,” Archaeology, vol. 22/3, June 1969, p. 231, and LIMC, vol. VIII, p. 97, no. 3); Apolausis personified as a young woman is depicted and labeled on only two other known early Byzantine mosaics: on a late 4th/early 5th century panel from a bath building at Antioch in Syria (G.M.A. Richter, Catalogue of the Greek and Roman Antiquities in the Dumbarton Oaks Collection, Washington, D.C., 1956, p. 61, no. 42, pl. 27), and on a 6th Century medallion 71 from Argos in Greece, also from a bath (LIMC, vol. II, s.v. “Apolausis,” no. 2).

150 BYZANTINE BRONZE OIL LAMP ON A TRIPODAL STAND, the handle surmounted by a cross reticulated within a leaf. Ca. 6th Century AD. H. of lamp 5 3/4 in. (14.5 cm.); total H. 12 3/8 in. (31.5 cm.) Ex French collection.

Cf. L. Wamser-G.Zahlhaas, Rom und Byzans-Archäologische Kostbarkeiten aus Bayern, Munich, 1998, nos. 71-82.

151 BYZANTINE BRONZE POLYKANDELON The reticulated disk is suspended on three chains from an open-work cross which itself is suspended on a chain. 6th-7th Century AD. H. 17 5/8 in. (45 cm.); Diam. 12 1/2 in. (31 cm.)

Ex German collection.

152 BYZANTINE BRONZE CENSOR The hemispherical bowl is suspended on three chains from a cross pendant attached with a link to a hook. Inscribed in Greek: ‘light of the life’. 10th-11th Century AD. H. 15 3/4 in. (40 cm.)

Ex German collection.

153 SWISS LAKE DWELLINGS AXE The jadestone (nephrite) blade, with a curved cutting edge, is mounted in a red deer antler handle. 3rd Millennium BC. L. 4 1⁄4 in. (10.8 cm.) Bearing an old label reading, 'Jacob Messikommer in Wetzikon Ct. Zurich'.

Prehistoric Stone and Bone Implements

154 SWISS LAKE DWELLINGS AXE with a small polished 155 NORDIC NEOLITHIC FLINT HAND green jadestone (nephrite) blade fitted in a hollow deer antler AXE of Classic Acheulian pointed triangular handle. 3rd Millennium BC. L. 3 1⁄2 in. (9 cm.) form. Superb quality stone with a colorful patina.

Bearing an old label printed 'Schaff' and inscribed 'A294'.

Ca. 200,000 BC. L. 6 3/8 in. (16.2 cm.)

Published: A. MacGregor, Antiquities from Europe and the Bearing an old label. Found at Northfleet, Essex, Near East in the Collection of the Lord McAlpine of England. Ex collection of Sir George Holleyman.

West Green, Oxford, 1987, p. 87, no. 5, 27.

72

156 NORDIC ANTLER HARPOON POINT forming one large point with an asymmetrical barb on either side of the tip; notched at the base for lashing to shaft. Ca. 15,000-10,000 BC. L. 4 1/2 in. (11.4 cm.) A superb early Mesolithic example in flawlesss condition. Ex The Christensen Fund collection, Palo Alto, California; private collecion, Boston.

157 NORDIC ANTLER AXE, the edge formed by oblique cutting; a shafthole bored through the root end. Ca. 6,000-5,000 BC. L. 8 3/4 in. (22.2 cm.) A fine and rare Neolithic example in flawlesss condition. Ex private collection, Boston.

158 NORDIC TANGED STONE CLUB HEAD, hafted and lashed through the hole at right angles to the wooden handle; the head slightly polished. Late Neolithic, ca. 4500-3000 BC. L. 5 1/2 in. (14 cm.) Ex The Christensen Fund collection, Palo Alto, California; private collection, Boston.

159 NORDIC POINTED THIN-BUTTED FLINT AXE with four convex sides, highly polished, richly paterned agate-like orange, brown, yellow, and ochre coloring. Late Neolithic, ca. 3000-2500 BC. L. 7 1/8 in. (18.1cm.) One of the earliest known polished axe types. Ex The Christensen Fund collection, Palo Alto, California; private collection, Boston.

160 EGYPTIAN BROWN FLINT BLADE, probably a spear point, showing deeply patinated percussion and pressure flaking.

An extremely rare and perfect example. Ca. 8000-4000 BC. L. 9 3/8 in (23.8 cm.)

Said to have been found in the late 19th Century near Thebes.

Ex collection of the discoverer, a pioneer American archaeologist; thence by descent; private collection, Boston.

73

161 MINOAN GREEN SCHIST RECTANGULAR KERNOS with two circular wells and carved on the sides to imitate bound reeds.

3rd Millennium BC. L. 4 1/2 in. (11.5 cm.) Rare.

Cf. P. Warren, Minoan Stone Vases, 1969, pp. 46 and 47.

Ex German collection.

162 IBERIAN BRONZE AGE MARBLE IDOL of oval form and section, the incised circular eyes flanked by semi-circular markings. Early 2nd Millennium BC. H. 2 5/16 in. (6 cm.) Very rare. Cf. V. Hibbs, Iberian Antiquities from the Collection of Leon Levy and Shelby White, Spanish Institute, 1993, no. 1, for a related cylindrical example.

167 EGYPTIAN OLD KINGDOM LIMESTONE RELIEF OF AN OFFERTORY PROCESSION Egyptian Stone Depicted in low relief are five bearers walking to the left, Sculptures and Reliefs each carrying a butchered animal offering; the feet of another procession in the register above remain.

Saqqara, Vth Dynasty, ca. 2498-2345 BC. L. 23 1/4 in. (59 cm.); H. 4 3/4 in. (12 cm.) Ex early 19th century collection of the Princes Murat, Naples; acquired by the Singer collection, ca. 1980; collection of Mme. F., Nice, France.

163 SARDINIAN PREHISTORIC NURAGHIAN PERIOD BRONZE BULL with ears projecting back from the inward-curving horns, a rounded snout, incised eyes, and a short tail.

Ca. 7th-5th Century BC. L. 2 1/8 in. (5.4 cm.)

Rare. Published: A. Walker, ed., Animals in Ancient Art from the Leo Mildenberg Collection, part. III, 1996, no. 274.

Varia 168 EGYPTIAN OLD KINGDOM LIMESTONE BAS-RELIEF OF A BUTCHERY Depicted in low relief are men wearing loinclothes and wig caps cutting up the carcass of an ox.

Vth-VIth Dynasty, ca. 2498-2181 BC. L. 22 7/8 (58 cm.); H. 9 1/4 in. (23.5 cm.) Ex Jean-Marie Talleux Collection, Grand Fort Philippe, France; private collection, Stamford, Connecticut; private collection, Woodland Hills, California. Exhibited and published in Les Cultes funéraires en Egypte et en Nubie, Calais - Béthune Dunkerque, 1987-1988, no. 39; Jerome M. Eisenberg, Art of the Ancient World, vol. IX, 1997, no. 155. Cf. Similar scene in 5000 Jahre Aegyptische Kunst, 1961, Kunsthaus, Zürich, cat. no. 130, p. 61, fig. 37, p. 22.

164 THRACO-SCYTHIAN BRONZE PLAQUE IN THE FORM OF A CROUCHING FELINE in ‘Animal style’ decoration.

Dark green patina. 4th-3rd Century BC. L. 3 1/2 in. (8.8 cm.)

Ex German collection.

165 THRACO-SCYTHIAN BRONZE PLAQUE IN THE FORM OF A LION HEAD in profile. In ‘Animal style’ decoration.

Dark green patina. 4th-3rd Century BC. H. 1 3/8 in. (3.5 cm.)

Ex German collection.

166 HELLENISTIC AMBER SQUATTING BABY, his head inclined to the left. Etruria?, 2nd-1st Century BC. H. 2 1/8 in. (5.5 cm.)

Hellenistic amber figurines are very rare. Ex French collection.

74

169 EGYPTIAN OLD KINGDOM POLYCHROME LIMESTONE BAS-RELIEF OF TWO OARSMEN facing right and leaning back to lever their oars, their bodies painted reddish-brown, their hair black, their features detailed with incisions; with the tip of a water sign hieroglyph above the head of the left oarsman and another symbol in the register above.

Vth-VIth Dynasty, ca. 2498-2181 BC. L. 10 7/8 in. (21.6cm.); H. 6 1⁄4 in. (15.8cm.)

Ex Japanese private collection.

75

170 EGYPTIAN NEW KINGDOM LIMESTONE SUNK-RELIEF, PROBABLY OF RAMESSES I OR SETI I, depicting the king offering a seated statue of Maat, goddess of truth and justice, holding an ankh; a second large ankh held by the king. XIXth Dynasty, ca. 1293-1278 BC. H. 8 1/2 in. (21.5 cm.); W. 11 1/4 in. (28.5 cm.)

Ex French private collection, acquired from Le Corneur-Roudillon, Paris, 1968.

171 EGYPTIAN NEW KINGDOM LIMESTONE SUNK RELIEF OF A COUPLE BEFORE AN OFFERING TABLE Both have their arms raised in prayer, she, behind him, holds a sistrum. Behind her is a dancer who does a backflip. He wears a tiered wig and a long kilt; she wears a long gown and a long wig surmounted by a perfume cone; with inscriptions. XIXth Dynasty, ca. 1293-1185 BC. H. 10 in.(25.5 cm.); W. 11 1/4 in. (28.5 cm.)

Ex old French collection (L.F.).

172 EGYPTIAN LIMESTONE ANTHROPOID SARCOPHAGUS LID The features are boldly carved in high relief; he wears a tripartite wig with long lappets.

Early Ptolemaic Period, ca. 305-200 BC. H. 72 in. (182.9 cm.)

Ex American private collection dispersed at Sotheby’s, New York, December 1982; private collection, Santiago, Chile; Jaime Eguiguren Molina, Buenos Aires, Argentina.

76

77

Egyptian Bronzes

173 EGYPTIAN SANDSTONE PILLAR WITH A KING STANDING BENEATH THE HEAD OF HATHOR He wears the nemes with uraeus, royal kilt, and holds the crook and flail crossed over his chest. Above looms the protective cow head of Hathor, a sun disk with uraeus between her horns.

Early Ptolemaic Period, ca. 305-200 BC. H. 24 5/8 in. (62.6 cm.); W. 10 1/4 in. (26.2 cm.)

176 EGYPTIAN LARGE BRONZE OSIRIS, mummiform, wearing the Atef crown with ram’s horns.

XXVIth Dynasty, ca. 664-525 BC. H. 13 1/4 in. (33.7 cm.)

Ex E.K. collection, Canton, Michigan, acquired from Royal-Athena Galleries in 1987. Exhibited: Picker Art Gallery, Colgate University, 1987-1996; Ball State University Art Museum, Muncie, Indiana, 1996-2005.

Osiris, the most revered of the gods, was the god of inundations and fertility; and the protector of all human beings, living or dead.

Ex Belgian private collection; private collection, Woodland Hills, California. Published: Jerome M. Eisenberg, Art of the Ancient World, vol. XII, 2001, no. 320.

177 EGYPTIAN BRONZE OSIRIS, mummiform, wearing an Atef crown fronted by a uraeus, holding a crook and flail, standing on an integral plinth. Late Period, 712-30 BC. H. 10 in. (25.3 cm.) Ex New England private collection.

174 EGYPTIAN STEATITE PTOLEMAIC QUEEN AS ISIS She wears a chiton over which a himation is draped and secured in a knot between her breasts. A vulture headdress rests atop her tripartite wig with its long tiers of curls.

In her left hand she holds a situla and in her right a fragmentary sistrum. The top of the head has a hole where a headdress was affixed.

3rd-1st Century BC. H. 4 5/8 in. (11.8 cm.)

Ex Au Vieille Chinois, Paris, ca. 1970s.

178 EGYPTIAN BRONZE SEATED HARPOKRATES, son of Osiris and Isis, wearing a gilt broad collar and gilt side-lock; his face with gold-inlaid eyes. His arms are extended and he holds large objects in his outstretched hands.

His feet rest on a trapezoidal footstool; right arm restored.

Late Period, 712-30 BC. H. 2 3/4 in. (7 cm.)

Ex collection of Winifred Karpf, acquired at Parke-Bernet Galleries, New York, March 20, 1968, no. 43.

179 EGYPTIAN BRONZE NEFERTUM, god of perfume and unguents, wearing the lotus and feather headdress with pendant menats. XXVIth-XXXth Dynasty, 664-343 BC. H. 3 1/2 in. (9 cm.) Ex private French collection.

175 EGYPTIAN LIMESTONE RECUMBENT LION on an integrally carved rectangular base.

Ptolemaic Period, 305-30 BC. H. 4 1/2 in. (11.4 cm.); W. 3 in. (7.6 cm.); L. 7 1/2 in. (19 cm.) Ex private French collection.

78

79

180 EGYPTIAN BRONZE TRIAD OF OSIRIS FLANKED BY ISIS AND HORUS Osiris is wearing the Atef crown; the falcon-headed Horus is wearing a tripartite wig and the Double Crown; and Isis is wearing a tripartite wig surmounted by a crown of horns and a fragmentary sun-disk. A dedicatory inscription is incised on the base.

Late Period, 712-30 BC. H. 3 5/16 in (8.5 cm.) A rare triad; tips of Isis’ horns restored..

Ex collection of Winifred Karpf, acquired at Parke-Bernet Galleries, New York, November 24, 1967, no. 91.

181 EGYPTIAN BRONZE BULL-HEADED GOD, PROBABLY APIS, striding, wearing a tripartite wig with horned solar disk and a kilt; probably once carrying an ankh and was-scepter.

Late Period, 715-30 BC. H. 4 9/16 in. (11.6 cm.) Ex M. A. Mansoor, Cairo; Parke-Bernet Galleries, 1947; Spink & Son, London, 1952; Greta S. Heckett collection, Pittsburgh; Charles Pankow collection, San Francisco.

Published: P. Verdier, Ancient Bronzes from the Heckett Collection, exhibition catalog, Museum of Art, Carnegie Institute, Pittsburgh, 1964, no. 51; Egyptian Antiquities from the C. Pankow Collection, 1981, p. 12.

Cf. E. Roeder, Ägyptische Bronzefiguren, p. 61, no. 95b, fig. 77.

182 EGYPTIAN BRONZE SEATED ISIS NURSING HARPOKRATES, the goddess wears a long close-fitting dress, broad collar, tripartite wig with uraeus, vulture cap, and diadem of uraei surmounted by horns and a sun-disk.

Late Period, 712-30 BC. H. 5 7/8 in. (14.9 cm.)

Ex collection of Winifred Karpf, acquired in Cairo, 1969.

183 EGYPTIAN BRONZE BES, the dwarf-like protective deity with bowed legs, a seated falcon on his raised right hand, wearing a panther skin over his back and a necklace with a pendant; the crown of his head is mortised for attachment.

Late Dynastic Period, 664-332 BC. H. 3 3⁄4 in. (9.4 cm) A rare type. Ex French private collection.

80

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

www.royalathena.com

184 EGYPTIAN VERY LARGE BRONZE ENTHRONED WADJYT The lion-headed goddess, protectoress of the pharaohs, wears a solar disk with a uraeus between her ears; with extensive incised details on her throne including Horus wearing the pschent-headdress, holding an ankh and was-scepter, seated before an offering table.

Late Dynastic Period, 554-343 BC. H. 20 5/8 in. (52.5 cm.)

Ex Vatel collection, Paris. Cf. J. Vandier, Ouadjet et l’Horus léontocéphale de Bouto’, Fondation Piot, Monuments et Mémoire, 1967, pp. 7-75; C. Coche, Une nouvelle statue de la déesse léontocéphale Ouadjeyt wp t3wy, Revue d’Egyptologie, 22, 1970, p. 51-62; J. et L. Aubert, Bronzes et or égyptiens, 2001, pp. 199-203.

81

185 EGYPTIAN BRONZE KNEELING PRIEST holding a djed pillar, with hieroglyphic inscription: Chief Sailor, Udja-Hor. XXVIth Dynasty, 664-525 BC. H. 2 1/16 in. (5.2 cm.) Ex E.K. collection, Canton, Michigan, acquired from Royal-Athena Galleries in 1987. Exhibited: Picker Art Gallery, Colgate University, 1987-1996; Ball State University Art Museum, Muncie, Indiana,

186 EGYPTIAN BRONZE PRIEST HOLDING A LARGE FIGURE OF OSIRIS. Late Period, ca. 712-30 BC. H. 3 3/8 in. (8.5 cm.)

A scarce type. Ex collection of le comte de Serionne, administrator of the Suez Canal Society, said to have been acquired in Egypt before 1900.

187 EGYPTIAN BRONZE RECLINING CAT with her head turned to the right and wearing a broad stippled and incised collar.

Late Period, ca. 712-30 BC. L. 3 7/8 in. ( 9.9 cm.)

Ex Parke-Bernet Galleries, New York, December 13, 1979, no. 38; collection of Charles Pankow, San Francisco. Published: Egyptian Antiquities from the C. Pankow Collection, 1981, p. 14. Cf. G. Roeder, Ägyptische Bronzefiguren, 1956, p. 354. The cat was associated with Bastet and, later, Isis.

188 EGYPTIAN BRONZE FALCON Late Period, ca. 712-30 BC. H. 2 3/4 in. (7 cm.)

Ex collection of le comte de Serionne, administrator of the Suez Canal Society, said to have been acquired in Egypt before 1900. Associated with several gods as the Horus falcon, it was also the symbol of divine kingship.

Egyptian Ushabtis

189 EGYPTIAN BRONZE OXYRHYNCHUS, the sharp-nosed Nile pike, wearing a horned solar disk with uraeus; with integral base. XXVI-XXXth Dynasty, 664-342 BC. H. L. 5 in. (12.5 cm.)

Ex collection of le comte de Serionne, administrator of the Suez Canal Society, said to have been acquired in Egypt before 1900. The oxyrhynchus fish was sacred to Hathor.

82

191 EGYPTIAN WOOD ROYAL USHABTI OF PHARAOH SETI I From Seti’s tomb (KV17) in the Valley of the Kings, discovered by Giovanni Belzoni in 1817. He is mummiform, with text and royal cartouche carved on the front.

XIX Dynasty, ca. 1291-1278 BC. H. 7 1/2 in. (19 cm.)

Ex collection of M. de. B; de Bayser collection, Paris. Cf. J-F Aubert, Statuettes Egyptiennes, 1974, Paris, p. 113, no. 28.

190 EGYPTIAN NEW KINGDOM ALABASTER USHABTI OF THE LADY IOUY IRET, mummiform, with seven registers of inscribed text setting forth her name and titles and the appropriate spell from chapter six of the Book of Going Forth by Day. It retains most of its original pigment. XVIIIth Dynasty , 1570-1293 BC. H. 7 7/8 in. (20 cm.) Ex de Bayser collection, Paris. Rare.

83

192 EGYPTIAN NEW KINGDOM WOOD USHABTI OF MERNOU, mummiform, with six registers of inscribed text setting forth his name and titles and the appropriate spell from chapter six of the Book of Going Forth by Day. Late XVII Dynasty, ca 1663-1570 BC. H. 10 1/4 in. (26 cm.)

Ex de Bayser collection, Paris.

193 EGYPTIAN NEW KINGDOM WOOD USHABTI, mummiform, holding hoes and seed-bagin front.

XIXth Dynasty, ca. 1293-1185 BC. H. 8 5/8 in. (21.9 cm) Ex collection of Michael Abemayor, New York, dispersed at Parke-Bernet Galleries, May 19, 1979, no. 91.

Published: Egyptian Antiquities from the Charles Pankow Collection, 1981, p. 28.

194 EGYPTIAN GREEN FAIENCE USHABTI OF THE PRIEST IRET-HOREROU, mummiform, with nine registers of inscribed text setting forth his name and titles and the spell from chapter six of the Book of of the Dead.

XXVIst Dynasty, 664-525 BC. H. 5 1/4 in. (13.5 cm.)

Ex de Bayser collection, Paris.

195 EGYPTIAN GREEN FAIENCE USHABTI OF OUDIA HOR, born of Aset em Khebyt, mummiform, with four columns of inscribed text setting forth his name and titles and the spell from chapter six of the Book of of the Dead.

Late Dynastic, 664-342 BC. H. 6 1/4 in. (16 cm.)

Ex de Bayser collection, Paris.

196 EGYPTIAN PALE GREEN FAIENCE USHABTI OF KA-NEFER, Scribe of the shrine of Ptah, born of Isis-resti mummiform, holding hoes and seedbag; a vertical column and band of hieroglyphic text incised on the front.

XXXth Dynasty, 380-343 BC. H. 5 5/8 in. (14.9 cm.)

Ex French collection.

84

Egyptian Faience & Pottery 197 EGYPTIAN MIDDLE KINGDOM GREEN FAIENCE ROARING HIPPOPOTAMUS, its body painted with a frog and lotus blossoms; the teeth were once inserted.

XIIth Dynasty, ca. 1991-1783 BC. L. 6 1/4 in. (15.9 cm.)

Extremely rare type. Restored.

Ex private collection, Doylestown, Pennsylvania, acquired from RoyalAthena Galleries in 1987.

198 EGYPTIAN MIDDLE KINGDOM PALE TURQUOISE FAIENCE HIPPOPOTAMUS XI-XII Dynasty, ca. 2040-1783 BC. L. 2 7/8 in. (7.3 cm.)

Small faience examples are quite rare.

85

203 EGYPTIAN TURQUOISE FAIENCE AMULET OF HORUS, the falcon headed deity, wearing a tripartite wig and the Double Crown, seated atop a square column with a cavetto capital.

Late Period, 712-30 BC. H. 3 3/16 in. (8.5 cm.) Rare. Ex collection of Edward D. Freis, acquired in 1989.

204 EGYPTIAN GREEN FAIENCE AMULET OF KHNUM, the ram-headed creator god who made man on a potter's wheel. Late Dynastic Period, 664-343 BC. H. 1 1/2 in. (6.4 cm.)

Ex collection of Mme. R.S., Paris, acquired in the 1960s.

199 EGYPTIAN NEW KINGDOM POLYCHROME POTTERY CANOPIC LID WITH A HUMAN HEAD wearing a wide striped wig, the sensitive face with full outlined lips, large eyes with long eyebrows, and cosmetic lines in faint relief. Probably from the period of Amenhotep II - Tuthmosis IV, XVIIIth Dynasty, ca. 1453-1386 BC. H. 5 3/8 in. (13.8 cm.) Ex estate of Dr. and Mrs. Irving Rubins, Baldwin, New York.

200 EGYPTIAN GREEN FAIENCE LOTUS CUP on a spreading pedestal foot, the body incised to replicate the petals of a lotus. XIX-XXV Dynasty, 1293-712 BC. H. 5 3/4 in. (14.6 cm.) Ex old French collection (T. Wegener). Rare.

201 EGYPTIAN NEW KINGDOM BRIGHT BLUE FAIENCE VASE with a tall cylindrical neck and a small globular body tapering to a point at the base, the surface decorated in added black with a lotus design and band decoration. XVIIIth Dynasty, ca. 1567-1320 BC. H. 4 1⁄2 in. (11.4 cm.) Ex private English collection.

Egyptian Faience Amulets

205 EGYPTIAN BLUE-GREEN FAIENCE AMULET OF PATAEK standing on the backs of two crocodiles, holding objects in his hands, and wearing a close-fitting cap surmounted by a scarab. Isis and Nephthys flank him; falcons stand on his shoulders and a winged Isis on his back. Late Period, 712-30 BC. H. 3 1/2 in. (8.9 cm.)

Ex Charles Pankow collection, San Francisco. Cf. Carol Andrews, Amulets of Ancient Egypt, 1994, figs. 34-35; Sylvia Schoske and Dietrich Wildung, Gott und Götter im Alten Ägypten, 1992, no. 120a, pp. 236-237.

206 EGYPTIAN BLUE-GREEN FAIENCE AMULET OF THOUERIS-IPET, with the head of a lion and the body of a hippopotamus, her forepaws resting upon a large ankh standing at her feet.

XXVIth-XXXth Dynasty, 664-343 BC. H. 3 1/2 in. (9 cm.) A rare form. Ex private French collection..

207 EGYPTIAN BLUE-GREEN FAIENCE AMULET OF SEKHMET, the lion-headed goddess of passion, wearing a solar disk with uraeus. Late Dynastic Period, 664-342 BC. H. 3 3/4 in. (9.5 cm.) Ex private French collection.

208 EGYPTIAN GREEN FAIENCE AMULET OF SEKHMET wearing a tripartite wig and a long sheath and holding a long scepter; a suspension loop on the back.

3rd Intermediate Period, 1065-712 BC. H. 3 5/8 in. (9.4 cm.) Ex private French collection.

202 EGYPTIAN LARGE TURQUOISE FAIENCE SCARAB WITH SPREAD WINGS Late Period, 712-30 BC. L. 5 1/2 in. (14 cm.) Ex private French collection.

86

87

Egyptian Wood

Egyptian Varia 209 EGYPTIAN SILVER PENDANT OF OSIRIS, mummiform, wearing the Atef crown with ram horns, and holding the crook and flail across his chest.

XXVIth Dynasty, 664-525 BC. H. 2 1/2 in. (6.5 cm.) Rare in silver and in very fine style. Ex private French collection, acquired in 1962. Cf. another silver Osiris amulet in Jerome M. Eisenberg, Egyptian Art in Miniature, 1994, no. 13.

210 EGYPTIAN EMERALD AND CARNELIAN BEAD NECKLACE centered with a carved emerald scarab. Roman Period, 1st Century BC/AD. L. 11 7/8 in. (30 cm.) Ex private French collection.

211 EGYPTIAN EARLY DYNASTIC YELLOW FLINT KNIFE finely worked with a carved blade and an integral handle. Very rare in such a complete state. Ist-IInd Dynasty, ca. 3050-2686 BC. L. 12 3/8 in. (31.5 cm.) Ex private French collection.

212 EGYPTIAN EARLY DYNASTIC DARK GREEN SCHIST SHALLOW BOWL with finely undercut lip. Ist-IInd Dynasty, ca. 3050-2686 BC. Diam. 10 1/2 in. (26.7 cm.) Ex private collection, Basel, Switzerland; private collection, Doylestown, Pennsylvania, acquired from Royal-Athena Galleries in 1987.

88

213 EGYPTIAN MIDDLE KINGDOM WOOD GROUP OF SIX SEATED OARSMEN wearing short wigs; from a model boat group, with traces of stucco and pigment remaining.

XIth-XIIth Dynasty, ca. 2040-1783 BC. H. 3 1/2-4 1/4 in. (9-10.8 cm.)

Ex private French collection.

214 EGYPTIAN POLYCHROME WOOD SARCOPHAGUS LID OF AMUN-IRW-RW Decorated with a blue and yellow striated wig, a deep ochre face, inlaid eyes, an intricate floral collar on a white background; with horizontal hieroglyphs surrounding the coffin pedestal: "An offering which the king gives Osiris (lord of) Busiris, who is foremost of the west, the great lord, master of incense, Amun-Irw-rw”. The inscription and ochre face would indicate that this belonged to a very small adult male rather than a child. Late Dynastic Period, 715-342 BC. H. 48 in. (122 cm.) Ex Philip Adams collection, Sydney Australia, acquired in Amsterdam in 1972; Lewis collection, Chesterfield, Virginia.

215 EGYPTIAN POLYCHROME WOOD FALCON decorated with blue, white, and yellow paint; details in black.

Ptolemaic Period, 305-30 BC. L. 7 in. (18 cm.)

Ex French collection. Cf. O. Perdu and E. Rickal, La collection égyptienne du musée de Picardie, Amiens, 1994, p. 99.

89

216 WESTERN ANATOLIAN MARBLE HEAD FROM A KILIA IDOL Of basic form, but unusually large, with a nearly hemispherical crown arch and smooth facial plane raised in the center forming a nose and flanked by two bead-like eyes and two ears. Bronze Age II Ca. 2700-2500 BC. L. 2 1/8 in. (5.5 cm.)

Near Eastern Antiquities

217 ANATOLIAN MARBLE VIOLIN IDOL OF THE KUSURA TYPE Bronze Age II, ca. 2700-2400 BC. H. 4 1/8 in. (10.5 cm.) A rare variant with a triangular head and a large nose. Ex French collection.

218 ANATOLIAN MARBLE VIOLIN IDOL OF THE KUSURA TYPE A typical flat form with a round head, a rounded bottom, and vestigial arms. A ‘v’ neckline is incised. Bronze Age II, 2700-2400 BC. H. 4 1/4 in. (11 cm.)

Ex private French collection.

219 NORTHERN MESOPOTAMIAN PROTOHISTORIC MARBLE ‘EYE’ PLANK IDOL The body is engraved with an apparent representation of stars in a sky arc and waves below. Tel Brak, Syria, ca. 3500-3300 BC. H. 3 in. (7.5 cm.) A rare depiction. Ex private French collection.

220 SYRIAN LARGE TERRACOTTA EYE IDOL Both the type and the large size are rare. It lacks the lower part of the body. 4th Millennium BC. H. 7 1/2 in. (19 cm.) Ex private German collection.

221 CANAANITE BRONZE IDOL WEARING A TALL CONICAL HAT and a double belt, standing atop an integrally cast long pin. His arms are held out at the shoulders and down at the elbows as if carrying a litter; each fist is pierced. Early 1st Millennium BC. H. 5 1/2 in. (14 cm.) Ex private French collection.

222 CANAANITE ELECTRUM APPLIQUE MASK OF A MAN with raised details and an inscription in Greek across his forehead. Very rare. Ca. 5th Century BC. H. 4 1/2 in. (11.6 cm.) Ex private French Collection.

223 SYRIAN ALABASTER BEARDED HEAD His centrally parted hair descends to his shoulders in echelons of incised waves and the hair of his beard is incised with horizontal chevrons. His almond-shaped eyes are inlaid with calcite.

2nd Millennium BC. H. 2 1/2 in. (6.3 cm.)

Ex private Austrian collection. Choice and very rare.

224 PHOENICIAN ALABASTER IDOL with a flat oval body with edges incised in dotted circles. The small triangular head has diamond-shaped eyes and pierced lobes and pigtail at the back on the neck. Rare. 8th-7th Century BC. H. 2 3/4 in. (6.9 cm.)

Ex private French collection. Cf. D. Collon, Ancient Near Eastern Art, 1995, fig. 78 (British Museum WA 113895); C.M. Bennett, Fouilles d'Umm el-Biyara', Revue Biblique 73, 1966, pp. 396ff, pl. 23.

225

PARTHIAN ALABASTER ‘GREAT BABYLONIAN GODDESS’, standing, her right arm raised toward her breast and holding fruit.

Syria, 2nd Century BC/AD. H. 5 7/8 in. (15 cm.)

Ex French collection.

Intact examples are rare.

90

91

230 PAIR OF SCYTHIAN BRONZE OPEN-WORK HARNESS ATTACHMENTS OF RECUMBENT DEER Black Sea region, 4th Century BC. Each H. 3 1/8 in.(8 cm.); L. 3.5 in. (8.8 cm.)

Ex French collection.

231 ORDOS BRONZE OPEN-WORK PLAQUE OF CONFRONTING IBEXES, their heads turned back. Mongolia, 6th-5th Century BC. H. 2 7/8 in. (7.3 cm.) Ex French collection.

226 SOUTH ARABIAN BRONZE RELIEF PLAQUE depicting a priest wearing a pleated apron standing with one arm raised before him and the other holding a situla.

Early 1st Millennium AD. H. 8 3/8 in. (21.3 cm.); W. 3 1/4 in. (8.4 cm.)

227 NABATEAN BRONZE ENTHRONED BEARDED GOD He holds a brick-shaped object is his upraised left hand and in his right hand a cylinder, open at the top and closed at the bottom, rather like a beaker. On one side of the throne is an incised rectangle with what appear to be several incised letters.

South Arabia, 1st Millennium BC. H. 7 5/8 in. (19.4 cm.) Ex Mme. N. collection, Paris.

228 FORTY SOUTH ARABIAN BONE FURNITURE MOUNTS in the form of warriors, winged sphinxes, and palmettes, some with inscriptions in South Arabian characters. A rare assemblage. Early 1st Millennium AD. Hts. 7/8- 2 3/8 in. (2.5-6.0 cm.) Ex private French collection.

229 MESOPOTAMIAN CLAY MODEL FOR A CUNEIFORM BRICK OF ADAD-SHOUMA-LISHER, son of Silli-Mardouk, son of Lakou-Limmer, inscribed on five sides with a funerary inscription and proscriptions against any who would desecrate the tomb; written by his brother Silli-ilani, 2nd day of the month of Kalmartou.

Euphrates Valley, Syria, ca. 13th Century BC. H. 6 3/4 in. (17.2); W. 2 5/8 in. (6.8 cm.); D. (4 cm.)

“If a foreigner or anyone else who would bring another body into my tomb, to take anything out of it, or touch whatever is within this tomb may the hand of Dagan of Nergaal and Shourihou grab him and deliver him to the judgement of Addad.”

92

232 ORDOS BRONZE OPEN-WORK PLAQUE OF A PANTHER facing to the left and devouring a goat.

Mongolia, 4th Century BC. L. 3 5/8 in. (9.4 cm.) Ex French collection.

233 PAIR OF SCYTHIAN GILT BRONZE RECTANGULAR PLAQUES, each depicting two adorsed horses separated by serpents. Art of the Steppes, 2nd -1st Century BC. Each L. 4 1/4 in. (10.8 cm.); H. 2 1/8 in. (5.4 cm.)

Ex French collection.

93

H av e y o u v i si t ed o u r g r e at l y e x p a n d e d a n d i m p r o v e d w e b s i t e ?

It now includes a video gallery. Over 700 Greek, Etruscan, Roman, Egyptian, and Near Eastern antiquities are presented, with new acquisitions added weekly. www.royalathena.com

Why Collect Ancient Art?

his objects of art, rather than depositing them in a vault or holding receipts. Also, art is not as volatile as stocks and bonds, the coin, gem and collectibles markets, and especially the gold and silver markets.

Sylvia Porter in her New Money Book recommends classical antiquities as one of the best types of art for rapid growth. Dr Eisenberg was first quoted on the investment value of ancient art in the February 9, 1966 issue of Newsday - 40 years ago! - and most recently in Business Week.

There are several reasons for collecting fine works of ancient art: • The excitement of owning a beautiful work of art that has survived for perhaps some 2,000 years or more.

• The decoration of one's home or office with unique objects whose beauty and desirability have withstood the test of time.

• The probable appreciation in value.

• The creative satisfaction, enjoyment, and pride in forming a truly fine collection.

Royal-Athena Galleries

How to Collect Ancient Art

Sylvia Porter lists ten sound rules as a guide in art collecting: 1. Study the field which interests you as much as possible.

2. Buy cautiously at first.

3. Make sure that your work of art has quality.

4. Deal with a top gallery or art dealer. “Some dealers and major galleries will guarantee the authenticity of the art works they sell, so check this point as well." (Not only have we been guaranteeing our ancient art for over fifty years, but to the best of our knowledge our two-day auction sale conducted by Parke-Bernet Galleries (now Sotheby') in 1964 was the first auction sale by several years in which every piece was guaranteed - but by us!)

5. Have an understanding with your dealer or gallery about trading up - so he’ll repurchase or resell your works as you have more money to invest in high quality art. (We normally allow full credit for the exchange or upgrading of objects purchased from us.)

6. Do not buy art works just because they are a current rage.

7. Ask the advice of museum directors or curators whenever possible.

8. Decide upon your investing limit before you buy.

If you fall in love with a more expensive object try to arrange for a time payment. (We certainly encourage this and offer flexible time payments!)

9. Spread your financial risks by buying a variety of art unless you are an expert in a particular field.

10. “Buy the best examples you can afford in any category.”

We would add two other important rules: 11. Ask for the provenance of any potential acquisitions.

12. Do not buy objects that have been significantly restored. Beware of overly restored faces in both vase painting and sculpture.

Ancient Art as an lnvestment

Historically, ancient art investments have yielded excellent long-term capital appreciation, usually 8% to 10% annually. Any investment in tangibles, especially works of art, should be projected for at least five to ten vears. Normally one should not hold more than 10% of their investment portfolio in art.

Collecting fine art is a pleasurable way of hedging against inflation because the investor can enjoy

94

Jerome M. Eisenberg, Ph.D., the founder and director of Royal-Athena Galleries, is usually at the New York gallery and visits the London gallery several times each year. He is available by appointment for consultation, expertise, and appraisals; or for a telephone conference. At no obligation we will arrange a private viewing with guidance on a sophisticated long term program of collecting and investing in the fine arts.

Over the past 49 years we have sold more than 600 works of ancient art to many of the country's leading museums, including the Metropolitan Museum of Art, the Boston Museum of Fine Arts, the Sackler Art Museum at Harvard University, the Yale University Art Gallery, the Princeton University Art Museum, the Newark Museum, the Walters Art Gallery, the Detroit lnstitute of Arts, the Cincinnati Art Museum, the Minneapolis Institute of Arts, the Milwaukee Public Museum, the New Orleans Museum of Art, the Virginia Museum of Fine Arts, the Los Angeles County Museum of Art, and the J. Paul Getty Museum, as well as the British Museum, the Louvre, and a large number of museums in Canada, Belgium, Germany, Greece, Hungary, the Netherlands, Spain, Switzerland, Australia, and Japan. The catalogs of classical marble sculptures from the Museum of Fine Arts, Boston, and from the J. Paul Getty Museum illustrate no less than 39 pieces acquired from our galleries. In addition, over one thousand objects purchased from us have been donated to many other museums, including the Freer Gallery of Art, the Sackler Gallery (The Smithsonian Institution), the Brooklyn Museum of Art, and the Walters Art Gallery.

Dr Eisenberg travels overseas several times annually to visit collectors, museums, clients, and many of the nearly 150 private sources, agents, dealers, and auction houses with whom he is in frequent contact. Since 1954 he has made nearly 200 overseas trips, purchasing many thousands of works of art for tens of millions of dollars.

This aggressive purchasing policy, perhaps without parallel in the field, enables us to offer an extraordinary number of choice objects at very reasonable prices.

Our willingness to buy in volume and to purchase our inventory outright, rather than to take it on consignment, results in extremely competitive pricing, often considerably below that of other galleries.

Furthermore, exchanges and purchases are frequently made from many past and present clients

He organized two symposia in New York in 1994 on public policy and the movement of antiquities and in 1998 on the acquisition of antiquities by museums for the International Association of Dealers in Ancient Art, of which he is a founding member and was a member of the executive board from 1993 to 2002.

In September 1999 he presented testimony to the United States Cultural Properties Committee on the legal and illegal trade in ancient art in Italy.

In May 2003 he was a featured speaker and panel participant in the U.S. Government Conference on Stolen Mideast Antiquities in Washington, D.C. Recently he has been featured on the European TV channel Arte and on BBC Radio’s File on Four in in-depth interviews on the antiquities trade.

Dr Eisenberg was the Chairman and coorganizer, of the New York Antiquarian International Fine Art Fair, held from November 30th through December 4th, 2001.

Most recently, in 2003, he appeared on television on CBS News, Dateline NBC, PBS Jim Lehrer News Hour, and CBC Television (Canada), and was interviewed on the BBC and PBR Radio, and in print in the New York Times, Wall Street Journal, Boston Globe, Philadelphia Inquirer, Washington Post, The Times, and a dozen other publications.

In 2004 he was featured on a Discovery Channel program and on Fox News on the antiquities trade.

In April 2004 he presented a paper on ‘The Mesopotamian Antiquities Trade and the Looting of the Iraq Museum’ to the American Bar Association.

In 2005 he was twice interviewed at length on the antiquities market and the collecting of antiquities on National Public Radio in the US and also on National Public Television in Athens, Greece.

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

Expertise and Ethics

Ancient art has been the specialty of our director for over 50 years, and numismatics for 64 years. His many publications on ancient art and numismatics span over four decades. The first volume of Art of the Ancient World by Dr Eisenberg was published in 1965. Since 1968 Dr Eisenberg has concentrated on expertise in the ancient arts, having lectured on this subject at New York University and presented several scholarly papers at the annual meetings of the Archaeological Institute of America, most recently on the ‘Roman’ Rubens Vase. His wide range of expertise is further revealed through other recent papers: on a pantheistic Egyptian bronze at a Congress of the International Association of Egyptologists, on Etruscan bronze forgeries at an International Bronze Congress, on the ‘Greek’ Boston and Ludovisi thrones at the Magna Graecia Symposium in Venice, on Roman bronze forgeries at the 1999 International Bronze Congress, and on the Portland Vase as a Renaissance work of art at the 2003 International Congress of Classical Archaeology.

In 1996 he was a visiting professor at the Institute of Classical Archaeology of the University of Leipzig, Germany. He was elected a Fellow of the Royal Numismatic Society in 1952; a member of the Archaeological Institute of America in 1960 (and a life member in 1988); a patron of the American Numismatic Society in 1955 (and a life associate in 1998); a Fellow for Life of the Metropolitan Museum of Art in 1966, and most recently, an Honorary Fellow of the Egyptian Museum in Barcelona, Spain.

Dr Eisenberg has appeared as an Expert in the Courts of several states and has conducted appraisals for the U.S. Internal Revenue Service, the U.S. Treasury Department, the U.S. Customs Service, the Metropolitan Museum of Art and the J. Paul Getty Museum, as well as many other prominent institutions. He was elected a Qualified Appraiser by the Appraisers Association of America in 1964 and has recently participated in several episodes of the Antiques Road Show. He served on the vetting committee of the European Fine Art Fair at Maastricht from 1993 to 2001.

Dr Eisenberg has been a leader for several years in the promotion of the ethical acquisition of antiquities by museums and collectors and has delivered papers on this subject at the Archaeology Section of the U.K. Insttitute for Conservation in 1993 and at the 1998 International Congress of Classical Archaeologists. He was invited to give an address on the international trade in antiquities at the UNIDROIT Convention in Rome in 1993.

Ancient Coins

We carry a fine stock of select Greek silver coins from $100, Roman gold coins from $1,000, and Roman silver and bronze coins from $100. We began our business as ‘Royal Coin Company’ in January 1942, 62 years ago, and Dr Eisenberg, cofounder of the firm, has specialized in ancient coins, as sole proprietor, since 1952.

Acknowledgements

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

95

©2005 Jerome M. Eisenberg, Inc. All rights reserved.

O u r w e b s i t e h a s b e e n g r e a t l y i m pr o v e d a n d e xp a n d e d a s m a y be s e e n b y t h e p ar t ia l p ag e o f A t t i c v a se s i l l u st r a t ed be l o w. I t i s n o w u p d at e d we ek ly wi t h n ew a cq u i s it i o n s . W e i n vi t e yo u t o b e a r e gu l a r v i s i to r !

Recent Royal-Athena Catalogs:

• Art of the Ancient World (Vol. XV, 2004) illustrates in full color 190 objects. (72 pages, $5) • Gods & Mortals: Bronzes of the Ancient World (2004, 80 pages, $5) • Ancient Arms, Armor, and Images of Warfare (2004, 48 pages, $5) • Art of the Ancient World (Vol. XVI, 2005, 80 pp. $5) • Mythologies of the Classical World & Ancient Egypt (48 pages, $5) • All 5 of the above catalogs (total list price $20): $15.

(Add $8 for overseas airmail.)

Other Royal-Athena Catalogs Available

Wanted to Purchase: Fine Antiquities of All Periods

We are prepared to travel world-wide to acquire select works of legally acquired ancient art for our continually expanding clientele.

We will purchase collections of any size, act as your agent to sell your objects on commission, or exchange them for other select pieces from our extensive inventory.

Send photographs and full details with your letter or e-mail.

Confederation Internationale des Negociants en Oeuvres d’Art

International Association of Dealers in Ancient Art

Art and Antique Dealers League

MINERVA

Minerva, the bi-monthly, international review of ancient art, archaeology, and numismatics, published in England, was established by Dr Eisenberg, its publisher and editor-in-chief, in 1990. It features the most extensive and timely coverage by any magazine of worldwide excavations and exhibitions emphasizing Greece, Etruria, the Roman Empire, Egypt, and the Near East.

The book reviews are concise and objective. It also includes the most extensive annotated listings of international museum exhibitions, meetings, and symposia in ancient art and archaeology.

Sample copies: $8 or £4 postpaid. www.minervamagazine.com

Subscription (6 issues per year):

U.K.: 1 year £21, 2 years £39, 5 years £90.

Europe: 1 year £23, 2 years £44, 5 years £100.

96

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

Surface: 1 year $40, 2 years $72, 5 years $176.

Air: 1 year $53, 2 years $98, 5 years $237.

• Art of the Ancient World (Vol. IV, 1985) illustrates in full color over 600 works of art. 208 pages, 192 color plates: $15 (add $10 for overseas airmail) • The Age of Cleopatra: The Art of Late Dynastic Graeco-Roman Egypt (1988) illustrates in full color 151 selected works of art. (32 pages, $5) • Gods & Mortals: Bronzes of the Ancient World (1989) illustrates in full color 180 objects. (52 pages, $5) • One Thousand Years of Ancient Greek Vases from Greece, Etruria, & Southern Italy (1990) illustrates in full color 186 vases. (48 pages, $5) • Art of the Ancient World (Vol. VIII, 1995) illustrates in full color 244 objects. (48 pages, $5) • Art of the Ancient World (Vol. IX, 1997) illustrates in full color 264 objects. (64 pages, $5) • Art of the Ancient World (Vol. X, 1999) illustrates in full color 264 objects. (64 pages, $5) • Art of the Ancient World (Vol. XI, 2000) illustrates in full color 167 objects. (64 pages, $5) • Art of the Ancient World (Vol. XII, 2001) illustrates in full color 410 objects; 30 pages of glossaries and mythologies. (161 pages, $10) • Art of the Ancient World (Vol. XIII, 2002) illustrates in full color 203 objects. (80 pages, $5) • Art of the Ancient World (Vol. XIV, 2003) illustrates in full color 225 objects. (80 pages, $5) • A number of the objects in the last five catalogs are still available. Price lists will be included.

• All 10 of the above catalogs (total list price $70): $50. (Add $15 for overseas airmail)

Orders for our catalogs may be charged to your credit card. Write or telephone to place your name without charge on our mailing list to receive our latest illustrated and priced complimentary brochures, announcements of new catalogs, and invitations to our exhibitions.

Trade lnquiries We cordially invite inquiries from fellow art dealers, art consultants, architects, interior designers, and institutional collectors and investors.

Special Presentations, Condition Reports, and Color Photographs of Objects We can supply special presentations with further information, such as condition reports, and 4 x 6 in. or 8 x 10 in. color photographs, often with other views or close-ups, on any of the objects illustrated in this catalog upon request.

Our photographic files include hundreds of different color photographs of the better works of art in our inventory. A selection of photographs may also be viewed at our London gallery or at the various fairs.

Conservation and Mounting Services A professional conservator, Alina Bessarabova, working on our premises in New York, does expert conservation and restoration of ancient art and antiques. A same-day or a one day service is available for an additional charge. Small metal and wood mountings and bases are custom made but due to insurance restrictions this work is usually limited to objects purchased from us. We are pleased to accept trade accounts.

Terms and Conditions of Sale All items are offered subject to prior sale. All prices are subject to change without notice, however, the current price list is valid through 2005. The following credit cards are honored: American Express, Visa, Mastercard. A deferred payment plan is also available.

New York residents must add the appropriate sales taxes (currently 8 5/8%). No cash refunds may be made after 10 days of receipt; however, full credit is allowed on all objects purchased from our galleries with the exception of a few consigned items. All shipping and insurance charges will be billed to the purchaser. Title remains with Royal-Athena Galleries until payment is made in full.

royal-athena galleries e sta bl ish ed 1 9 4 2

New York

Tom Edmonds Betty W. Eisenberg Suzanne Strachovsky Brent M. Ridge Ramsey Fendall Arkady Roytman Alina Bessarabova Alan J. Eisenberg Marie Hugley

Jerome M. Eisenberg, Ph.D Director Assistant Director & Manager Comptroller Office Manager Photographer Webmaster Deputy Webmaster Conservator Consultant Assistant

F. Williamson Price Associate Director London (Seaby Antiquities)

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

royal-athena galleries n ew yo rk

london