AAW09

Art of the Ancient World
Greek, Etruscan, Roman, Byzantine, Eg yptian, & Near Eastern Antiquities
Celebrating our
Volume XX - 2009
67th Anniversary
royal-athena galleries
new york london
No. 86 - Art of the Ancient World - Vol. XX - January 2009
We are pleased to issue this catalog Every object purchased by our galleries
celebrating our 67th anniversary of dealing in has been legally acquired. If imported by us into
classical numismatics and our 55th year of deal- the United States, we have done so in
ing in ancient art. It illustrates in full color 215 compliance with all federal regulations and have
selected antiquities priced from $1,500 to over given full consideration to all international
$3,000,000. treaties governing objects of cultural
This publication is one of a continuing series importance. Antiquities priced at $10,000 or
primarily illustrating new acquisitions featured more are now checked and registered with the
in our New York and London galleries, where Art Loss Registry in London.
over two thousand fine works of art are on All of our objects are clearly labeled with
permanent display. All of the antiquities in this complete descriptions and prices. Condition
catalog are displayed at our New York gallery, reports on all the objects are available upon
the largest and most extensive collection of request. We encourage browsing and are happy
the ancient arts ever exhibited for sale. to assist and advise both the amateur and the
In addition to the many masterworks serious collector. We urge our prospective clients
of ancient art, there is a wide variety of fine to ‘shop around’, for we are proud of our quality,
items on display priced from $100 to $1,000 expertise, and competitive pricing.
and up, including Greek and Roman coins, Old Appointments may be arranged outside of
Master prints and drawings, and antique regular gallery hours for clients desiring privacy.
Egyptian prints and photographs, perfect for Updated price lists for our catalogs are available
the beginning collector or for that very upon request. For terms and conditions of sale
special gift. A few of the pieces illustrated may see the inside back cover.
not be available since they were sold while the COVER PHOTOS
catalog was in preparation, but a number of Important large Egyptian bronze kneeling
other newly acquired objects will be on display pharaoh. XXVIth Dynasty, 664-525 BC.
in our New York gallery and on our website: H. 11 3/4 in. (29.8 cm.) No. 184
www.royalathena.com, updated weekly. Back cover:
Highly important large Egyptian bronze
We unconditionally guarantee the priestess of Amun. XXIInd Dynasty,
authenticity of every work of art 9454-715 BC. H. 37 in. (94 cm.) No.185
sold by Royal-Athena Galleries.
Text and catalog design by
©2008 Jerome M. Eisenberg, Inc. Jerome M. Eisenberg, Ph.D.,
Composed and printed in the United States of America. and F. Williamson Price
Photographs by Brent M. Ridge
We will be exhibiting at
The American International Fine Art Fair, Palm Beach, February 3-8, 2009
TEFAF, The European Fine Arts Fair, Maastricht, The Netherlands, March 13-22, 2009
BAAF Brussels, The Brussels Ancient Art Fair, Brussels, Belgium, June 4-9, 2009
BAAF Basel, The Basel Ancient Art Fair, Basel, Switzerland, November 6-11, 2009
(Check our website to confirm the dates)
royal-athena galleries Jerome M. Eisenberg, Ph.D.

established 1942 Director
153 East 57th Street Royal-Athena at Seaby

New York, NY 10022 VISIT OUR WEBSITE, 14 Old Bond Street
Tel.: (212) 355-2034 updated weekly with London W1S 4PP UK
Fax.: (212) 688-0412 our latest acquisitions: Tel.: (44) 207-495-2590
ancientart@aol.com www.royalathena.com Fax.: (44) 207-491-1595
Monday-Saturday, 10 - 6 Monday-Friday, 10 - 5
Art of the Ancient World
Greek, Etruscan, Roman, Byzantine, Eg yptian, & Near Eastern Antiquities
Table of Contents
CLASSICAL ART Classical Gold Jewelry 64
Greek Marble Sculptures 2 Byzantine Gold Jewelry 67
Roman Marble Sculptures 5
Roman Limestone Sculptures 22 BYZANTINE AND MEDIEVAL ART 68
Greek Wall Paintings 23
Greek Bronze Sculptures 24 EGYPTIAN ART
Etruscan Bronze Sculptures 28 Egyptian Stone Sculptures and Reliefs 70
Roman Bronze Sculptures, etc. 29 Egyptian Bronze Sculptures 74
Ancient Bronze Animals 38 Egyptian Wood and Cartonnage 82
European Bronze Age Art 39 Egyptian Faience 86
Ancient Arms and Armor 40 Egyptian Ushabtis 87
Ancient Terracottas 45 Egyptian Varia 88
Attic Black-figure Vases 48
Attic Red-figure Vases 51 NEAR EASTERN ART 89
South Italian Vases 54
Etruscan Vases 58 COLLECTING ANCIENT ART 94
Ancient Glass 60 ROYAL-ATHENA GALLERIES 94
Classical Silver 61 Expertise and Ethics 95
Ancient Varia 62 Royal-Athena Galleries Catalogs Inside back cover
Photos above, left to right:

No. 21: Roman marble portrait head of a bearded young man. Earlier 3rd Century AD. H. 12 in. (30.5 cm.)
No. 18: Roman marble over-lifesize portrait head of the emperor Gallienus, AD 253-268. H. 13 in. (33 cm.)
1
Introduction
As we enter our 55th year of dealing in ancient art we are pleased to present in our 86th
publication an outstanding selection of antiquities assembled primarily from old collec-
tions in the United States and Europe. A large number of these objects were originally
purchased from us over the past several decades and we are delighted to offer them again
to a new generation of enthusiasts.
We have devoted over half a century to selling carefully attributed works of art with
particular attention to their provenance. This diligence has resulted in an astonishingly
low percentage of claims against legal ownership – less than 0.0003% or one out of
every 4000 objects! In view of the increasing legislation being passed in several countries
to restrict the trade in illegally exported antiquities (which we applaud), we may assure
our clients that we continue to proudly conduct a very ethical business and take all of
the proper steps to insure that our inventory is free of any possible claims.
Jerome M. Eisenberg, Ph. D.
Greek Marble Sculptures
1 ARCHAIC GREEK MARBLE HEAD OF A FEMALE with elaborate hair style; probably from a monumental
relief. Late 6th-5th Century BC. H. 12 1/8 in. (31 cm.) Ex French collection.
2
2 HELLENISTIC MARBLE
HEAD OF APHRODITE
(VENUS) the goddess of erotic
love, beauty, and marriage, with
large eyes, steadfast gaze, and a
straight nose with its broad ridge
flaring into the forehead and the
eyebrows. The full lips are arched,
the mouth closed. The centrally
parted hair is bound by a fillet.
2nd-1st Century BC.
H. 9 1/2 in. (23.5 cm.)
Ex Dehoust collection, Belgium;
Funcke-Auffermann collection,
Germany.
Cf. A. Adriani, Testimonianze e
monumenti di scultura alessand-
rina, 1948, 5 and 19, pls. I-II
and XIV, 1.
3 HELLENISTIC MARBLE CYBELE, the Great Mother goddess enthroned, wearing a himation and polos,
holding a tympanon and patera; a small lion resting on her lap. 3rd-2nd Century BC. H. 10 in. (25.4 cm.)
Cf. G. Richter, Catalogue of Greek Sculptures in the Metropolitan Museum of Art, 1954, p. 75, no. 127.
4 HELLENISTIC MARBLE HEAD OF A GODDESS depicted with her head turned and tilted left, the oval face
with a spade-shaped forehead, the fleshy lips pursed, the unarticulated almond-shaped eyes with thick upper lids, the
wavy hair parted at the center, bound in a band, the sides rolled back and tied in a chignon. 2nd-1st Century BC.
H. 5 1⁄4 in. (13.3 cm.) Ex collection of Frederico Castelluccio, Italy, assembled in the 1950s-70s .
3
5 HELLENISTIC MARBLE HEAD OF A GODDESS in Polykleitan style, her centrally parted hair bound with
a double fillet. 1st Century BC. H. 12 1/8 in. (31 cm.) Ex French collection.
6 HELLENISTIC MARBLE HEAD OF ARSINOE III PHILOPATOR, 246-204 BC. Later 3rd Century BC.
H. 6 1/4 in. (16 cm.) Ex Audebeau collection, Paris, acquired in Egypt in the 19th century. Sister and wife of
Ptolemy IV and mother of Ptolemy. She took active part in the government as far as was tolerated by the all-powerful
minister Sosibius. She rode at the head of the army to fight Antiochus the Great at the battle of Raphia in 217 BC.
7 HELLENISTIC MARBLE HEAD OF A PTOLEMAIC QUEEN, probably Cleopatra II, ca. 185–116 BC.
2nd Century BC. H. 4 3/8 in. (11.1 cm.) Ex French collection. She was a queen (and briefly sole ruler) of Egypt,
daughter of Ptolemy V and Cleopatra I. She became regent for her son Ptolemy VII on her husband's death in 145 BC.
4
8
ROMAN MARBLE ATHENA HEPHAISTIA
She stands in a relaxed pose with her weight on her left
leg; her chainmail tunic with the aegis is unclasped from
her right shoulder. Her helmet is set on the back of her
head in a non-combative stance and her now fragmen-
tary shield with a blazon of Medusa is slung on her left
shoulder.
1st-2nd Century AD. H. 43 3/4 in. (111.1 cm.)

Ex Gaston Feuardent (1843-1893), Paris, a prominent
antiquarian and numismatist; collection of a French
architect, acquired before the 1940s; Jean Roudillon,
1958; Jean-Philippe Mariaud de Serres, acquired 2003.
The Hephaisteion was the festival begun in 421 BC

and dedicated to Hephaistus and Athena as the indige-
nous patrons of metalworkers and craftsmen.
Roman Marble Sculptures
9 ROMAN MARBLE HEKATEION

depicting the triple-aspected Hekate Dadouchos
as protector of the home, guardian of the soul,
and goddess of the crossroads, carrying torches to
light the way.
Ex French collection.
Cf. L. Budde - R. Nicholls, A Catalogue of the

Greek and Roman Sculpture in the Fitzwilliam
Museum, Cambridge, 1967, no. 92.
The Athenians were particularly respectful

toward her, and once a month they placed
offerings of food at crossroads, where her
influence was the strongest.
5
10 IMPORTANT ROMAN MARBLE SCULPTURE KNOWN AS THE PASQUINO GROUP : MENELAOS
SUPPORTS THE BODY OF PATROKLOS After a Hellenistic prototype of the 3rd Century BC, depicting the
scene in Homer’s Illiad, XVII.
Ca. 2nd Century AD. H. 27 3/4 in. (70.5 cm.); L. 28 1/4 in. (73 cm.); W. 14 3/4 in. (37.5 cm.)
Menelaos attempts to protect the body of Patroklos from the Trojans, but finally he is driven off by Hektor. The
Trojan commander strips Achilles’ beautiful armor from the corpse and puts it on in place of his own. Then,
almost immediately, a battle develops over Patroklos’ naked corpse. Finally, the body of Patroklos is rescued and is
safely carried back to the Achaian camp. Ex J. K. collection, Florida, acquired from Royal-Athena Galleries in
1995.
The most complete original example known. A major work of art. See the fragment on the Piazza Pasquino,
Rome, and another much-restored 1st Century example in the Loggia dei Lanzi, adjoining the Ufizzi Gallery,
Florence.
6
7
Visit our website ,
updated weekly,
to view more of the
nearly 100 marble
sculptures in our
current inventory
as well as our
latest acquisitioins.
www.royalathena.com
8
11 ROMAN MARBLE RECLINING OKEANOS, THE WORLD-OCEAN, in an unusually sensitive pose, holding
a rudder, with a ketos (sea monster). The ancient Romans and Greeks believed this deity to be the embodiment of
an enormous river encircling the world. He was the ocean-stream at the Equator on which floated the habitable
hemisphere (oikoumene). 2nd Century AD. H. 17 3/4 in. (45 cm.); L. 35 in. (89 cm.)
Ex J. K. collection, Florida, acquired from Royal-Athena Galleries in 1990.
An important work of art. Cf. E.M. Koppel, Roemischen Skulpturen von Tarraco, no. 84. In Greek mythology
he was personified as a Titan, a son of Uranus and Gaia. Keto, a daughter of Gaia and Pontus, was a hideous
monster, the personification of the dangers of the sea, unknown terrors, and bizarre creatures. Eventually, the word
‘keto’ came to refer to any sea monster. The family of whales, the cetaceans, derive their name from her.
9
12
ROMAN MARBLE OVER-LIFESIZE
HEAD OF ARES (MARS), the god of war,
of the so-called Borghese type and based
upon a 4th century BC original by the
Greek sculptor Alcamenes.
1st-2nd Century AD H. 16 in. (40.6 cm.)
Ex collection of Sir Francis Sacheverell Darwin,
Sydnope Hall, Two Dales, Matlock, Derbyshire,
acquired in the 19th century.
13
ROMAN MARBLE HEAD OF ASKLEPIOS,
god of medicine and health, depicted with an
unusually strong expression.
2nd Century AD. H. 6in. (15.2 cm.)
14
ROMAN MARBLE HEAD OF ASKLEPIOS,
god of medicine and health, depicted with his
typical impassive expression.
1st-2nd Century AD. H. 9 3/8 in. (24 cm.)
10
15
ROMAN MARBLE PORTRAIT

HEAD OF THE EMPEROR
CARACALLA, AD 211-217
This rare depiction of the emperor has
been somewhat idealized into a helmet-
ed representation of Ares (Mars), the
god of war.
Ca. AD 209-217.
H. 11 in. (27.9 cm.)
Ex English collection.
Marcus Aurelius Septimius Bassianus

Antoninus Augustus Caracalla was
the eldest son of Septimius Severus.
His reign was notable for the
Constitutio Antoniniana, granting
Roman citizenship to freemen through-
out the Roman Empire in order to
increase taxation, debasing the silver
content in Roman coinage by 25%
in order to pay the legions, and the
construction of a large thermae
outside Rome, the remains of which
are known as the Baths of Caracalla.
11
16 ROMAN MARBLE PORTRAIT HEAD OF THE EMPEROR SEVERUS ALEXANDER, AD 222-235,
or a contemporary. Ca. AD 230. H. 13 3/4 in. (35 cm.) Ex collection of M. de W., Belgium,
acquired in the 1930s. His advisers were men like the famous jurist Ulpian, the historian Cassius Dio,
and a select board of sixteen senators; a municipal council of fourteen assisted the urban praefect in
administering the fourteen districts of Rome. The extravagance of the court was ended; the standard of
the coinage was raised; taxes were lightened;
literature, art and science were encouraged;
the lot of the soldiers was improved; and, for
the convenience of the people, loan offices were
instituted for lending money at a moderate
rate of interest. On the whole, the reign of
Alexander was prosperous until the rise, in the
east, of the Sassanids. In the war that fol-
lowed, according to Alexander's own dispatch
to the senate, he gained great victories, and
returned to Rome with a triumph in 233.
17
ROMAN MARBLE HEAD OF A SOLDIER
wearing a legionary helmet with cropped crest,
visor, and chin straps; probably from a high
relief.
2nd Century AD.
H. 4 3/4 in. (12 cm.)
12
18
PORTRAIT HEAD OF THE EMPEROR
GALLIENUS, AD 253-268 A remarkable,
sensitively carved portrait showing the son of
the emperor Valerian in early manhood.
Ca. AD 260-268. H. 13 in. (33 cm.)
Ex R.F. collection, Brussels, acquired in the
1970s.
Cf. Max Wegner, Das römische Herrscherbild

– Gordianus II to Carinus, Berlin 1979, pp.
106-120, pl. 45; pp. 108-110, no. 117f, pl.
45.
Compared to other Roman emperors of the age,

Publius Licinius Egnatius Gallienus was an
exception, as far as he was not a soldier-emper-
or. 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 fron-
tier against the barbarians. In AD 256 he then
moved west to fight the Germans along the
Rhine. But this success cannot disguise what
was a desperate situation for Gallienus. The
Franks were attacking in large numbers, cross-
ing 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 chal-
lenge 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. 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.
13
19
ROMAN MARBLE PORTRAIT HEAD OF
THE EMPEROR VITELLIUS, AD 69,
Ca. AD 60-69.
H. 10 in. (25.4 cm.) Ex English collection.
Aulus Vitellius Germanicus acceded to this
position following the quick succession of the
previous emperors Galba and Otho in a year
of civil war known as the Year of the Four
Emperors. His claim was challenged by
Vespasian. War ensued, leading to a crushing
defeat for Vitellius at the Second Battle of
Bedriacum, but before he could abdicate,
he was executed.
20
PORTRAIT HEAD OF THE EMPEROR
CLODIUS ALBINUS, AD 193-197,
Late 2nd Century AD.
H. 16 in. (40.6 cm.) Ex French collection.
Albinus was born into a wealthy, senatorial

family and received an aristocratic education.
A Governor of Britain and a noteworthy mili-
tary commander he was proclaimed emperor by
the legions in Britain and Hispania upon the
death of Pertinax in AD 193. Septimius
Severus had also been proclaimed emperor and
offered Albinus the title of Caesar and right of
succession which he accepted. They fell out and
in AD 197 after a crushing defeat Albinus
comitted suicide.
14
21
ROMAN MARBLE PORTRAIT HEAD
OF A BEARDED YOUNG MAN
depicted with a closely cropped beard and
moustache, calm expression, and level
gaze. His hair is elaborately carved and
drilled with thick deep-set curls, each
individually rendered.
Earlier 3rd Century AD.
H. 12 in. (30.5 cm.)
Ex collection of Gawain McKinley,
London, acquired before May 1966.
This is a particularly fine head from a

period from which little fine quality
sculpture remains. The bean-shaped
pupil is typical of late Severan portraiture
and the closely cropped beard popularized
by the soldier emperors who followed,
ca. AD 235 and onwards.
Cf. J. Frel, Roman Portraits in the
Getty Museum, 1981, pp. 108-110,
nos. 89 and 90.
15
22
ROMAN MARBLE PORTRAIT BUST OF A
PATRICIAN YOUTH, POSSIBLY DRUSUS
MINOR, son of the emperor Tiberius, or a con-
temporary, with fine features and a pronounced
forehead. Ca. AD 35-40.
H. 14 3/4 in. (37.5 cm.)
An exceptional portrait said to have been found
in the waters off Spain. Ex English collection.
Published: J. Eisenberg, Art of the Ancient
World, vol. VI, 2, 1991, no. 17.
23
ROMAN MARBLE HEAD OF A YOUNG
MAN, with closely cropped hair.
Late 2nd-early 3rd Cntury AD.
H. 9 7/8 in. (25 cm.)
Ex French private collection acquired in 1970.
16
24 ROMAN BLACK MARBLE PORTRAIT HERM OF TWO WRESTLERS OR BOXERS with cropped
hair, furrowed brows, and general brutish appeaarance. A rare subject, probably from a gymnasium.
Late 2nd-early 3rd Century AD. H. 7 3/4 in. (19.7 cm.) Ex private collection, Brussels, Belgium.
25 ROMAN MARBLE PORTRAIT BUST OF A BOY with cropped hair in front and long tresses at the back;
perhaps the son of a barbarian chieftain. Late 2nd-early 3rd Century AD. H. 21 1/2 in. (54.5 cm.)
Published: J. Eisenberg, Art of the Ancient World, vol. IV, 1985, no. 265A.
17
26 ROMAN MARBLE PORTRAIT BUST OF
A YOUNG MAN, sensitively carved with
short curled hair, and a draped cloak. Ca.
AD 120.
H. 21 1/2 in. (54.5 cm.)
Exhibited: Spink & Sons, London, 1970.
Ex English collection; J. K. collection,
Florida, acquired from Royal-Athena
Galleries in 1995.
27 ROMAN MARBLE HEAD OF A PATRI-

CIAN WOMAN her hair in two rows of
drilled curls across the brow.
Ex French collection. Later 1st Century
AD.
H. 5 1/2 in. (14 cm.)
18
28 ROMAN MARBLE HEAD OF A PATRICIAN SEVERAN WOMAN, her exceptional coiffure of
individually curled locks of hair forming a deep corona around her calm expressive face. Behind this her
hair is combed into a thick braid which continues down her back, bound with thin twisted bands of hair.
Very fine style. Ca. AD 190-225. H. 11 in. (28 cm.) Ex Belgian private collection.
19
29
ROMAN MARBLE STELE DEPICTING A
HUNTER RIDING A HORSE which leaps a
falled log. In his raised right hand he carries a
rabbit by the rear leg. 3rd-4th Century AD.
H. 11 3/8 in. (29 cm.) Ex French collection.
30
ROMAN MARBLE STELE Within an arched
naiskos, a man sits on a rocky outcrop as a boat
with a warrior holding a shield approaches.
The worn Greek inscription ends with the word
xaire: farewell. Syria, 2nd Century AD.
H. 33 3/8 in. (85 cm.)
Ex old English collection known in 1950.
The meaning of the scene is that of the deceased about to embark for Elysium, possibly alluding to the ship
coming to fetch Philoktetes from Lemnos. Cf. Munzen und Medaillen, XXVI, October 1963, no. 186.
For a related boatman stele, see F. Poulsen, Catalogue of Ancient
Sculpture, Ny Carlsberg, 1951, no. 167. For Greek grave stelei in
the Roman period, see A. Muehsam, Berytus, 10, 1953. Reliefs & Vessels
31
ROMAN MARBLE
CINERARIUM carved with
a garland of flowers and fruits
that drapes from the rams’
horns. Two birds stand atop
the garland, underneath the
inscription panel:
DIS MANIBVS CLAVDIAE
TRYPHANAE VIX ANNIS
XXXXV M ANTIONIVS
PRISCVS CONIVGI
BENE MERENTI FECIT
1st-2nd Century AD.
H. 7 1/2 in. (19.1 cm);
W. 13 1/4 in. (33.7 cm.)
Ex American private
collection, New York.
20
32
ROMAN MARBLE KRATER
carved all around in high relief
with a Dionysiac revel of dancing
nude satyrs and maenads with
tympanon, flutes, a panther, a
cista mystica, and theater masks --
all related to the cult of Dionysos
and probably a depiction of a
Roman version of the Anthesteria
Festival during which the opening
of the first wine casks occurs in
honor of Dionysos, the god of wine.
Ca. 2nd Century AD.
H. 11 3/4 in. (29.9 cm.)
Diam. of top 21 3/4 in. (55.3 cm.)
Ex old English collection, acquired
in the 1940s. For related Roman
marble vases see D. Grassinger,
‘Römische Marmorkratere,’
Monumenta Artis Romanae
XVIII, 1991.
It also may represent scenes from the Lenaia Ritual which was a ribald and comedic winter festival in honor of
Dionysos held on the 12th-15th of Gamelion (usually during the full moon in January). The bawdy and comic
nature of this festival was intended to revive spring and fertility during the barren months of the year. In ancient
times, this was one of two festivals where comedies were debuted. Many of the surviving plays by Aristophanes
were written for this festival since Dionysos was also the god of the theater, hence the masks. The characters on
this vase form a musical procession, called a thiasos, which was part of the celebration during these festivals.
21
Roman Limestone
Scu lpt ures
33
ROMAN LIMESTONE SARCOPHAGUS
RELIEF SECTION: YOUTH HOLDING A
SIMPULUM
and a beaked oinochoe. His elaborate costume
is heavily detailed with incisions. This relief is
from the lower part of a sarcophagus decorated
with a depiction of the deceased reclining on a
funerary couch with the servants below.
Palmyra, ca. AD 220-240. H. 17 in. (43 cm.)
Cf. M. Colledge, The Art of Palmyra, 1976, pl.
102, pp. 77-78; R. Stoneman, Palmyra and Its
Empire, 1992, pl. 16, for another in the
Palmyra Museum. Ex French collection; private
collection, Westlake Village, California.
34
ROMAN LIMESTONE SARCOPHAGUS
RELIEF SECTION: YOUTH HOLDING
A KANTHAROS His elaborate costume is
heavily detailed with extensive incisions.
At right is an elaborately turned ‘couch’
leg, and above him the panelled edge of the
couch. Palmyra, ca. A.D. 220-240.
H. 24 1/4 in. (61.5 cm.)
Ex French collection; private collection,
Westlake Village, California. See notes to
the previous relief.
22
Greek Wal l
Paintings
35
PAIR OF GREEK WALL
PAINTINGS OF WARRIORS
ON HORSEBACK, helmeted, wearing
short belted chitons, and holding spears.
One rides to the right, the other to the left,
both under a reverse wave meander sur-
mounted by a palmette.
Paestum, late 5th-4th Century BC.
H. of outside frames 57 in. (144.8 cm.)
W. 41 1/4 in. (104.8 cm.)
Ex Charles Ratton, Paris, 1970;

collection of Patti Cadby Birch (d. 2006),
US Virgin Islands, acquired in New York
in 1989. Mrs. Birch was a Trustee of the
Metropolitan Museum of Art and funded
the curatorial chair in Islamic art which
bears her name; she was also an Honorary
Trustee of the Museum of Modern Art.
23
For an extensive, illustrated study

of this group of tomb paintings, see:
B. Andreae, et al., Malerei für die
Ewigkeit -- die Gräber von Paestum,
2007.
While the Paestan tomb paintings

showed indebtedness to a Greek formal
vocabulary, the representations were
found to have few parallels in Greek or
West Greek sepulchral art, but many
close analogues in Etruscan tombs. The
most common Paestan themes concern
funeral ritual, i.e. offering bearers and
funeral games such as boxing, wrestling,
and horse and chariot races.
The dress and armor of the figures in

the paintings established that they
belong to the corpus of so-called Oscan
tomb painting known largely from spo-
radic finds in Campania and Lucania
since the early nineteenth century and
may be associated with the Greek work-
shops at Paestum of vase painters
trained in Apulia or working under
Apulian influence.
Greek Bronze
Sculp tures
36
EAST GREEK BRONZE GROUP:
TWO ZEBUS AND A MAN
standing behind them reaching
under each animal’s croup, all
on an integrally cast plate base.
Ex German collection. Very rare.
Cesme, Anatolia, ca. 610 BC.
H. 2 3/8 in. (6 cm.);
base: 2 3/4 in. (7 cm.) x
2 1/2 in. (6.5 cm.)
For other bronzes from this area see
British Museum: BM.52.9-1.10,
acquired in 1852.
37 HELLENISTIC BRONZE SLAVE striding forward, his left hand supporting a large wineskin slung over his
shoulder attached to a chest strap with pendant gourd. His right hand is raised toward his mouth and his hair
is pulled back and tied in a top-knot. 3rd Century BC. H. 3 1⁄2 in. (8.8 cm.) Ex French private collection
formed between 1930-1960, and thence by descent.
38 GREEK BRONZE NUDE VICTORIOUS ATHLETE standing in a

relaxed pose, his muscular torso well defined, and wearing a diadem.
Based upon the statue of Agias attributed to Lysippos, 337-332 BC.
Ca. 330-300 BC. H. 5 1⁄4 in. (13.3 cm.)
24
25
39 GREEK BRONZE NUDE ZEUS (JUPITER) HURLING

A THUNDERBOLT, his left leg advancing, his right hand
drawn back about to throw a thunderbolt along the sight
line defined by his extended left arm. His long hair is
pulled to the back of his head and tied in a chignon at the
nape; his lower legs and right arm repaired in antiquity
with tin. 5th -4th Century BC. H. 7 1/4 in. (18.5 cm.)
Ex German collection.
40 LATE HELLENISTIC BRONZE NUDE ZEUS

(JUPITER) standing in a relaxed pose, his right arm bent
and held out before him with the palm open, his eyes inlaid
in silver. 1st Century BC/AD. H. 5 1/8 in. (13 cm.)
Ex J. K. collection, Florida. Published: J. Eisenberg, Gods
and Mortals, 1989, no. 36. This type is roughly based on
the colossal bronze Zeus by Myron that stood with Athena
and Herakles in the Heraion on Samos. See no. 127ff. in
Tiverios, "Zeus" in Lexicon Iconographicum
Mythologicae Classicae.
41 GREEK BRONZE KORE wearing a long pleated chiton

with her himation wrapped around her waist and left arm;
holding a dove with her left hand.
Ca. 440 BC. H. 5 3/8 in. (13.6 cm.)
Ex Julius Carlebach collection, New York, ca. 1965; J. K.
collection, Florida.
Exhibited: The Divine and the Domestic: Ancient Art from
the Mediterranean, Bayly Art Museum, 1998.
42 IMPORTANT LATE HELLENISTIC BRONZE NUDE EROS, love’s messenger, in a relaxed pose
about to alight, with forelocks tied in top-knot. The eyes were once inlaid; the left arm lacking.
1st Century BC./AD. H. 25 3/4 in. (65.5 cm.) A superb sculpture.
Published: C. Mattusch, et al, The Fire of Hephaistos - Large Classical Bronzes from North
American Collections, exhibition catalogue, Harvard, 1996, pp. 251-254, no. 29:
‘The child’s head is turned to his right, and his eyes, which have deep round holes for pupils, gaze out-
ward. He has the pudgy facial features of a little boy, a dreamy expression, and prominent ears.
There are short bouncy curls in front of each ear, but the rest of his long wavy hair is rolled up
neatly around the sides and back of the head, as if tucked over a headband. He wears a bowknot
of hair just above his forehead.’ 26
27
Etruscan Br onze Sculptur es
43
ETRUSCAN BRONZE ALEXANDER THE
GREAT, nude but for a cloak over his left
forearm and shoulder, holding a phiale in his
extended right hand.
Ca. 2nd Century BC. H. 7 in. (18 cm.)
Ex French collection, acquired in the 1970s.
44
ETRUSCAN BRONZE BEAKED OINOCHOE
with finely engraved carinated body. The handle is
in the form of a nymph leaning against the rim, a
beaded garland draped across her breasts.
4th-3rd Century BC. H. 5 1/4 in. (13.5 cm.)
Incised with an Etruscan inscription, UDAI, mean-
ing ‘votive.’ Ex Henri Smeets collection, Weert,
The Netherlands; John Hewett collection, London;
Agatha Sadler collection, London.
Published D. Mitten, Master Bronzes of the
Classical World, Fogg Art Museum, 1967, no.
224.
28
Roman Bronze Sculptur es
45 ROMAN BRONZE ASKLEPIOS, GOD OF MEDICINE, the god of healing depicted wrapped
in a himation, his muscular torso exposed, his curly hair bound with a fillet.
Ca. 1st Century AD. H. 6 3/4 in. (17.1 cm.)
This sculpture is probably based upon the cult statue at Epidaurus, the center for his worship.
Born a mortal, educated by the centaur Cheiron, he became so skilled in the art of medicine
that he was said to be able to raise the dead. For this impiety Zeus slew him with a thunder-
bolt. Sometime after his death, at the command of Apollo and the Moirai (Fates), Asklepios
was returned from Hades and apotheosized into a god.
29
46 ROMAN BRONZE NUDE HERMES
(MERCURY) wearing a laurel wreath on his
winged head. In his right hand he holds a
caduceus and with his left hand supported by a
column, he holds the infant Dionysos; a cloak is
draped from his shoulder over his left forearm.
1st-2nd Century AD. H. 4 1/4 in. (11 cm.)
Ex German collection. Choice. Hermes was the
messenger of the gods and patron of contests,
travelers, and business.
47 ROMAN BRONZE NUDE EROS HOLDING

A DOVE. Love’s messenger, rising from an encir-
cling akanthus, wears a circlet of flowers; his eyes
are inlaid with silver.
1st Century AD. H. 9 1/4 in. (23.5 cm.)
Ex collection of B.H.S., a retired military
officer, St. Petersburg, Florida, formed in the
1950s-early 1970s. Choice.
48 GALLO-ROMAN BRONZE ZEUS ABOUT TO

HURL A THUNDERBOLT A later provincial
interpretation of the so-called Artemision Zeus
from Athens, ca. 460 BC; lacking hands and feet.
3rd Century AD. H. 4 3/4 in. (12.1 cm.)
Ex collection of B.H.S., a retired military officer,
St. Petersburg, Florida, formed in the 1950s-early
1970s.
30
49 LARGE ROMAN BRONZE NUDE APOLLO OR VICTORIOUS ATHLETE standing, his centrally
parted and upswept hair bound with a fillet, eyes once inlaid; lacking both forearms. Around his hips is
an enigmatic ring.
Ca. 3rd Century AD.
H. 18 1/2 in. (47 cm.)
Ex Edward Smith collection,
New Jersey; J. K. collection,
Florida, acquired from Royal-
Athena Galleries in 1982.
50 ROMAN BRONZE NUDE

HERAKLES RECLINING
ON A LION SKIN, his right
knee raised and holding a
kantharos with both hands;
his club rests upon his left
thigh; upon his head is a
wreath.
1st-2nd Century AD.
L. 2 5/8 in. (6.9 cm.) Ex
German collection.
31
51 ROMAN BRONZE BALSAMARIUM OF ANTINOUS, COMPANION OF HADRIAN After he drowned
in the Nile in AD 130 he was deified and is depicted here wearing a bulla and emerging from a calyx; lid
and handle lacking. Ca. AD 130. H. 3 3/4 in. (9.5 cm.) Ex German collection. Cf. parallel examples in
the Antiken-sammlung, Munich, inv. no. SL30, and in the North Brabant Museum in Hertogenbosch, the
Netherlands.
52 ROMAN BRONZE VASE: HERM BUST OF THE DIADUMENOS, his head turned to the right, his hair
a mass of unruly locks bound in a fillet. Anatolia, 1st Century AD. H. 5 5/8 in. (14.9 cm.)
Ex J. K. collection, Florida, acquired from
Royal-Athena.
Galleries in 1988. Published: J. Eisenberg,
Gods and Mortals, 2004, no. 39.
The original bronze statue was made by
Polykleitos, about 440-435 BC, and this
vase copies a bronze herm bust found in
the Villa Surbana at Herculaneum,
signed by the sculptor Apollonios, son of
Archias of Athens, in the Augustan period.
53
ROMAN LARGE BRONZE
APPLIQUE: BUST OF THE YOUNG
DIONYSOS, the god of wine, with
elaborate coiffure including grape
clusters. He emerges from four large
palmettes wearing a chiton wrapped
with a goat skin tied over his left
shoulder.
3rd Century AD.
H. 7 1/2 in. (19.1 cm.)
Ex collection of B.H.S., a retired mili-
tary officer, St. Petersburg, Florida,
formed in the 1950s-early 1970s.
32
54 ROMAN BRONZE OVER-LIFESIZE HEAD OF A YOUTH with masses of curly hair; his eyes once inlaid;
his lips with a groove for outline inlay now lacking. The back of the head is lacking. 3rd Century AD.
H. 14 1/8 in. (36 cm.) Ex French collection, acquired from Galerie Odeon, Munich, in 1970.
33
55
ROMAN BRONZE ROUNDEL WITH
A BUST OF A YOUNG BARBARIAN
The head is inclined to the right, with thick hair
dressed in layers, wearing a bulla necklace.
1st-3rd Century AD. Diam. 7 1⁄ 2 in. (19.2 cm.)
Ex European private collection, from the late 1950s,
thence by descent.
56
ROMAN BRONZE NUDE APHRODITE
(VENUS), goddess of erotic love, wearing a dia-
dem, a breast band (strophion) wrapped around
her upper torso, and a cloak over her left shoulder
and right thigh. Ca. 2nd Century AD.
H. 6 1/2 in. (16.5 cm.) Ex German collection.
57
ROMAN BRONZE PRIESTESS OF AN
EASTERN CULT wearing an attribute headpiece,
chiton, and necklace. She stands upon an integrally
cast tripodal platform. 2nd Century AD.
H. 11 1/8 in. (28.5 cm.) Ex French collection.
A very rare type.
58
ROMAN BRONZE SELENE, THE MOON
GODDESS, a crescent on her head, a cloak
billowing over her head; right forearm lacking;
once holding torches. 1st Century AD. Rare.
H. 3 3/8 in. (8.6 cm.) Cf. D. Mitten, Master
Bronzes of the Classical World, Fogg Art
Museum, 1967, no. 251.
34
59
ROMAN BRONZE NUDE APHRODITE
REMOVING HER SANDAL The goddess of love,
beauty, fertility, and marriage is nude but for a man-
tle draped over her arms, the drapery once forming
an arching canopy over her head. She wears a cres-
centic diadem. Left hand and right foot restored.
Ex J. K. collection, Florida, acquired from Royal-
Athena Galleries in 1989; J.B. collection, Miami,
Florida.
Cf. a similar example from Rome, now in the British

Museum, no.186 in Schmidt,"Venus" in LIMC.
Exhibited: From Olympus to the Underworld,
Ancient Bronzes from the John W. Kluge Collection,
Museum of Fine Arts, Boston, 26 March - 23 June,
1996.
60
ROMAN BRONZE ISIS-FORTUNA
The pantheistic Romano-Egyptian goddess of fortune
and destiny. 2nd Century AD.
H. 7 1/8 in. (18.2 cm.)
Ex collection of M. de Clercq, France, late 1800s;
K. collection, Geneva, Switzerland.
Published: A. de Ridder, 'Collection de Clercq',
vol. III, Les Bronzes, 1905, p. 215, no. 308.
35
61
ROMAN BRONZE
APPLIQUE OF MEDUSA,
her hair, eyebrows, and
snakes heightened with
gold overlay; eyes inlaid
with silver. Choice.
2nd-3rd Century AD.
H. 5 3/4 in (14.7 cm.);
W. 6 1/4 in. (16.1 cm.)
Ex collection of B.H.S., a
retired military officer, St.
Petersburg, Florida, formed
in the 1950s-early 1970s.
62 ROMAN BRONZE VOTIVE PLAQUE OF HEPHAISTOS (VULCAN), GOD OF THE FORGE,

standing nude within an aedicula, or shrine, with an arched pediment supported by columns. In his
right hand he holds a hammer about to strike an anvil atop an altar; in his left a pair of tongs. A rare type.
Danube region, 2nd-3rd Century AD. H. 5 1/2 in., (14 cm.) Ex P. P. collection, California.
63 ROMAN BRONZE VOTIVE PLAQUE OF THE NUDE HERAKLES standing, holding his club
and a lionskin, within an aedicula, or shrine, with an arched pediment supported by columns.
Danube region, 2nd-3rd Century AD. H. 3 3/8 in. (8.5 cm.) Ex German collection. 36
64 ROMAN BRONZE NUDE APHRODITE ANADYOMENE(VENUS) WITH WINGED
EROS, both standing atop a half-circular dais with three steps. Her arms are raised, wringing
out her hair after a bath, and at her left Eros offers her a lekythos of scented oil.
2nd Century AD. H. 9 3/8 in. (24 cm. )
Ex collection of M. de Clercq, France, late 1800s; K. collection, Geneva, Switzerland.
Published: A. de Ridder, 'Collection de Clercq', vol. III, Les Bronzes, 1905, p. 52, no. 61.
37
65 CRETAN BRONZE BULL 10th-9th Century BC. L. 3 1/8 in. (8 cm.) Ex collection
of Dr. Henri Barbier, ca. 1935; Barbier-Mueller collection, Geneva, Switzerland
Bronz e
66 GREEK GEOMETRIC BRONZE VOTIVE: TWO DUCKS ATOP A SPHERICAL
CAGE 8th Century BC. H. 3 3/4 in. (9.5 cm) Ex Barbier-Mueller collection,
A ni mals
Geneva, Switzerland, acquired from N. Koutoulakis, Paris, about 1960.
67 GREEK GEOMETRIC BRONZE BULL Laconia, ca. 800-750 BC. L. 2 3/4 in. (7 cm.)
Ex collection of Henry H. Sturtevant, collected in Athens in the 1930’s by his aunt, an American sculptress.
Cf. W.-D. Heilmeyer, Olympische Forschungen XII, nos. 576-7, pl.75.
68 ROMAN BRONZE LION HEAD BOSS, the border heightened with silver. 3rd Century AD. H. 3 5/8
in. (9.2 cm.) Ex collection of B.H.S., a retired military officer, St. Petersburg, Florida, formed in the
1950s-early 1970s.
69 PAIR OF ROMAN BRONZE ROARING PANTHERS retaining the original bronze-capped iron nails;
probably from a lectica. 2nd-3rd Century AD. L. 7 1/2 in. (19.1 cm.) Ex collection of B.H.S., a retired
military officer, St. Petersburg, Florida, formed in the 1950s-early 1970s. For a similar pair, see: Mann
und Ross und Wagen, Ausstellung München, Praehistorische Staatssammlung, 1986, no. 30.
38
European Bronze Age Art
70
PAIR OF CENTRAL EUROPEAN MIDDLE
BRONZE AGE ARM SPIRALS OF THE
SALGOTARJAN TYPE 15th-13th Century BC.
Total length 8 1/2 in. (21.5 cm.) Ex German
collection. Cf. M.Novotna, ‘The Axes and
Hatchets in Slovakia’, Prähistorische
Bronzefunde, IX 3, 1970, pl. 56, 13.14.
71
MIDDLE BRONZE AGE LARGE BRONZE
ARM SPIRAL, graduated, the ends terminating
in perpendicular spirals around a central boss.
15th-13th Century BC.
L. 17 3/8 in. (44.2 cm.) Ex German collection.
72
CENTRAL EUROPEAN BRONZE AGE FIBULA A large, multi-piece bronze bar with green patina. Three
horizontal needles with square cross-section terminating in spirals. A bent attachment hook in front of the large
spiral. Eight connected stylised bird motifs (two incomplete) with rattle plates in the form of stylised swords hang-
ing on rings. Ca. 1200 BC. W. 9 in. (23 cm.) Ex German collection.
73
CENTRAL EUROPEAN BRONZE AGE LARGE COPPER ADZE with tapering tip, central shaft-hole, and
transverse flared and curved cutting edge. 3rd Millennium BC. L. 12 1⁄4 in. (31 cm.) Ex English collection.
Cf. A. MacGregor, Antiquities from Europe and the Near East in the Collection of Lord McAlpine of West
Green, Ashmolean Museum, Oxford, 1987, p. 92, 7.3.
39
Ancient Arms & Armor
74 CORINTHIAN BRONZE TYPE II HELMET, hammered from a single sheet of bronze with almond-shaped
eye cut-outs, spoon-shaped nose-guard, and riveted edges; still retaining most of the rivets.
2nd half of the 7th Century BC. H. 9 in. (22.9cm.) Cf. H. Pflug, Antike Helme, Mainz, 1988, p. 76,
pl. 20. Ex American collection.
75
GREEK BRONZE ARM GUARD FOR THE
RIGHT SHOULDER OF A LUDIO, the
Etruscan equivalent of the Roman gladiator.
It also protected the upper arm with its strong-
ly molded biceps. Extremely rare.
5th-4th Century BC. L. 10 5/8 in. (27 cm.)
Ex collection of Axel Guttmann (1944-2001),
Berlin, acquired in Krefeld in 1988.
Achilles conducted funeral games in honor of

Patroclus. This scene take place in Book 23 of
Homer's Iliad. These games were athletic con-
tests including armed combat, however, injury
was limited to the first to draw blood.
The Etruscans took it to a fight to the death
between servants. First introduced to Rome in
264 BC, the sons of Junius Brutus honored
their father at his funeral by matching three
pairs of gladiators, named after the Latin
word for sword, gladius. Originally this was
part of a religious ceremony intended to insure
that the dead would be accompanied to the
next world by armed attendants and that the
spirits of the dead would be appeased with this
offering of blood.
40
76 HELLENISTIC IRON HELMET OF
THE BOEOTIAN TYPE, the crown
tapering to a pointed apex with a spike,
with a broad rim, the front molded
with a contoured triangle scrolling to
stylized volutes at either side suspending
the cheekpieces. 2nd-1st Century BC.
Total H. 19 1/2 in. (49 cm.)
Ex German collection, acquired in
Krefeld, Germany, in the 1990s.
Cf. H. Pflug, et al, Antike Helme,

1989, pp. 159-163, pls. 20-33. For
another helmet of this type but missing
the cheekpieces and plume spike, see: H.
Born, Restaurierung antiker
Bronzewaffen: Sammlung Axel
Guttmann, II, Mainz, 1993, no. VII;
and M. Junkelmann, Römische Helme:
Sammlung Axel Guttmann, VIII,
Mainz, 2000, p. 13, pl. 4, foldout I
(AG 359).
77 ROMAN BRONZE MASK OF A

YOUTH FROM A PARADE
HELMET with thin ocular slits,
slightly open mouth, and hinge at the
mid-forehead. Earlier 1st Century AD.
H. 6 1/2 in. (16.5 cm.)
Very fine style.
Cf. J. Garbsch, Römische
Paraderüstungen, Munich, 1978,
p. 20, p. 63, no. 7, pl. 18, 2.
41
Send for our catalogue
Ancient Arms, Armor,
and Images of Warfare
2004, 48 pp. - $5
It illustrates 21
additional helmets,
several of which are
still available.
78
GREEK BRONZE ‘BELL’
CUIRASS, an early form of
bronze muscle armour, the
anatomic features indicated in
highly stylised relief. It has deep
neck and arm cutouts, a flaring
waistline, and traces of the for-
mer lining along the perimeter;
holes at the shoulder for attach-
ment to the backplate.
6th-5th Century BC.
H. 15 in. (38 cm.)
Ex collection of Axel Guttmann
(1944-2001), Berlin,
acquired in Krefeld in 1996.
79
GREEK BRONZE ANATOMI-
CAL CUIRASS. A sacrificial
breastplate, with perfectly
detailed anatomical features,
flanged edges, soldered nipples,
and tubular hinges on the sides
and shoulders, which was flat-
tened and nailed up in a sanctu-
ary. One of the heavy iron nails is
still present in the left shoulder
plate.
5th Century BC.
H. 20 1/2 in. (53 cm.)
Ex collection of Axel Guttmann
(1944-2001), Berlin.
Visit our website

to view our current
inventory of some two
dozen helmets.
www.royalathena.com
42
43
80 ROMAN IRON AND BRONZE IMPERIAL GALLIC HELMET OF THE WEISENAU TYPE,
worn by Roman legionaries, replacing the Coolus type, and constituting the final revolutionary stage to
the legionary helmet of the Galea type. Later 1st Century AD.
H. without cheekpieces 8 3/8 in. (21.3 cm.) Ex Dutch collection, acquired in the 1980s. Rare.
The term "Imperial Gallic" was coined by H. Russell Robinson. These helmets, featuring a pair of
distinctive embossed eyebrows on the forehead area and tending to be carefully made and elaborately
decorated, were the products of Celtic craftsmen in Gaul.
Note: We have just acquired three more Roman legionary iron and bronze helmets of different types from
the Netherlands. They may be viewed on our website.
81
IMPORTANT MIGRATION PERIOD
BRONZE AND SILVER SEGMENTED
HELMET, calotte-shaped, with riveted silver
plates. The pierced forehead band and the
two straps of embossed bronze plate are
pinned with flat bronze rivets. Segments of
very high quality silver sheeting are fastened
to the bands with large knobbed rivets. There
are remnants of zigzag decoration on two sil-
ver plates (left front and right rear). The
longish nasal guard is of equally high quality
silver. There is no indication that it ever had
cheekpieces.
5th-6th Century AD.

H. 9 1/4 in. (23.5 cm)
Exhibited and published: K.Theiss, Attila
und die Hunnen, 2007, p. 248.
Helmets from the fringes of the Roman

Empire, the Barbaricum, are extremely rare,
as only the highest level of nobility possessed
them. This is a symbol of status, not a battle
helmet.
82 MIGRATION PERIOD SWORD, THE SILVER HILT SET IN GOLD WITH GARNETS
5th -6th Century AD. L. 27 7/8 in. (71 cm.) Exhibited and published: K. Theiss, Attila und die Hunnen,
2007, no. 155a. From the Black Sea area, Northeastern Caucasus, Georgia (ancient Colchis). Swords with
stone-decorated handguards served exclusively as representation of status or as a rank badge, like a scepter, and
not as a weapon. Colchis was the location of the Golden Fleece sought by Jason and the Argonauts in
Apollonius Rhodius' epic tale, Argonautica. The local practice of using fleece to sift gold dust from the rivers
gives resonance to the imagery.
83 MIGRATION PERIOD SWORD, THE HANDLE STUDDED WITH GARNET CABOCHONS and
inlaid glass. 5th -6th Century AD. L. 28 1/4 in. (72 cm.) Black Sea area, Northeastern Caucasus, Georgia
(ancient Colchis). Exhibited and published: K. Theiss, Attila und die Hunnen, 2007, p. 222.
Cf. another in E. Behmer, Das Zweischneidige Schwert der Germanischen Völkerwanderungszeit,
Stockholm, 1939, p. 106, no. 22; pl. XII, no. 4B. See also: Germanen, Hunnen, und Awaren, German
National Museum, Berlin, 1988, p. 106, no. 12a.
44
84 NEOLITHIC GRAY POTTERY VASE with two han-
dles and overall decoration of punches and incised motifs
filled with white clay. Vinca Culture,
5th-4th Millennium BC. H. 5 1/4 in. (13.5 cm)
Ex Barbier-Mueller collection, Geneva, Switzerland.
Neolithic, Greek , &
Etruscan Terracottas
85 NEOLITHIC GREEK POTTERY

STEATOPYGOUS FERTILITY
GODDESS standing, with dome-like
head, spade-shaped face, slit eyes, and
open mouth. Thessaly, 4700-3200 BC.
H. 3 5/8 in. (9.2 cm.)
Very rare, especially in so complete a
condition. Ex French collection.
Accompanied by a TL certificate.
86 MYCENAEAN TERRACOTTA
GROUP OF TWO MEN IN A BIGA,
a chariot drawn by two horses, with
overall linear designs in red slip.
Ca. 1400-1200 BC.
H. 4 5/8 in. (11.7 cm.)
Ex French collection. A rare type.
87 EAST GREEK TERRACOTTA
ARCHITECTURAL TILE:
BELLEROPHON AND THE
CHIMAERA
He is bearded and wears a costume
with trousers of barbaric type.
Phrygia or Lycia, ca. 550-525 BC.
H : 12 1/2 in. (32 cm.);
L : 17 1/8 in. (43.5 cm.)
Cf. J.-R. Trichon, ‘Deux plaques de
cimaise en terre cuite d'Asie Mineure,’
45 La revue du Louvre 6, 1976.
88
ARCHAIC GREEK TERRACOTTA
STYLIZED GODDESS plank-like,
with bird-like face, wearing a polos
over her painted shoulder length hair.
Boeotia, mid-6th Century BC.
H. 6 1/4 in. (15.9 cm.)
Ex private collection, Ascona, Switzerland;
Royal-Athena Galleries, New York, 1990.
89
ARCHAIC GREEK TERRACOTTA
STYLIZED GODDESS with bird-like
face, wearing a polos, decorated in black
and red pigment.
Boeotia, mid-6th Century BC.
H. 5 7/8 in. (15 cm.)
Ex Arthur Silver collection, Los Angeles;
Royal-Athena Galleries, New York, 1991.
90
ARCHAIC GREEK TERRACOTTA HORSE,
with stripes in brown slip.
Boeotia, 6th Century BC. H. 4 5/8 in. (11.7
cm.) Ex Swiss collection, 1990; J. S. collection,
Shelby, Michigan. Exhibited: George Mason
University Art Museum, 2003-2007.
91
ARCHAIC GREEK TERRACOTTA DEEP
BUST OF A KORE wearing a tall polos; long
locks of hair falling over her shoulder. Her arms
are bent at the elbow and her hands are extended.
Ca. 6th Century BC. H. 10 1/4 in. (26 cm.)
Ex Baron v.d. E. collection, Belgium, acquired in
the 1950-60s. Rare type.
46
92
HELLENIZING TERRACOTTA
THYMIATERION: DEEP BUST
OF A GODDESS, probably Persephone.
On her head is a kernophoros; a band
with leaves and disks at the base, above
her hair which falls in long curls and
braids to her shoulders.
Carthage, 4th-3rd Century BC.
H. 12 in. (30.5 cm.) Ex German collec-
tion. Cf: S. Moscati, The Phoenicians,
exhibition catalogue, Venice, Palazzo
Grassi in 1988, p. 621, no. 219.
93
HELLENISTIC TERRACOTTA
NUDE YOUTH, wearing a cap
and holding a vase and a strigil.
Boeotia, 3rd-2nd Century BC. H. 7
1/8 in. (18 cm.) Ex French collection.
94
HELLENISTIC TERRACOTTA
APHRODITE, nude but for a himation
draped over her left shoulder and legs.
Ca. 2nd Century BC.
H. 8 1/2 in. (21.8 cm.)
95
ETRUSCAN TERRACOTTA VOTIVE
HEAD OF A YOUNG WOMAN with a
beautiful face and wearing her himation
pulled up over the back of her luxurious,
centrally parted, wavy hair. This was a
symbol that she was ready to meet the gods.
Cerveteri, 4th Century BC.
H. 11 7/8 in. (30 cm.)
A ttic B lack-figure Va ses
96 ATTIC BLACK-FIGURE TYRRHENIAN

NECK AMPHORA BY THE CASTELLANI
PAINTER The upper register with a symposium,
each couch with a pair of banqueters. Reverse:
six dancing komasts; below, on front and back,
two registers of animals. Ca. 550 BC.
H. 13 7/8 in. (35.2 cm.) Ex Dr. Elie Borowski
collection. Published: J. Eisenberg, Art of the
Ancient World, vol. XII, 2001, no. 175.
97 ATTIC BLACK-FIGURE AMPHORA, THE DOT-BAND-CLASS, depicting a scene from the Iliad, with
Ajax, son of Telamon, carrying the body of Patroklos from the battlefield; both are wearing plumed helmets,
Ajax also carrying both spears and shields, flanked by two Trojans in Persian dress. Reverse: Dionysos,
wreathed and holding a cornucopia, flanked by two maenads. Ca. 510-500 BC.
H. 8 1⁄2 in. (21.6 cm.) Ex Dutch private collection, acquired at Sothebys, May 19, 1975.
48
98
ATTIC LARGE BLACK-FIGURE
GROUP E PANEL AMPHORA:
Gigantomachy. In the midst Poseidon
kills Polybotes by dropping the island
of Nisyros on him. At left Athena runs
toward him pursued by an armored
giant, and at right Ares fells another
armored giant. Reverse: Warrior’s
farewell. Ca. 540 BC.
H. 19 5/8 in. (50 cm.)
Ex private collection Dusseldorf,
acquired from Herbert Cahn, Basel,
Switzerland in 1988.
Group E refers to the same workshop
that produced Exekias, perhaps the
greates of all black-figure painters.
49
99 ATTIC BLACK-FIGURE AMPHORA Herakles wrestling the Nemean lion. Reverse: Athena seated
between two nude males. Ca. 500 BC. H. 9 1/4 in. (23.5 cm.) Ex French private collection.
100 ATTIC BLACK-FIGURE AMPHORA A warrior battles an Amazon; possibly Herakles and Andromache.
Reverse: A draped female between two warriors; possibly depicting the capture of Helen.
Ca. 500 BC. H. 9 in. (23 cm.) Ex French private collection.
101 ATTIC BLACK-FIGURE LIP CUP WITH DANCING NUDE KOMASTS On either side there are three
revellers wearing only helmets; within the tondo is a single helmeted dancer. Later 6th Century BC.
H. 4 1/2 in. (11.5 cm.); D. 7 1/2 in. (19 cm.); W; 10 3/8 in. (26.4 cm.)
102 ATTIC BLACK-FIGURE LEKYTHOS Two females draped capite
velato in black walking right between two apotropaic eyes.
Ca. 500 BC. H. 11 3/4 in. (30 cm.) Ex French collection.
50
103
ATTIC RED-FIGURE NOLAN AMPHORA BY
HERMONAX A nude frontal Dionysos, wearing a
laurel wreath and cloak draped over his arms from
behind, stands holding a thyrsos, looking to the
right. Reverse: A nude satyr holding an oinochoe, a
wineskin, and a thyrsos strides to the left.
Ca. 470-460 BC. H. 14 3/8 in. (36.4 cm.) Attic Red-figure Vases
Ex North German private collection.
104
ATTIC RED-FIGURE
COLUMN KRATER
BY THE PAINTER OF
THE LOUVRE
CENTAUROMACHY
The capture of Helen.
Theseus on horseback,
carrying a spear, pursues
Helen and her sister
Clytemnestra who both flee
to the right.
Reverse: Three draped youths.
Ca. 470-460 BC.
H. 16 3/4 in. (42.5 cm.);
W. 17 1/4 (43.8 cm.)
For the abduction of Helen
on Attic vases see Kahil,
‘Helene’, LIMC, nos. 48-52.
51
105
ATTIC RED-FIGURE SKYPHOS,
CIRCLE OF THE PENELOPE PAINTER
A standing bearded man holds a stick in his
right hand. On the opposite side a cloaked
youth stands in front of a column.
Ca. 450 BC. H. 6 1/4 in. (16 cm.)
Ex collection of the author H. P. Rohde.
Exhibited and published: Odense Bys
Museer, Storstrøms Kunstmuseum, Johan
Rohde Ars Una, 2006, no. 135, ill. 184.
106
ATTIC RED-FIGURE SKYPHOS
A draped youth, holding a strigil and
juggling two balls in his left hand, walks
by a meta. Reverse: Bearded male.
Earlier 5th Century BC.
H. 5 1/4 in. (13.5 cm.)
Diam. 6 1/4 in. (16 cm.)
107 ATTIC RED-FIGURE TREFOIL OINOCHOE Nike

flying to right. Ca. 460 BC. H. 7 1/8 in. (18.2 cm.)
Ex Sir Richard Hattatt collection, Hampshire, England;
J. B. collection, Ferndale, Michigan, acquired from Royal-
Athena Galleries in 1986. Exhibited: The Ashmolean
Museum, Oxford, 1982; Picker Art Gallery, Colgate
University, Hamilton, New York, 1986-2007.
108 BOEOTIAN RED-FIGURE SKYPHOS with a kithara player walking to right, wearing a long elaborate
dotted chiton and himation, with a foliate wreath in his hair. Reverse: A winged Eros seated on a rocky
outcrop holding out a necklace in his extended hand, which he has taken from an open pyxis in his left
arm. 4th Century BC. H. 5 1⁄2 in. (14 cm.) Ex French private collection.
52
109 ATTIC RED-FIGURE BELL KRATER BY THE PAINTER OF MUNICH 2335 A Dionysiac scene
centering a nude, Herakles-like satyr holding a thyrsos, flanked by two admiring maenads, one seated. At
the left a nude satyr leaning on a staff watches as does another at the far right. Reverse: Three draped
youths. Ca. 425-400 BC. H. 12 3/4 in. (32.6 cm.); W. 14 3/4 in. (37.5 cm.) Ex German collection.
110 ATTIC RED-FIGURE COLUMN-KRATER BY THE MELEAGER PAINTER Two nude warriors with
shields, helmets, and spears, battle a cloaked man riding a rearing horse, while turning and lunging at the
bearded soldier with a spear; a figure, further to the left, turns back to view the melee. Reverse: Three
draped youths. Earlier 4th Century BC. H. 13 3/8 in. (34 cm.); W. 12 3/4 in. (32.4 cm.)
Ex Ulla Lindner, Munich, 1960s; Dr. J. Bohler, Munich; German private collection.
111 ATTIC RED-FIGURE BELL KRATER A symposium with four young men reclining on two couches; a
female flute player walking in front and a nude youth holding a tympanon kneeeling on the couch at left.
Reverse: Three draped youths, one holding a strigil. Ca. 4th Century BC. H. 15 1/8 in. (38.5 cm.);
W. 15 1/4 in. (38.7 cm.) Ex European private collection assembled in the 1970s and 1980s.
112 ATTIC RED-FIGURE BELL KRATER Four nude maenads and a satyr cavort around a laver in their
midst, in which a nude, winged Eros alights. Reverse: Three draped youths. 4th Century BC.
H. 15 3/8 in. (39 cm.), W. 17 in. (43.2 cm.) Ex Belgium private collection, acquired in the 1980s.
53
South I talian Vases
113
PAIR OF APULIAN RED-FIGURE
OINOCHOI NEAR THE WHITE
SACCOS PAINTER One has a flying
nude Eros carrying a patera and a torch,
in pursuit of a rabbit; the other with a
winged nude Eros capturing a swan.
Ca. 330-320 BC.
Hs. 15 1/2 in (38.6 cm.)
and 15 in (38.1 cm.)
Ex European collection, pre-1990s.
114
APULIAN RED-FIGURE KANTHAROS
BY THE WHITE SACCOS PAINTER
In profile, a female head wearing a
diadem, jewelry, and saccos.
Reverse: A winged Eros flying to left carry-
ing a wedding casket and a phiale.
Ca. 330-320 BC. H. 10 in. (25.5 cm.)
Ex English collection; private collection,
San Francisco.
115
APULIAN RED-FIGURE OINOCHOE
NEAR THE WHITE SACCOS PAINTER
Shape 8B, with a nude Eros flying to right
holding a fan, a situla, and a phiale.
It has a knotted, bifurcated handle with
a large palmette below, and around the
neck is a wreath with berries.
Ca. 320-310 BC. H. 8 1/8 in. (15.6 cm.)
Ex collection of Prof. Alcibiades N.
Oikonomides (d.1988), Chicago (Classics
professor at Loyola University), acquired in
the 1970s; M.B. collection, Westlake Village,
California.
54
116
APULIAN RED-FIGURE OINOCHOE
BY THE LAMPAS PAINTER A helmet-
ed and cuirassed warrior holding a spear
and shield at left and a draped female
holding a mirror at right with a winged
Eros holding a patera and candelabra
between them. Ca. 370 - 360 BC.
H. 14 3/8 in. (28.6 cm.)
Ex private collection, Ascona,
Switzerland, 1985
117
APULIAN RED-FIGURED AMPHORA
BY THE GROUP OF BOLOGNA 572
A woman holding a situla and fan stands
before a seated figure of Eros with phiale;
a rosette-chain, a sash and a floral gar-
land in the field, encircling meander
below the scenes, a white-painted wreath
around the mouth. Ca. 340-320 BC.
H. 20 7/8 in. (53 cm.) Ex American
private collection, acquired in London in
1974. Published: A.D. Trendall, The
Red-figured Vases of Apulia, vol. II,
Oxford, 1982, p. 751, 23/217, 20/326.
118
CAMPANIAN RED-FIGURE BELL KRATER, THE
GROUP OF LOUVRE K 240 Satyrs and maenads dance in
thiasic ecstasy. Reverse: A draped youth and a maenad.
4th Century BC. H. 14 5/8 in. (37.2 cm.)
W. 15 in. (38.1 cm.) E x French collection.
55
119
LARGE GREEK POLYCHROME
POTTERY LIDDED PYXIS, the
domed lid with a central Dionysos
head modelled in relief, the curly hair
with a diadem, wearing pendant ear-
rings. The front of the vessel is paint-
ed in pink, red, and pale blue with
three revelling Bacchic erotes, one
holding a thyrsos, another playing
pipes, flanking a central dancing
figure; on bird-shaped feet.
Canosa, 3rd Century BC.
H. 8 1⁄2 in. (22 cm.);
Diam. 7 1⁄4 in. (18.5 cm. )
Ex private Belgian collection, acquired
between 1920-1940; thence by descent
in 1950.
120
APULIAN GNATHIA WARE
HYDRIA with a laurel band on
the front in added white.
Late 4th Century BC.
H. 12 3/4 in. (32.4 cm.)
Ex Richards collection, Pontiac,
Michigan. Exhibited: Picker Art
Gallery, Colgate University, 1985-99.
Published: J. Eisenberg, Art of the
Ancient World, vol. IV, 1985, p. 37,
no. 116
121 APULIAN GNATHIA WARE BELL KRATER with typical designs of grape clusters and foliage in 56
added color. Ca. 340-320 BC. H. 9 1/4 in. (23.5 cm.) W. 12 1/2 in. (31.8 cm.)
122
CAMPANIAN LARGE
RED-FIGURE CALYX KRATER
BY THE NICHOLSON PAINTER
in Apulianizing style. Two couples on
couches: at left, a female musician plays
to a youth drinking from a kylix; at
right, a couple embrace, Eros near her
head; two three-legged tables in front
with food.
Ca. 330-300 BC. H. 24 in (61 cm.)
Ex W.W. collection, Essen, Germany.
123
CAMPANIAN LARGE RED-FIGURE BAIL AMPHORA
A woman at her toilette with her maid; below, a helmeted Chalcidian
warrior wearing a white chiton and a bronze belt, his right arm rest-
ing on a large circular shield, a woman walking toward him. Reverse:
Two draped youths. 4th Century BC. H. 24 1/4 in. (61.5 cm)
Ex Axel Guttmann (1944-2001) collection, Berlin.
124
CAMPANIAN
RED-FIGURE
OINOCHOE
A running nude satyr.
Ca. 350-330 BC.
H. 8 3/8 in. (9.8 cm.)
Ex private collection
Chatham, New York.
57
E truscan Va ses
125
VILLANOVAN POTTERY URN WITH LID
IN THE FORM OF A CRESTED HELMET,
with a handle on one side, a flaring rim, and
incised geometric designs of meanders, triangles,
hatched fields, and swastikas; the lid with similar
incised decoration. 8th-9th Century BC.
H. of urn 13 5/8 in. (34.6 cm.);
H. of lid 9 in. (23 cm.) Ex collection of Axel
Guttmann (1944-2001), Berlin. For a similar urn
found at Campo del Tesoro, tomb 52, see: G.
Montanari, La Formaziona della Cittá in Emilia
Romagna, Bologna, 1987, pp. 219-221, fig. 150.
126
VILLANOVAN BLACK GLAZED VASE WITH
DEEP COVER SURMOUNTED BY TWO
HORSES, the cup wih spreading foot, and four
double-looped handles; the horses facing each other.
Ca. 8th Century BC. A rare type.
H. 10 1/8 in. (26.4 cm.); Diam. 8 in. (20.3 cm.)
Ex J.H. collection, acquired in 1990.
127
ETRUSCAN BUCCHERO TREFOIL
OINOCHOE with an ovoid body decorated with
molded nude dancers below a frieze of tear drops.
Later 6th Century BC. H. 9 7/8 in. (25.1 cm.)
Ex South German private collection, 1994. Cf.
Richard D. De Puma, Etruscan Tomb-Groups
(Mainz, 1986), no. SP3, pp. 76-77; G. Giglioli,
L’arte Etrusca, 1935, pl. 52.1; O. Brendel,
Etruscan Art, figs. 92-93
58
128 ETRUSCAN BLACK-FIGURE WHITE GROUND AMPHORA Hermes, nude, wearing a short cloak
over his shoulders, a cap on his head, runs to the right holding caduceus. Reverse: A running maenad, face
and hands in added white. Ca. 520-500 BC. H. 11 3/8 in. (28.9 cm.)
129 FALISCAN RED-FIGURE KYLIX Tondo: winged goddess, probably Nike, wearing an elaborately
detailed chiton, declaims to a seated, nude bearded god. On either side a female and two draped youths.
Etruria, ca. 380-360 BC. Diam. 9 3/4 in. (24.8 cm.); H. 3 5/8 in. (9 cm.) Cf. a kylix cup in Boston,
J. Beazley, Etruscan Vase Painting, Oxford, 1947, p. 111, pl. 26, seemingly by the same workshop.
59
130 ROMAN COBALT BLUE GLASS AMPHORISKOS, mold-blown, the
ovoid body with concentric horizontal ridges and a pointed base, with a
cylindrical neck, flaring mouth, the rim folded out then in, and twin
vertical handles. Later 1st Century AD. H. 4 1⁄4 in. (10.8 cm.)
Ancient Glass
Ex Connecticut private collection, acquired in the 1970s. Cf. E. Stern,
Roman Mold-blown Glass, 1995, pp. 158-159, nos. 66-67.
131 ROMAN MANGANESE PURPLE GLASS AMPHORISKOS, mold-blown, the ovoid body with concentric
horizontal ridges and a pointed base, with a cylindrical neck, flaring mouth, the rim folded out then in, and
twin vertical handles. Later 1st Century AD. H. 3 1⁄4 in. 8.3 cm.) Ex German private collection.
132 SASSANIAN FEATHERED GREENISH CLEAR GLASS BEAKER, 5th-7th Century AD.
H. 3 7/8 in. (10 cm.) Ex German private collection,
133 SIX ROMAN BRONZE BELT FITTINGS WITH INLAID MOSAIC GLASS of white, red, and blue canes
on alternating red, white, and blue fields. 3rd-4th Century AD. Widest 2 3/8 in. (6 cm.);
highest 1 7/8 in (4.9 cm.); total length. 11 in. (27.9 cm.) Ex collection of B.H.S., a retired military
officer, St. Petersburg, Florida, formed in the 1950s-early 1970s.
60
He llenistic Silver Sculpt ure
134
HELLENISTIC SILVER APOLLO, probably a portrait
of a Hellenistic prince in the guise of the god, perhaps
Mithridates VI Eupator of Pontus, or his son Ariarathes
IX Eusebes Philopator of Cappadocia, of slender and
youthful form, standing in a graceful attitude with his
weight on the left leg, his extended right hand holding a
rhyton, the left hand a fragmentary bow, his head
turned to the right, with full lips, straight nose with
flaring nostrils, and eyes with indented pupils, his long
unruly wavy hair bound in a diadem.
Late 2nd -early 1st Century BC.
H. 4 in. (10.2 cm.)
Ex New York private collection acquired in 2002.

Published: R. Symes, Royal Portraits and Hellenistic
Kingdoms, New York, 1999, no. 24, illus.
Cf. Marie-Louise Vollenweider, Musées de Genève, no.

274, January 1987, pp. 4-5, cover illus; Treasures from
an Ancient Jewelbox: Gold and Silver of the Ancient
World, New York, 1992.
61
135 HELLENISTIC SILVER FLORAL WREATH WITH GOLD BIRDS
3rd-1st Century BC. D. 6 5/8 in. (17 cm.)
Ex Kalebdgian collection, acquired 1992.
136 LATE HELLENISTIC SILVER SPOON with segmented handle, partially
reeded. 1st Century BC/AD. L. 5 3/4 in. (14.7 cm.) Ex German collection.
137 CYPRIOT LIMESTONE HORSE AND RIDER, the saddle and bridle with
traces of red paint. 5th Century BC. H. 5 7/8 in. (15 cm); Ancient Varia
L. 4 3/4 in. (12.1 cm.) Ex collection of Josef Mueller, acquired before 1940;
Barbier-Mueller collection, Geneva, Switzerland.
138 ROMAN FRAGMENTARY AMBER VASE carved in relief with two erotes pressing grapes underfoot,
standing on a small platform, flanked on either side by large winged erotes, the one on the left holding a
pail in his left hand, and both with the other hand resting on a tall basket laden with grapes at the back.
2nd Century AD. H. 2 1⁄2 in. (6.3 cm.) Ex European collection, 1920s.
62
139
ATHENIAN BRONZE ALLOTMENT PLATE (pinakia) with Greek inscription: PISTOKLES MURRI
[nonsioV]. At left is a maker’s stamp : ‘B’ over a tripod. Ca. 367-360 BC. L. 4 1/2 in. (10.8 cm)
Ex Eisenhofer collection, Regensburg, Germany. For the type and date see: J.H. Kroll, Athenian Bronze Allotment
Plates, Harvard, 1972, pp. 87-90, nos. 78-113. Very rare.
On the top left is a stamped B, under it a trilobate stamp of a standing owl facing front with closed wings; beneath
it: [A/HQ]; to the right, a Gorgoneion. With plates like this judges were drawn by lot in Athens for one day in each
case. The owner of this plate was a certain Pistokles from the city of Myrrhinus (on the east Attica coast, today's
Merenda); every citizen eligible for jury service had one.
Below is a photograph, courtesy of the Ancient Agora Museum in Athens, of a kleroterion, one of the ancient voting
machines into which was inserted the allotment plate.
140
ROMAN BRONZE STEELYARD BALANCE AND
WEIGHT: BUST OF ARTEMIS, in the form of a
rectangular sectioned beam with conical terminals,
engraved on three faces with graded divisions and
stippled letters, the other face with a stippled inscription, one end of
the beam with three attachment rings on different faces with two
remaining suspended hooks, two additional hooks suspended on chains from a collar, and the counterpoise bust
suspended from a short moveable chain. 1st-2nd Century AD. Beam L. 16 3/8 in.
(41.5 cm.); bust H. 3 1/8 in. (8 cm.) German private collection, formed during the 1960s-1970s.
141
GREEK BRONZE KOTYLE
on a pedestal foot, with hemispher-
ic body, set-off lip, and bifurcated,
curving handles ending in stylized
duck head termini.
Ca. 350-300 BC.
H. 2 3/4 in. (7.2 cm.);
Diam. 7 in. (18 cm.)
Cf. P. Themelis, The Tombs of
Derveniou, 1997, pl. 38, nos. A
10-12.
63
142 CENTRAL EUROPEAN BRONZE AGE
GOLD RING made from gold wire wrapped
back and forth. Ca. 1500 BC. Size 10.5. 8 g.
D. 7/8 in. (2.2 cm.) Ex German collection.
143 GREEK GOLD FINGER RING WITH

EROS standing within a border of wire
C-scrolls and a beaded bezel.
4th Century BC. D. 2 1/8 in. (5.5 cm.)
Size 9. 12.4 g. Ex German private collection.
144 HELLENISTIC GOLD FINGER RING

WITH A DRAPED BUST OF A BEARDED
RULER wearing a fillet tied at the back of his
head; the basic shape in the casting, the details
carved. A stylistic and iconographic comparison
with coin portraits suggests this is a representa-
tion of Kamnaskires IV, king of Elymais. Rare.
Ca. 62-55 BC. D.1 7/8 in. (4.7 cm.)
Size 5.5. 13.9 g. Ex English collection.
Classical Gold Jewelry
145 HELLENISTIC GOLD

EARRING WITH THE
HEAD OF A LION,
of twisted, tapering wire
with lion head terminus.
4th-3rd Century BC.
D. 3/4 in. (1,9 cm.) 3.04 g.
Ex German private collection.
146 HELLENISTIC GOLD

EARRING WITH THE
HEAD OF A MAENAD,
of twisted, tapering wire
with maenad head terminus.
4th-3rd Century BC.
D. 3/4 in. (1.9 cm.) 4 g.
64
147 EARLY ROMAN IMPERIAL GOLD FINGER RING WITH AN EMERALD INTAGLIO of a woman
wearing a laurel wreath and a stola. 1st Century BC/ AD D. 1 in. (2.5 cm.) Size 5. 1.30 g.
The stola, a garment unusual for a goddess, along with the laurel wreath suggests this may represent a
female of the imperial family, possibly Agrippina Major. Very rare.
148 ROMAN GOLD WEDDING RING carved with the customary clasped hands, dextrarum iunctio.
1st-3rd Century AD D. 5/8 in. (1.6 cm.) Size: 4.5. 9.1 g. Ex German collection.
149 ROMAN GOLD WEDDING RING Two clasped hands , dextrarum iunctio,. within a raised beaded
bezel. 2nd-3rd Century AD D. 5/8 in. (1.6 cm.) Size: 4.5. 7.06 g. Ex German collection.
150 ROMAN GOLD FINGER RING WITH BEZEL SET CARNELIAN INTAGLIO OF ASKLEPIOS god
of medicine, holding a staff with a coiled snake, and another god holding a staff. They stand on either side
of an altar. 2nd-3rd Century AD. D. 7/8 in. (3.5 cm.) Size: 10 1/2. 3.5 g. Ex German collection.
151 ROMAN GOLD PENDANT SET WITH A GLASS CAMEO OF DIONYSOS with bunches of grapes in
his shoulder length hair. 1st Century AD. L. 3/4 in. (2.1 cm.) 1.92 g. Ex German collection.
65
152 PAIR OF ROMAN GOLD EAR PENDANTS, each with a granulated rosette suspending a rectangular
mottled green glass plaquette with surround suspending a vasiform pendant from which hangs a pearl.
2nd Century AD. L. 2 5/8 in. (6.9 cm.) 9.43 g. Ex German private collection.
153 PAIR OF ROMAN GOLD EAR PENDANTS IN THE FORM OF A CLUSTER OF POMEGRANATES
suspended from a hoop and heightened with granulation. 3rd Century AD. L. 2 1/8 in. (5.6 cm.)
13.94 g. Ex German private collection.
154 PAIR OF ROMAN GOLD, PEARL, AND GARNET EAR PENDANTS, each of navicella form fronted by
bezel set cabochon garnets; beneath, a row of alternating pearls and garnets from which hang five waisted,
tubular gold beads ending in pearls. 3rd -4th Century AD. L. 1 7/8 in. (4.7 cm.) 23.47 g.
155 PAIR OF ROMAN GOLD EAR PENDANTS, each composed of a frontal dome with a ridged collar
below with four pendant spheres forming an inverted pyramid, decorated with lines of granules, on
partially plaited wire hoops. 2nd-3rd Century AD. L. 1 1/2 in. (4 cm.) 6 g. Ex English collection.
66
156 BYZANTINE GOLD FINGER RING WITH A DOUBLE PORTRAIT OF AN IMPERIAL COUPLE,
probably a representation of Justinian and Theodora, within a beaded bezel. Very rare.
Later 6th Century AD. D. 3/4 in. (1.9 cm.) 9.74 g. English collection.
One of the most important figures of late antiquity, Justinian's rule constitutes a distinct epoch in the
history of the Byzantine Empire. The impact of his administration extended far beyond the boundaries of
his time and empire. Justinian's reign is marked by the ambitious but ultimately failed renovatio imperii,
or restoration of the empire.
157 BYZANTINE CAST GOLD FINGER RING INCISED WITH A CROSS FLANKED BY BIRDS.
6th-9th Century AD. D. 3/4 in. (1.9 cm.) Size: 9 1/2. 26.4 g. Ex German collection.
158 PAIR OF MEROVINGIAN GOLD AND EMERALD GREEN GLASS EARRINGS, Each circular wire
with a polyhedron bead decorated with clusters of granulation and set with emerald green glass. Ex German
private collection. Cf. Age of the Merovingians -- Europe without Borders, exhibition catalogue, State
Hermitage Museum, 2007, p. 284, no. I.1.1. 5th-7th Century AD. D. 2 1/8 in. (5.5 cm.); 28,79g.
These are exceptionally large earrings from the Merovingian period in central Europe, more specifically the
Rheinland. This pair is in fact one of the largest known of this type. Cf, J. Hubert et al., L'Europe des inva-
sions, Paris, 1967.
159 EARLY BYZANTINE PAIR OF GOLD AND GARNET

PEACOCK APPLIQUES Possibly Avar. Exquisitely
styled, with gold cloissons surrounding the conformingly
carved garnets. 5th-6th Century AD.
L. 1 1/8 in. (2.7cm; 2.5 cm. ) Ex German collection.
67
160 BYZANTINE BRONZE VOTIVE PLAQUE OF ST.
GEORGE HOLDING A CROSS and apparently levitating
above a horned altar, all in the form of a wall with four tomb
niches, the lower pair with incised palmettes above.
The architectural elements are outlined in either tin or silver.
10th-12th Century AD. H. 4 1/4 in. (11 cm ); W. 6 1/8 in. Byz anti ne Art
(15.5 cm.) Ex German private collection.
161 BYZANTINE BRONZE HANGING CROSS suspending two Greek letters from either arm: alpha theta from
the left and sigma pi from the right. Another smaller cross hangs from the foot. 6th-8th Century AD.
H. 12 3/4 in. (30.5 cm.) Ex French collection
162 BYZANTINE BRONZE PENDANT CROSS Maria orans in the center with busts of the four evange-
lists in roundels, one on each transcept. 10th-12th Century AD. H. 3 1/2 in. (9 cm ); W. 2 in. (5.2 cm.)
163 BYZANTINE REDWARE TILE WITH MOLDED RELIEF OF ST. GEORGE AND THE DRAGON
The stylized saint on horseback, the dragon rendered as a snake. 5th-6th Century AD. H. 10 in. (25.5 cm.);
W. 8 7/8 in. (22.5 cm.) Ex German private collection, acquired
in Cologne in 1970s. Probably from the provences of Africa
Proconsularis or Byzancena and used to decorate wooden chests.
Cf. Die Welt von Byzanz. Europas östliches Erbe, exhibition
catalogue, Munich Staatliche Museum, 2004, no. 90.
68
Medieva l Art
164 NORTH WESTERN CELTIC (VIKING) BRONZE OPEN-WORK APPLIQUE, lavishly worked to suggest
entwined animal forms; small attachment holes. 8th-9th Century AD. W. 1 3/4 in. (4.6 cm.); H. 2 1/4 in.
(5.8 cm.) Ex German collection.
165 NORTH WESTERN CELTIC (VIKING) BRONZE OPEN-WORK APPLIQUE, rectangular in form,
lavishly worked to depict entwined sea serpents; small attachment holes on the edges. 8th-9th Century AD.
L. 5 1/8 in. (13.2 cm.); H. 1 in. (2.5 cm.) Ex German collection.
166 KHAZAR OPENWORK SILVER GILT SQUARE
ATTACHMENT centering a female face with a double flip
hair style, each side formed from two navettes, a circle
between and circles at each corner; four small attachment
rings on the back.
Ca. 9th Century AD. H. & W. 7/8 in. (2.2 cm.)
The Khazars were a semi-nomadic Turkic people who domi-
nated the Pontic steppe and the North Caucasus from the 7th-
10th century. The name 'Khazar' seems to be tied to a Turkic
verb form meaning ‘wandering’. During the 7th century, the
Khazars founded an independent Khaganate in the Northern
Caucasus along the Caspian Sea. Although the Khazars were
initially Tengri shamanists, many of them converted to
Christianity, Islam, and other religions. During the eighth or
ninth century the state religion became Judaism. At their
height, the Khazar khaganate controlled much of what is
today southern Russia, eastern Ukraine, Azerbaijan, large
portions of the Caucasus (including Circassia, Dagestan,
Chechnya, and parts of Georgia), and the Crimea.
167 COLLECTION OF TWENTY-TWO AVAR OPEN-WORK BRONZE ATTACHMENTS including belt tips,
buckles, bridle pieces, and scabbard mountings; several pieces depicting animals. 5th-6th Century AD.
W. 1-4 in. (2 - 12 cm.) Ex German collection. The Avars were a tribal confederation of Eurasian nomads.
69
168 EGYPTIAN OLD KINGDOM
LIMESTONE RELIEF OF A MALE
Egyptian Stone Sculptur es showing his upper torso and head
wearing a short wig composed of 20
tiers of tight curls. He is bare to the
waist and both arms are raised.
Vth-VIth Dynasty, ca. 2498-2181 BC.
H. 10 1/2 in. (26.7 cm.)
Ex American private collection,
acquired from Matthias Komor,
New York, in the 1960s.
169 EGYPTIAN OLD KINGDOM

LIMESTONE BREWER depicted
tilted forward over her vat and
wearing a long dress and typical
wig of the period with a stripe in
the middle, letting her hair appear
as small wisps on the front of the
forehead.
Vth-VIth Dynasty, 2498-2181 BC.
H. 6 7/8 in. (17 cm.)
Cf. C. Aldred, Le Temps des pyra-
mides: de la prehistoire aux Hyksos,
Paris, 1978, p. 201, no. 198.
170 EGYPTIAN MIDDLE KINGDOM

DEEP LIMESTONE BUST OF A
DIGNITARY wearing a striated wig
and a tight sheath-like garment. His
left hand, clutching a palette,
is raised to his breast.
XI-XII Dynasty, ca. 2133-1715 BC.
H. 6 7/8 in. (17 cm.)
Ex old French collection. 70
171
EGYPTIAN ASWAN PINK GRANITE
HEAD OF RAMESSES III wearing a
striped nemes headdress with uraeus.
XXth Dynasty, reign of Ramsses III,
ca. 1186-1155 BC.
H. 10 3/8 in. (26.6 cm.)
Formerly the property of a French reli-
gious order, Les Intellectuels Chrétiens,
by bequest of Fr. Saint Solieux (d. 1990),
who acquired it before 1983.
Cf. the portrait in the Museum of Fine
Arts, Boston (Boston 75.10);
J. Vandier, La Statuaire Egyptienne,
Paris, 1958, pl. CXXX, 2.
Ramesses III was the second pharaoh of the

20th Dynasty and is considered to be the
last great New Kingdom king to wield any
substantial authority over Egypt. He was
the son of Setnakht and Queen Tiy-mere-
nese and is believed to have reigned from
1186 to 1155 BC.
During his long tenure in the midst of the

surrounding political chaos of the Greek
Dark Ages, Egypt was beset by foreign
invaders. In Year 8 of his reign the Sea
Peoples invaded Egypt. Ramesses III
defeated them in two great land and sea
battles.
He built important additions to the temples at Luxor and Karnak, and his funerary temple and administrative
complex at Medinet-Habu is amongst the
largest and best-preserved in Egypt; however,
the uncertainty of Ramesses' times is apparent
from the massive fortifications which were
built to enclose the latter.
Thanks to the discovery of the papyrus trial

transcripts, it is now known that there was
a plot against his life as a result of a royal
harem conspiracy during a celebration at
Medinet Habu. The conspiracy was instigated
by Tey, one of his two principal wives,
over whose son would inherit the throne.
It is not known if the assassination plot
succeeded, however, for he died before the
summaries of the sentences were composed.
In one respect the conspirators certainly
failed. The crown passed to the designated
successor, Ramesses IV.
The mummy of Ramesses III was discovered

in 1886 in the Royal Cache at Dier el Bahari
along with many of his illustrious predecessors
including Ramesses II. His tomb (KV11) is
one of the largest in the Valley of the Kings.
71
172 EGYPTIAN NEW KINGDOM LIMESTONE RELIEF OF AMUN-RE OR AMON, the principal god of
Egypt in the New Kingdom, for whom the great complex of Karnak at Thebes was built; traces of blue
paint. XIXth Dynasty, ca. 1293-1185 BC. W. 11 in. (28 cm.); H. 10 3/8 in. (26.5 cm.)
Ex A. Dufour collection before 1953; Barbier-Mueller collection, Geneva, Switzerland.
173 EGYPTIAN MIDDLE KINGDOM LIMESTONE HEADREST IN THE FORM OF A PYLON

or temple entrance. On the sides in faint black and red line drawings are depicted several figures and
a hieroglyphic text. XI-XIIth Dynasty, ca. 2133 - 1790 BC. H. 8 1/4 in. ( 21.5 cm );
W. 9 3/8 in. (24 cm); D. 4 7/8 in. (12.3 cm.) An unusual form for a headrest.
174 EGYPTIAN NEW KINGDOM LIMESTONE RELIEF A priest stands before a dais on which Osiris is
enthroned, behind him Isis holds an ankh, her left arm raised in worship. The priest pours a libation on a
low table which is in front of a tall offering table on the dais; hieroglyphic text above the figures.
XIXth Dynasty, ca.1293-1185 BC. H. 9 1/4 in. (23.5 cm.); L. 14 1/2 in. (37 cm.) Ex French collection.
72
175 EGYPTIAN GREENISH-GRAY
GREYWACKE SACRED TRIAD OF
HORUS, OSIRIS AND ISIS, from a statue
of a kneeling naosphoros with a column of
hieroglyphic text incised on the back pillar:
Master of Secrets, Ruler of the Temple,
Chief of the Grainary, Nome 12 (Hebyt).
Osiris wears an atef-crown and carries the
royal crook and flail, the falcon-headed
Horus wears the Double Crown (pschent),
and Isis wears a horned solar disk.
XXVIth Dynasty, 664-525 BC.
H. 12 1/4 in.(31.1 cm.);
W. 4 3/4 in.(12.1 cm.);
D. 9 1/2 in. (24.1 cm.)
Ex Florida collection; private collection,
Westlake Village, California.
176 EGYPTIAN SANDSTONE RAISED

RELIEF OF OSIRIS ENTHRONED
He wears an elaborate Atef-crown and
holds an ankh in his right hand.
Ptolemaic Period, 305-30 BC.
H. 16 1/8 in. (41 cm.) Ex M. Maspero,
Paris; Belgian private collection;
R. G. collection, Basel, Switzerland,
acquired in 1995.
177 EGYPTIAN LIMESTONE TRIAL PIECE:

BUST OF A PHARAOH wearing a tri-
partite nemes with a uraeus fronting the
brow. Ptolemaic Period, 305-30 BC.
H. 6 7/8 in. (17.6 cm.)
73
178 EGYPTIAN LIMESTONE MASK FROM AN ANTHROPOID SARCOPHAGUS
depicted beardless with prominent ears, wearing a bag wig. Ptolemaic Period, 305-30 BC.
H. 10 1/4 in. (26 cm.); W. 19 3/4 in. (50.2 cm.) Ex French collection.
Ptolemaic Period 305-30 BC H. 19 5/8 in. (33 cm.); W. 13 in. (33 cm.) Ex French collection.

wearing a head cloth or wig tucked behing his ears. Ptolemaic Period 305-30 BC.
H. 11 3/4 in. ( 30 cm ); W. 13 1/8 in. (34 cm) Ex German private collection, acquired in the 1970s.
74
E gyptian B ron ze Scu lp tu res
181
EGYPTIAN BRONZE NEITH, the goddess striding on an integral
plinth, wearing the Red Crown of Lower Egypt with two uraei, and
a long sheath, a bead necklace, armbands, and wristbands; a votive
hieroglyphic inscription requesting life on the base.
Late Dynastic Period, 664-342 BC. H. 10 3/4 in. (27.5 cm.)
Ex collection of H. Hoffman. sold by Maurice Delestre, May
16,1895 to Charles Gillot; thence by descent.
182
EGYPTIAN BRONZE BASTET, cat-headed goddess of women
and joy, holding an aegis in her left hand and a sistrum in her
right hand. Late Period, 712-30 BC. H. 4 3/4 in. (12 cm.)
Ex collection of Jürg Marquard, Herrliberg, Switzerland.
Cf. G. Roeder, Bronzefiguren, Mitteilungen aus der Ägyptis-
chen Sammlung, VI, 1956, pp. 266-272, pl. 39f; S.Schoske-
D. Wildung, Gott und Götter im Alten Ägypten, exhibition
catalogue, Berlin, 1992, p. 14, no. 4.
183
EGYPTIAN BRONZE SITULA decorated with a relief frieze
of seven deities above relief metopes of animals.
Late Dynastic Period, 664-332 BC. H. 5 5/8 in. (14.5 cm.)
Ex collection of Prof. Martin Eduard Winkler (1892-1982),
thence by descent.
75
184
IMPORTANT EGYPTIAN
BRONZE KNEELING PHARAOH
wearing the nemes, an usekh neck-
lace, and the shendyt-kilt; he is
holding his right hand on his chest
and his left forearm in an upright
position. The attitude is the henu
pose, a traditional gesture expressing
jubilation. Very rare.
XXVIth Dynasty 664-525 BC.
H. 11 3/4 in. (29.8 cm)
Ex Hélène Servais collection,
Brussels, acquired in 1935.
Only four other kings in this pose are known

to us. Three are listed by Josephson; see: J.A.
Josephson, Egyptian Royal Sculpture of the
Late Period, 400-246 BC, Mainz, 1997, pp.
33-39, pl. 12; one in Paris (ex Hoffmann
collection), bronze, H. 6 1/8 in. (15.5 cm);
one in the British Museum (BM 11496,
bronze, no measurement); and the one in his
own collection (ex de Béhague collection, now
in the Metropolitan Museum of Art), wood.
H. 8 1/4 in. (21 cm). Cf. M. Hill, Royal
Bronze Statuary from Ancient Egypt,
Leiden, 2004. The fourth, a 9 3/8 in. (23.8
cm.) bronze dated to the XXVth Dynasty and
from the collection of Roger Fernand
Galliano, is now in a private collection.
76
77
185
HIGHLY IMPORTANT LARGE
EGYPTIAN BRONZE STATUE
OF A PRIESTESS OF AMUN
with inlaid stone eyes and separately cast short
wig of tiny layered locks of hair. Her attached
arms are outstretched, probably to hold two
sistra (musical rattles). She retains her original
gold necklace and remains of gold leaf on her
wig.
XXIInd Dynasty, 945-715 BC.
H. 37 in. (94 cm) including her restored feet
and ankles.
This was probably one of the several large

bronze statues found in the Temple of Amun
at Karnak in the early 19th Century.
One of the two largest examples; the other
is heavily restored. This is the only one in
private hands; the others are in museums
in Athens, Berlin, Leiden, London, and
Paris. The Louvre acquired theirs in 1829.
Ex S.O.S. collection, Basel, Switzerland,
acquired in the late 1950s; J.A.L. collection,
Chesterfield, Virginia.
Doubtless, one of the most important

Egyptian works of art to appear on
the art market in a generation!
78
80
81
82
Egyptian Wood &
Carto nnage
186
EGYPTIAN WOOD ANTHROPOID
SARCOPHAGUS, the painted face with
a false beard and a tripartite striped wig,
the body painted black with hieroglyphs
in yellow.
XXVIth Dynasty, 664-525 BC.
H. 68 1/8 in. (173 cm.)
Ex collection of Prof. Martin Eduard
Winkler (1892-1982), thence by descent.
187
EGYPTIAN POLYCHROME WOOD
SARCOPHAGUS LID, the red face with a
striped tripartite wig with a red band. The
body is decorated with numerous vignettes
from the Book of the Dead; foot lacking.
XXth-XVth Dynasty, 1070-715 BC.
H. 73 1/4 in. (186 cm.)
188
EGYPTIAN WOOD PTAH-SOKER-
OSIRIS, WHO represented the soil and
its power to create life; mummiform.
Late Period, 712-30 BC.
H. 17 5/8 in. (45 cm.)
Ex French collection
83
189
EGYPTIAN WOOD MASK AND FRONTLET,
the painted face with a false beard and a tripartite striped
wig,the frontlet painted black with hieroglyphs in yellow.
XXVIth Dynasty, 664-525 BC. H. 52 in. (132 cm.)
Ex collection of Prof. Martin Eduard Winkler (1892-1982),
thence by descent.
190
EGYPTIAN PAINTED WOOD COFFIN PANEL
depicting the profile figure of Nut or the Goddess of the West
wearing a close fitting sheath with a vertical wave pattern in
alternating red and black paint, a tripartite wig fronted by a
lotus and surmounted by a hieroglyph for bread.
Late Ptolemaic Period, 1st Century BC.
H. 43 1/2 in. (101 cm.) W. 21 in. (53.5 cm.)
Ex private collection, San Francisco.
191
EGYPTIAN POLYCHROME WOOD MUMMY MASK
with a broad collar, a false beard with curled tip, and a
striated tripartite wig, a fragmentary winged scarab on top.
XXVth-XXVIth Dynasty, 750-525 BC.
H. 22 1/2 in. (57.1 cm.)
Ex Japanese private collection acquired in Switzerland in
1974. Published: Kokusai Bijutsu, Ltd., Tokyo, 2nd
Exhibition Catalogue, 1974, no. 16, illustrated.
84
192 EGYPTIAN POLYCHROME CARTONNAGE MUMMY MASK WITH GILT FACE, wearing a tripartite
headcloth and a false beard. Later Ptolemaic Period, 2nd-1st Century BC. H. 12 1/2 in. (31.8 cm.)
Ex Prof. Alcibiades Okonomides collection, Chicago, Illinois, acquired before 1970.
193 EGYPTIAN POLYCHROME AND GILT CARTONNAGE MUMMY MASK, wearing a tripartite black
head cloth, a human-headed scarab with out spread wings, and holding a sun disk fronting the brow.
Retaining nearly all the original red, blue, black, and white pigment and original gilding of the flesh.
Ptolemaic Period, 305-30 BC. H. 15 3/8 in. (39 cm.) Ex French collection.
194 EGYPTIAN NEW KINGDOM

WOOD FURNITURE LEG:
LION PROTOME, the head with
sunken eyes, a broad flat nose,
incised whiskers and rounded ears,
with the curving locks of the mane
beneath the jaw; the flattened front
with two legs below, the forepaws
with long arching claws; retaining
an old collection number painted in
red '06.280'.
Ca. 1550-1070 BC.
H. 13 1⁄2 in. (34.5 cm.)
For an almost identical example,

compare to an excavated pair in the
Egyptian Museum, Turin, also
dated as New Kingdom.
Ex private American collection, for-
merly the Blanchard Collection,
Cairo, 1906; the Toledo Museum of
Art, deaccessioned in 1993.
85
Egyptian Faience
195 EGYPTIAN MIDDLE KINGDOM
TURQUOISE FAIENCE
HIPPOPOTAMUS, the embodiment of
the god Set, the bringer of desert storms.
His head is turned to his left, jaws agape;
details added in black paint. Very rare.
XIth-XIIth Dynasty, ca. 2133-1715 BC.
H. 2 1/8 in. (5.4 cm); L. 2 1/4 in. (5.7 cm.)
Ex Fouquet collection, Paris, ca. 1922.
196 EGYPTIAN GREEN FAIENCE

AMULET OF SHU, THE SKY GOD,
his head topped by by the solar disc, his
arms raised, and his right knee touching
the ground. Late Period, 712-30 BC.
H. 2 3/8 in. (6 cm.) Ex collection of H.
Hoffman sold by Maurice Delestre, May
14, 1895, to Charles Gillot; thence by
descent.
86
Egyptian Ushabtis
197 EGYPTIAN TURQUOISE FAIENCE USHABTI OF

NESBANEBDJED, Lord of Mendes, mummiform and hold-
ing hoes and a seed basket. With twelve incised registers of
hieroglyphic text setting forth his name and title as well as
the ushabti spell from Chapter VI of the Book of the Dead.
Late Period, 712-30 BC.
H. 8 in. (20.4 cm) Ex French collection.
198 EGYPTIAN NEW KINGDOM POLYCHROME WOOD
USHABTI OF BAK-EN-KHONSOU, Prophet of Amon,
mummiform, holding hoes and a seed basket; a column of
hieroglyphic text on the front.
XIXth Dynasty, ca.1293-1185 BC.
H. 8 in. (20.5 cm.) Ex French collection.
199 EGYPTIAN GREEN FAIENCE USHABTI, mummiform
and holding hoes and a seed basket. With twelve incised
registers of hieroglyphic text setting forth his name and title
as well as the ushabti spell from the Book of the Dead.
XXVIth Dynasty, 664-525 BC. H. 8 1/4 in. (21 cm)
200 EGYPTIAN BRIGHT BLUE FAIENCE USHABTI with
details in black, including the striped wig, hoes and seed bas-
ket; the front inscribed with hieroglyphs.
XXIst Dynasty, ca. 1085-935 BC. H. 3 1⁄2 in. (9 cm.)
From the 2nd Cache at Deir el-Bahri, acquired in Egypt in
1912 by Doris Newbery, a relative of the Egyptologist
Theodore M. Davis. Formerly on loan to the Yale University
Art Gallery, 1948.
87
201 EGYPTIAN OLD KINGDOM SPECKLED BLACK AND WHITE GRANITE CUP
Ca. 2686-2181 BC. Diam. 6 1/4 in. (16 cm.) Ex French collection.
202 EGYPTIAN NEW KINGDOM POTTERY JAR molded with four heads of Hathor imitating amulets,
including two human heads of Hathor, her hair centrally parted and terminating in curls, wearing a collar
on her long neck; alternating with heads of the cow-headed Hathor wearing a similar wig.
XIXth Dynasty, ca. 1295-1070 BC. H. 4 1⁄2 in. (11 cm.) Ex English collection.
203 EGYPTIAN FRAGMENTARY POTTERY MASK FROM A SINAITIC SARCOPHAGUS.

New Kingdom, ca. 1570-1070 BC. H. 8 1/4 in. (21 cm)
Ex collection of Josef Mueller, acquired before 1940; Barbier-Mueller collection, Geneva, Switzerland.
204 EGYPTIAN POLYCHROME TERRACOTTA NUDE ISIS, a double rolled

fillet upon her head topped with stylized buds and a horned solar disk, The
white body color heightened with orange, black, and rose pigments. Roman Egyptian Varia
Period, 2nd-3rd Century AD. H. 9 1/2 in. (24 cm.) Ex French collection.
88
Near Eastern
Antiqu ities
205
NORTH SYRIAN BRONZE BOWL,
the interior with a relief frieze showing two
hunters wearing knobbed helmets, crouching
on one knee before a lion and human-headed
winged lion, a second lion attacked from either
side by bulls. The central tondo with concentric
rosette motifs bordered by a petal meander;
floral plants within the field. Very rare.
Ca. 700 BC. D. 13 1⁄4 in. (33.7 cm.)
Ex European private collection, acquired in
1980. For a similar but smaller example in
the collection of the Princeton University Art
Museum, see. J. M. Padgett, The Centaur’s
Smile - The Human Animal in Early Greek
Art, 2003, pp. 124-126, no.9.
89
206 WESTERN ASIATIC BRONZE DISK A bearded adorant wearing a long hairdo stands on a ground line and
raises his hands in worship towards a large six-pointed star, a winged solar disc, a crescent moon, and the
Pleiades (believed to be the home of Osiris); probably from a mirror.
7th Century BC. H. 3 3/4 in. (9.7 cm) Ex French collection. A very rare subject.
It has been suggested by Dr. Andis Kaulins that it represents the Archilochus’ Eclipse of 6 April 647 BC.
207
WESTERN ASIATIC BRONZE MIRROR
set with six gold figures of running ibexes with
back-curving horns. their forelegs outstretched.
Earlier 1st Millennium BC.
Diam. 4 1⁄2 in (11.5 cm.) Rare.
Ex Australian private collection, formed in the
1940s through the 1970s; thence by descent.
208
PHOENICIAN BRONZE CHALCOPHONE;
the musical instrument composed of eleven coiled
wire tubes and twin sounding bars, each bar
with fifteen attachment holes and terminal spiral
resonators, and four separate fragmentary attach-
ment wires.
8th-6th Century BC.
W. 7 1/8 in. (18.3 cm.)
The tubes would have been joined to the sound-

ing bars by wooden pegs which the coiled wire
tubes would have been wound around. Examples
have been found in South Italian and Phoenician
contexts dating from the 8th-6th Century BC.
Similar instruments in later form appear on
Apulian red-figure pottery.
90
209 SYRO-PALESTINIAN BRONZE NUDE GODDESS standing with her braceleted arms at her side and
wearing a broad collar. Her centrally parted, long, straight hair with two braids framing the face and
another down the center at the back of her head. Very rare.
Late 2nd Millennium BC. H. 8 in. (20.3 cm.)
91 Ex collection of an American diplomat, acquired between 1962-67.
210 ANATOLIAN BRONZE SCHEMATIC MALE IDOL wearing a
pointed cap, a snake dangling from his right hand. Rare.
Ca. 2nd Millennium BC. H. 4 1/8 in. (10.5 cm.)
211 KOBAN CULTURE BRONZE AXE HEAD WITH A SPOTTED
HOUND INCISED ON THE BLADE and three bands of zig-zags
separated by two lines farther up the blade. Colchis, 8th-6th Century BC.
L. 6 5/8 in. ( 17 cm ) Rare. Cf: On the way to the Golden Fleece.
Archaeological Findings from Georgia, exhibition catalogue, Munich
Staatliche Museum, 1995, p. 284, no. 230, pl. 107f. Fine style.
212 SYRO-PHOENICIAN POTTERY GROUP: BIRTHING GROUP OF THREE WOMEN.

The mother stands supported by another from behind. The third sits in front of the mother holding the
newly born infant. 5th-4th Century BC H. 7 7/8 in. (20 cm.); L. 6 3/4 in. (17.2 cm.)
Cf. Katz, Kahane, Broshi, From The Beginning, Archaeology and Art in the Israel Museum,
Jerusalem, pg. 93, no. 80, for a similar pregnant female figure found in the Akhziv excavations, but
not a group. An extremely rare type, perhaps unique.
213 SYRO-HITTITE POTTERY VESSEL. Ovoid body with funnel-shaped neck and two strap handles between
shoulder and neck. A lion’s head with details in high relief is applied to one side between two additional han-
dles terminating in relief claws; on the other side is the tail. Earlier 1st Millennium BC. H. 6 1/8 in. (15.5
cm.) The so-called Syro-Hittite or post-Hittite states were Luwian-speaking political entities of Iron Age
Syria that arose after the collapse of the Hittite Empire around 1180 BC and lasted until roughly 700 BC,
the time of the Cimmerian invasion.
92
214 PROTO-HISTORIC WHITE MARBLE ELEPHANT
of stylized form, naively modeled standing on four stout legs, the
back rounded, a small tail between the hind legs, with coiled
ears, the trunk, now missing, flanked by two recessed channels
with drill holes on either side. Ca. 3400-3000 BC.
L. 2 1⁄8 in. (5.4 cm.) Cf. D. N. Adams et al., When Orpheus
Sang, An Ancient Bestiary, Paris, 2004, p. 41, fig. 26.
215 EARLY BRONZE AGE LARGE TERRACOTTA IDOL OF A

SEATED MAN Schematically rendered with elbows bent, and
slit eyes inlaid with green stone. Indus Valley, ca. 2800-2600 BC.
H. 7 7/8 in. (20 cm.) Ex German collection. Rare in this size.
216 BACTRIAN TERRACOTTA GROUP: TWO EQUESTRIAN

ACROBATS Said to have been found in Uzbekistan. 2nd
Millennium BC. L. 9 3/8 in. (24 cm.) Very rare.
217 SOUTH ARABIAN BRONZE VOTIVE OF A PRAYING
YOUTH He wears a long tunic on which is incised a Sabean
inscription. Rare. 1st-2nd Century AD. H. 4 3/4 in. (12 cm.)
93
Why Collect Ancient Art? his objects of art, rather than depositing them in a
There are several reasons for collecting fine works vault or holding receipts. Also, art is not as volatile
of ancient art: as stocks and bonds, the coin, gem, and collectibles
• The excitement of owning a beautiful work of art markets, and especially the gold and silver markets.
that has survived for perhaps some 2,000 years or Sylvia Porter in her New Money Book recommends
more. classical antiquities as one of the best types of art for
• The decoration of one's home or office with unique rapid growth. Dr Eisenberg was first quoted on the
objects whose beauty and desirability have withstood investment value of ancient art in the February 9,
the test of time. 1966 issue of Newsday - over 40 years ago! - and
• The creative satisfaction, enjoyment, and pride most recently in Business Week.
in forming a truly fine collection.
• The probable appreciation in value. Royal-Athena Galleries
Jerome M. Eisenberg, Ph.D., the founder and
How to Collect Ancient Art director of Royal-Athena Galleries, is usually at the
Sylvia Porter lists ten sound rules as a guide in art New York gallery and visits the London gallery sev-
collecting: eral times each year. He is available by appointment
1. Study the field which interests you as much as for consultation, expertise, and appraisals; or for a
possible. telephone conference. At no obligation he will
2. Buy cautiously at first. arrange a private viewing with guidance on a sophis-
3. Make sure that your work of art has quality. ticated long term program of collecting and invest-
4. Deal with a top gallery or art dealer. “Some dealing in the fine arts. He also is in attendance at all
ers and major galleries will guarantee the authentici- the fairs in which we exhibit.
ty of the art works they sell, so check this point as Over the past 50 years we have sold more than 600
well." (Not only have we been guaranteeing our works of ancient art to many of the country's lead-
ancient art for over fifty years, but to the best of our ing museums, including the Metropolitan Museum
knowledge our two-day auction sale conducted by of Art, the Boston Museum of Fine Arts, the Sackler
Parke-Bernet Galleries (now Sotheby's) in 1964 was Art Museum at Harvard University, the Yale
the first auction sale by several years in which every University Art Gallery, the Princeton University Art
piece was guaranteed - but by us!) Museum, the Newark Museum, the Walters Art
5. Have an understanding with your dealer or gallery Gallery, the Detroit lnstitute of Arts, the Cincinnati
about trading up - so he’ll repurchase or resell your Art Museum, the Minneapolis Institute of Arts, the
works as you have more money to invest in high qual- Milwaukee Public Museum, the New Orleans
ity art. (We normally allow full credit for the exchange Museum of Art, the Virginia Museum of Fine Arts,
or upgrading of objects purchased from us.) the Los Angeles County Museum of Art, and the J.
6. Do not buy art works just because they are a cur- Paul Getty Museum, as well as the British Museum,
rent rage. the Louvre, and a large number of museums in
7. Ask the advice of museum directors or curators Canada, Belgium, Germany, Greece, Hungary, the
whenever possible. Netherlands, Spain, Switzerland, Australia, and
8. Decide upon your investing limit before you buy. Japan. The catalogs of classical marble sculptures
If you fall in love with a more expensive object try to from the Museum of Fine Arts, Boston, and from
arrange for a time payment. (We certainly encourage the J. Paul Getty Museum illustrate no less than 39
this and offer flexible time payments!) pieces acquired from our galleries. In addition, over
9. Spread your financial risks by buying a variety of one thousand objects purchased from us have been
art unless you are an expert in a particular field. donated to many other museums, including the
10. “Buy the best examples you can afford in any Freer Gallery of Art, the Sackler Gallery (The
category.” Smithsonian Institution), and the Brooklyn Museum
We would add two other important rules: of Art.
11. Ask for the provenance of any potential acqui- Dr. Eisenberg travels overseas several times annu-
sitions. ally to visit collectors, museums, clients, and many
12. Do not buy objects that have been signifi- of the nearly 150 private sources, agents, dealers,
cantly restored. Beware of overly restored faces in and auction houses with whom he is in frequent
both vase painting and sculpture. contact. Since 1954 he has made over 200 overseas
trips, purchasing over forty thousand antiquities for
Ancient Art as an lnvestment tens of millions of dollars.
Historically, ancient art investments have yielded This aggressive purchasing policy, perhaps without
excellent long-term capital appreciation, usually 8% parallel in the field, enables us to offer an extraordinary
to 10% annually. Any investment in tangibles, espe- number of choice objects at very reasonable prices. Our
cially works of art, should be projected for at least willingness to buy in volume and to purchase our
five to ten vears. Normally one should not hold more inventory outright, rather than to take it on con-
than 10% of their investment portfolio in art. signment, results in extremely competitive pricing,
Collecting fine art is a pleasurable way of hedging often considerably below that of other galleries.
against inflation because the investor can enjoy Furthermore, exchanges and purchases are fre-
94
quently made from many past and present clients aeologists. He gave an address by invitation
who may be upgrading their collections or liquidat- on the international trade in antiquities at the
ing some of their holdings in order to collect in other UNIDROIT Convention in Rome in 1993.
areas. Exchanges or purchases are sometimes carried He organized two symposia in New York in 1994
out with museums both in the United States and in on public policy and the movement of antiquities
Europe for their duplicate accessions or for objects and in 1998 on the acquisition of antiquities by
not in their recent or current fields of specialization. museums for the International Association of
Dealers in Ancient Art, of which he is a founding
Expertise and Ethics member and was a member of the executive board
Ancient art has been the specialty of our director from 1993 to 2002.
for some 54 years, and numismatics for 66 years. In 1999 he presented testimony to the United
His many publications on ancient art and numismat- States Cultural Properties Committee on the legal
ics span over five decades. The first volume of Art of and illegal trade in ancient art in Italy.
the Ancient World by Dr. Eisenberg was published in In 2003 he was a featured speaker and panel partic-
1965. Since 1968 Dr. Eisenberg has concentrated on ipant in the U.S. Government Conference on
expertise in the ancient arts, having lectured on this Stolen Mideast Antiquities in Washington, D.C.
subject at New York University and presented sever- Also in 2003 he featured on the European TV chan-
al scholarly papers at the annual meetings of the nel Arte and on BBC Radio’s File on Four in in-
Archaeological Institute of America, most recently
depth interviews on the antiquities trade. He ap-
on the ‘Roman’ Rubens Vase. His wide range of
peared on television on CBS News, Dateline NBC,
expertise is further revealed through other recent
papers: on Egyptian bronzes at a Congress of the PBS Jim Lehrer News Hour, and CBC Television
International Association of Egyptologists, on (Canada), and was interviewed on the BBC and
Etruscan bronze forgeries at an International Bronze PBR Radio, and in print in the New York Times,
Congress, on the ‘Greek’ Boston and Ludovisi Wall Street Journal, Boston Globe, Philadelphia
thrones at the Magna Graecia Symposium in Venice, Inquirer, Washington Post, The Times, and a dozen
on Roman bronze forgeries at the 1999 International other publications. In 2004 he was featured on a
Bronze Congress, and on the Portland Vase as a Discovery Channel program and on Fox News on
Renaissance work of art at the 2003 International the antiquities trade. Also in 2004 he presented a
Congress of Classical Archaeology. paper on ‘The Mesopotamian Antiquities Trade and
In 1996 he was a Visiting Professor at the Institute the Looting of the Iraq Museum’ to the American
of Classical Archaeology of the University of Leipzig, Bar Association. In 2005 he was interviewed on the
Germany. He was elected a Fellow of the Royal antiquities market and the collecting of antiquities
Numismatic Society in 1952; a member of the on National Public Radio in the US and in 2006 on
Archaeological Institute of America in 1960 (and a National Public Television in Athens, Greece.
Life Member in 1988); a Patron of the American In 2007 he delivered a paper on ‘Perspectives on
Numismatic Society in 1955 (and a Life Associate in the Antiquities Trade and the Collector: Past,
1998); a Fellow for Life of the Metropolitan
Present, and Future’ at the symposium ‘The Future
Museum of Art in 1966; and most recently, a
of the Global Past’ at Yale University. He was inter-
Benefactor of the Museum of Fine Arts, Boston, and
an Honorary Fellow of the Egyptian Museum in viewed in depth for his expertise on Greek televi-
Barcelona, Spain. sion in 2008.
Dr. Eisenberg has appeared as an Expert in the
Courts of several states and has conducted appraisals Ancient Coins
for the U.S. Internal Revenue Service, the U.S. We carry a fine stock of select Greek silver coins
Treasury Department, the U.S. Customs Service, the from $100, Roman gold coins from $1,000, and
Metropolitan Museum of Art and the J. Paul Getty Roman silver and bronze coins from $100. We
Museum, as well as many other prominent institu- began our business as ‘Royal Coin Company’ in
tions. He was elected a Qualified Appraiser by the January 1942, 67 years ago, and Dr Eisenberg, co-
Appraisers Association of America in 1964 and has founder of the firm, has specialized in ancient
recently participated in several episodes of the coins, as sole proprietor, since 1952.
Antiques Road Show. He served on the vetting com-
mittee of the European Fine Art Fair at Maastricht Acknowledgements
from 1993 to 2001 and was the Chairman and co- Dr. Eisenberg wishes to express his gratitude to F.
organizer of the New York Antiquarian International Williamson Price who has again diligently prepared
Fine Art Fair held in November 2001. and co-authored the catalog, to Brent M. Ridge
Dr. Eisenberg has been a leader for several years in who did nearly all of the photography, to the schol-
the promotion of the ethical acquisition of antiqui- ars who attributed and reattributed some of the
ties by museums and collectors and has delivered sculptures and vases, especially Kees Neeft, Konrad
papers on this subject at the Archaeology Section of Schauenburg, and Cornelius C. Vermeule, and to
the U.K. Institute for Conservation in 1993 and at the several others who prefer to remain anonymous.
the 1998 International Congress of Classical Arch-
95
Our website has been greatly improved and expanded as may be seen by the partial
page of Attic vases illustrated below. It is now updated weekly with new acquisitions
and features over 1000 antiquities! We invite you to become a regular visitor.
Wanted to Purchase: Fine Antiquities of All Periods

We are prepared to travel world-wide to acquire select works of legally acquired ancient art
for our continually expanding clientele.
We will purchase collections of any size, act as your agent to sell your objects on commission, or
exchange them for other select pieces from our extensive inventory.
Send photographs and full details with your letter or e-mail.
International Association of Confederation Internationale des Art and Appraisers Association

Dealers in Ancient Art Negociants en Oeuvres d’Art Antique Dealers League of America
MINERVA
Minerva, the bi-monthly, international review of ancient art,
archaeology, and numismatics, published in England, was
established by Dr Eisenberg, its publisher and editor-in-chief,
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 exhibi-
tions, meetings, and symposia in ancient art and archaeology.
Sample copies: $8 or £4 postpaid.

www.minervamagazine.com
Subscription (6 issues per year): U.S.A., Canada, and rest of world:
U.K.: 1 year £21, 2 years £39, 5 years £90. Surface: 1 year $50, 2 years $90, 5 years $220.
Europe: 1 year £23, 2 years £44, 5 years £100. Air: 1 year $66, 2 years $122, 5 years $296.
96
Recent Royal-Athena Catalogs: in full color 225 objects. (80 pages, $5)
• Art of the Ancient World (Vol. XV, 2004) illustrates • A number of the objects in the last several catalogs
in full color 190 objects. (72 pages, $5) are still available. Price lists will be included.
• Gods & Mortals: Bronzes of the Ancient World • All 11 of the above catalogs, 1985 through 2003
(2004, illustrates in full color 80 objects, 80 pages, $5) (total list price $70), only $50. (Add $50 for over-
• Ancient Arms, Armor, and Images of Warfare seas airmail.)
(2004, illustrates in full color 100 objects, 48 pages, $5) Orders for our catalogs may be charged to your credit
• Art of the Ancient World (Vol. XVI, 2005, illustrates card.
in full color 192 objects, 80 pages, $5)
• Mythologies of the Classical World & Ancient Egypt Trade lnquiries
(2006, 48 pages, $5) We cordially invite inquiries from fellow art dealers,
• Art of the Ancient World (Vol. XVII, 2006, illustrates art consultants, architects, interior designers, and insti-
in full color 233 objects, 96 pages, $5) tutional collectors and investors.
• Art of the Ancient World (Vol. XVIII, 2007, illustrates
in full color 259 objects, 96 pages, $5) Special Presentations, Condition Reports, and
Color Photographs of Objects
• Art of the Ancient World (Vol. XIX, 2008, illustrates
We can supply special presentations with further
in full color 222 objects, 96 pages, $5)
information, such as condition reports, and 4 x 6 in.
• All 8 of the above catalogs (total list price $40),
(10x15 cm.) or 8 x 10 in. (20x25 cm.) color pho-
with price lists: $30. (Add $50 for overseas airmail.)
tographs, often with other views or close-ups, on
Other Royal-Athena Catalogs Available any of the objects illustrated in this catalog upon
request. A selection of photographs may also be
• Art of the Ancient World viewed at our London gallery or at the various fairs.
(Vol. IV, 1985) illustrates in full color over 600 works of
art. 208 pages, 192 color plates: $15 Conservation and Mounting Services
• The Age of Cleopatra: The Art of Late Dynastic A professional conservator, Alina Bessarabova,
Graeco-Roman Egypt (1988) illustrates in full color working on our premises in New York, does expert
conservation and restoration of ancient art and
151 selected works of art. (32 pages, $5) antiques. A same-day or a one day service is available
• Gods & Mortals: Bronzes of the Ancient World for an additional charge. Small metal and wood
(1989) illustrates in full color 180 objects. (52 pages, $5) mountings and bases are custom made but due to
• One Thousand Years of Ancient Greek Vases from insurance restrictions this work is usually limited to
Greece, Etruria, & Southern Italy (1990) illustrates in objects purchased from us. We are pleased to accept
full color 186 vases. (48 pages, $5) trade accounts.
• Art of the Ancient World (Vol. VIII, 1995) illustrates Terms and Conditions of Sale
in full color 244 objects. (48 pages, $5) All items are offered subject to prior sale. All prices
• Art of the Ancient World (Vol. IX, 1997) illustrates are subject to change without notice, however, the cur-
in full color 264 objects. (64 pages, $5) rent price list is valid through 2008. The following cred-
• Art of the Ancient World (Vol. X, 1999) illustrates in it cards are honored: American Express,Visa, Mastercard.
full color 264 objects. (64 pages, $5) A deferred payment plan is also available. New York res-
• Art of the Ancient World (Vol. XI, 2000) illustrates idents must add the appropriate sales taxes (currently 8
in full color 167 objects. (64 pages, $5) 5/8%). No cash refunds may be made after 10 days of
• Art of the Ancient World (Vol. XII, 2001) illustrates receipt; however, full credit is allowed on all objects pur-
in full color 410 objects; 30 pages of glossaries and chased from our galleries with the exception of a few
mythologies. (161 pages, $10) consigned items. All shipping and insurance charges will
• Art of the Ancient World (Vol. XIII, 2002) illustrates be billed to the purchaser. Title remains with Royal-
in full color 203 objects. (80 pages, $5) Athena Galleries until payment is made in full.
• Art of the Ancient World (Vol. XIV, 2003) illustrates
established 1942
Jerome M. Eisenberg, Ph.D., Director F. Williamson Price, Associate Director
New York London (Seaby Antiquities)

Richard M. Novakovich Assistant Director & Mark Merrony, Ph.D. Gallery Manager;
Manager Editor, Minerva
Betty W. Eisenberg Comptroller Peter Clayton Consulting Editor,
Suzanne George Office Manager Minerva
Brent M. Ridge Photographer Tony Curran Minerva Webmaster
Arkady Roytman Webmaster Bianca Zonta Intern
Alina Bessarabova Conservator
Andrew England Intern
new york london

AAW09

Încărcat de

Informații document

Drepturi de autor

Formate disponibile

Partajați acest document

Partajați sau inserați document

Opțiuni de partajare

Vi se pare util acest document?

Este necorespunzător acest conținut?

Drepturi de autor:

Formate disponibile

AAW09

Încărcat de

Drepturi de autor:

Formate disponibile

Art of the Ancient World

Greek, Etruscan, Roman, Byzantine, Eg yptian, & Near Eastern Antiquities

royal-athena galleries Jerome M. Eisenberg, Ph.D.

153 East 57th Street Royal-Athena at Seaby

Photos above, left to right:

Jerome M. Eisenberg, Ph. D.

Greek Marble Sculptures

1st-2nd Century AD. H. 43 3/4 in. (111.1 cm.)

The Hephaisteion was the festival begun in 421 BC

Roman Marble Sculptures

9 ROMAN MARBLE HEKATEION

Cf. L. Budde - R. Nicholls, A Catalogue of the

The Athenians were particularly respectful

ROMAN MARBLE PORTRAIT

Marcus Aurelius Septimius Bassianus

Cf. Max Wegner, Das römische Herrscherbild

Compared to other Roman emperors of the age,

Albinus was born into a wealthy, senatorial

This is a particularly fine head from a

27 ROMAN MARBLE HEAD OF A PATRI-

Ex Charles Ratton, Paris, 1970;

For an extensive, illustrated study

While the Paestan tomb paintings

The dress and armor of the figures in

38 GREEK BRONZE NUDE VICTORIOUS ATHLETE standing in a

39 GREEK BRONZE NUDE ZEUS (JUPITER) HURLING

40 LATE HELLENISTIC BRONZE NUDE ZEUS

41 GREEK BRONZE KORE wearing a long pleated chiton

47 ROMAN BRONZE NUDE EROS HOLDING

48 GALLO-ROMAN BRONZE ZEUS ABOUT TO

50 ROMAN BRONZE NUDE

Cf. a similar example from Rome, now in the British

62 ROMAN BRONZE VOTIVE PLAQUE OF HEPHAISTOS (VULCAN), GOD OF THE FORGE,

Achilles conducted funeral games in honor of

Cf. H. Pflug, et al, Antike Helme,

77 ROMAN BRONZE MASK OF A

Visit our website

5th-6th Century AD.

Helmets from the fringes of the Roman

85 NEOLITHIC GREEK POTTERY

96 ATTIC BLACK-FIGURE TYRRHENIAN

107 ATTIC RED-FIGURE TREFOIL OINOCHOE Nike

Ex New York private collection acquired in 2002.

Cf. Marie-Louise Vollenweider, Musées de Genève, no.

143 GREEK GOLD FINGER RING WITH

144 HELLENISTIC GOLD FINGER RING

Classical Gold Jewelry

145 HELLENISTIC GOLD

146 HELLENISTIC GOLD

159 EARLY BYZANTINE PAIR OF GOLD AND GARNET

169 EGYPTIAN OLD KINGDOM

170 EGYPTIAN MIDDLE KINGDOM

Ramesses III was the second pharaoh of the

During his long tenure in the midst of the

Thanks to the discovery of the papyrus trial

The mummy of Ramesses III was discovered

173 EGYPTIAN MIDDLE KINGDOM LIMESTONE HEADREST IN THE FORM OF A PYLON

176 EGYPTIAN SANDSTONE RAISED

177 EGYPTIAN LIMESTONE TRIAL PIECE:

180 EGYPTIAN LIMESTONE MASK FROM AN ANTHROPOID SARCOPHAGUS

Only four other kings in this pose are known

This was probably one of the several large

Doubtless, one of the most important

194 EGYPTIAN NEW KINGDOM