Celebrating our66th Anniversary Volume XIX - 2008

Art of the Ancient WorldGreek, Etruscan, Roman, Egyptian, & Near Eastern Antiquities

new york london

royal-athena galleries

We are pleased to issue this catalog celebrating our 66th anniversary of dealing inclassical numismatics and our 54th year of deal-ing in ancient art. It illustrates in full color 240selected antiquities priced from $1,500 to over$2,000,000.

This publication is one of a continuing seriesprimarily illustrating new acquisitions featuredin our New York and London galleries, whereover two thousand fine works of art are on permanent display. All of the antiquities in thiscatalog are displayed at our New York gallery,the largest and most extensive collection ofthe ancient arts ever exhibited for sale.

In addition to the many masterworks of ancient art, there is a wide variety of fineitems on display priced from $100 to $1,000and up, including Greek and Roman coins, OldMaster prints and drawings, and antiqueEgyptian prints and photographs, perfect forthe beginning collector or for that very special gift. A few of the pieces illustrated maynot be available since they were sold while thecatalog was in preparation, but a number ofother newly acquired objects will be on displayin our New York gallery and on our website:www.royalathena.com, updated weekly.

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

©2007 Jerome M. Eisenberg, Inc. Composed and printed in the United States of America.

Every object purchased by our galleries has been legally acquired. If imported by us intothe United States, we have done so in compliance with all federal regulations and havegiven full consideration to all internationaltreaties governing objects of cultural importance. Antiquities priced at $10,000 ormore are now checked and registered with theArt Loss Registry in London.

All of our objects are clearly labeled with complete descriptions and prices. Conditionreports on all the objects are available uponrequest. We encourage browsing and are happyto assist and advise both the amateur and theserious collector. We urge our prospective clientsto ‘shop around’, for we are proud of our quality,expertise, and competitive pricing.Appointments may be arranged outside of regular gallery hours for clients desiring privacy.Updated price lists for our catalogs are availableupon request. For terms and conditions of salesee the inside back cover.

COVER PHOTOSAttic red-figure column krater by

the Suessula Painter. Ca. 420-390 BC. H. 17 1/4 in. (44 cm.); p. 59, no. 128.

Back cover:Large Roman bronze Men

Ca. 2nd Century AD Total H. 16 1/8 in. (41 cm); p. 28, no. 55.

Text and catalog design byJerome M. Eisenberg, Ph.D.,

and F. Williamson PricePhotographs by Brent M. Ridge

royal-athena galleries established 1942

Jerome M. Eisenberg, Ph.D. Director

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

No. 85 - Art of the Ancient World - Vol. XIX - January 2008

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

VISIT OUR WEBSITE,updated weekly with

our latest acquisitions:www.royalathena.com

We will be exhibiting at Palm Beach! Fine Art & Antique Fair, Palm Beach, February 1-10, 2008

TEFAF, The European Fine Arts Fair, Maastricht, The Netherlands, March 7-16, 2008 BAAF Brussels, The Brussels Ancient Art Fair, Brussels, Belgium, June 5-10, 2008 BAAF Basel, The Basel Ancient Art Fair, Basel, Switzerland, November 7-12, 2008

(Check our website to confirm the dates)

CLASSICAL ARTGreek Marble Sculptures 2Roman Marble Sculptures 5Roman Mosaics 20Greek Bronze Sculptures 23Etruscan Bronze Sculptures 24Roman Bronze Sculptures, etc. 25Images of Warfare, Helmets, and Arms 39Ancient Bronze Vases 42Greek Terracottas 43Etruscan and Roman Terracottas 44Early Greek Vases 46Attic Black-figure Vases 49Attic Red-figure Vases 53South Italian Vases 60Etruscan and Roman Vases 63Roman Glass 65Classical Gold & Silver Objects 66Classical Gold Jewelry 69

BYZANTINE AND MEDIEVAL ART 70NEOLITHIC ART 71BRONZE & IRON AGE ART 73

EGYPTIAN ARTEgyptian Stone Sculptures and Reliefs 75Egyptian Bronze Sculptures 82Egyptian Wood 85Egyptian Terracotta 87Egyptian Faience 87Egyptian Ushabtis 88Egyptian Gold & Silver 89Egyptian Varia 90 NEAR EASTERN ART 91

COLLECTING ANCIENT ART 94ROYAL-ATHENA GALLERIES 94 Expertise and Ethics 95Royal-Athena Galleries Catalogs Inside back cover

Table of Contents

Art of the Ancient WorldGreek, Etruscan, Roman, Byzantine, Egyptian, & Near Eastern Antiquities

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Photos above: Roman marble statue of Aphrodite. 1st-2nd Century AD. H. 55 in. (140 cm); p. 6, no. 10.Roman marble head of Odysseus. 1st-early 2nd Century AD. Total H. 19 1/2 in. (49.5 cm.); p. 10, no. 17.

2 HELLENISTIC MARBLE HEAD OF ALEXANDER THE GREAT, his very long curly hair centrally parted withan anastole; with a rounded face and a serious expression. The head has a small hole with traces of metal remaining,indicating that he once had a diadem or wreath attached. Ca. 2nd Century BC. H. 6 3/4 in. (17.2 cm.)

1 GREEK MARBLE HEAD OF A YOUNG WOMAN OR MAENAD wearing a fillet across her brow, her hair wrapped in a sphendome; earspierced. Asia Minor, 4th-3rd Century BC. H. 5 1/8 in. (13 cm.) Ex Mavrogodato family collection (1870-1948), Istanbul and Therapia(Tarabya), Turkey.

Greek Marble Sculptures

HELLENISTIC MARBLE CYBELE, ENTHRONED The Great Mother Goddess holds a patera in her right hand,a tympanon at her left. She wears a polos on her head, a belted chiton, and a himation. A lion reclines on her lap.3rd-2nd Century BC. H. 5 in. (12.7 cm.) Ex Maurice Nahman collection, Paris, ca. 1953.

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LIFE-SIZE HELLENISTIC MARBLE HALFSTATUE OF A GODDESS, PROBABLYPERSEPHONE OR DEMETER, wearing achiton, her himation over her head (capitevelato). Asia Minor, ca. 325-250 BC. H. 35 3/8 in. (90 cm.)Ex Gregoire Couturier collection, Delémont,Switzerland, acquired before 1960.9Persephonewas the daughter of Zeus and Demeter, goddessof agriculture.

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HELLENISTIC MARBLE HEAD OF APHRODITE (VENUS), goddess of erotic love.1st Century BC. H. 4 1/2 n. (11.4 cm.) Ex French collection

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HELLENISTIC MARBLE HEAD OF APHRODITE ANADYOMENE from a statue depicting her wringing herhair as she emerges from the sea. 3rd-2nd Century BC. H. 4 1/8 in. (10.5 cm.)Ex French collection, acquired ca. 1970.

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HELLENISTIC MARBLE HEAD OF AN ATHLETE, his head turned to the right; from a relief. 2nd-1st Century BC. H. 4 1/2 in. (11.5 cm.) Ex Jean-Marie Talleux Collection, Grand Fort Philippe, France.Published: J. Eisenberg, Art of the Ancient World, vol. IX, 1997, no. 11.

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HELLENISTIC MARBLE HEAD OF A GODDESS, PROBABLY ISIS, wearing a fillet. 3rd-2nd Century BC.H. 3 1/2 in. (9 cm.) Ex old French ambassadorial collection. Isis was the protectress and patroness of women andthe model of conjugal love and motherhood.

ROMAN MARBLE NUDE AMPHITRITE RIDING A HIPPOCAMP She is seated upon ahimation which billows up behindher like a wave. 1st-2nd Century AD. H. 15 1/4 in. (39 cm.); L. 22 1/2 in. (57.5 cm.) Acquired in Italy in the later 18th century by the Duke of Arenberg,Brussels; ex collection of Prof. Michelde la Brassine, Lüttich, Belgium; M.B.collection, Westlake Village, California.

Published: Münzen und Medaillen,Basel, XII, 1961, no. 28; J. Eisenberg,Art of the Ancient World, vol. XV,2004, no. 28.

18th Century restorations, probably bythe workshop of Bartolomeo Cavaceppi,include the head of the hippocamp, itstail fin, and its forelegs. Amphitrite wasone of the sea nymphs known asNereids. She was the daughter ofNereus and Doris and wife of Poseidon.

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Roman Marble Sculptures

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10ROMAN MARBLE NUDEAPHRODITE (VENUS), wearing a diadem; a swag of draperyfalling behind and onto the tree trunk support. 1st-2nd Century AD. H. 55 in. (140 cm.)Ex French private collection; John Klugecollection, Charlottesville, Virginia.Published: J. Eisenberg, Art of the Ancient World, vol. IV,1985, no. 238 . Antique restorations.

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ROMAN OVER LIFE-SIZE MARBLE STATUE OF ANEMPRESS AS DEMETER, wearing a chiton and a himationdraped about her shoulders, and adiadem upon her head.

The physiognomy and coiffure arevery much like those of Domitia, thewife of emperor Domitian, of whomthis is most probably a likeness. Ca. AD 80-96 H. 75 in. (190 cm.)

Ex Collection of HSH the Prince of Liechtenstein; Dino Fabbri,Milan-Paris; John Kluge collection,Charlottesville, Virginia. The surface of the garments wasreworked in the 19th century.

Published: J. Eisenberg, AncientRoman Marble Sculpture, 1983, p.4; Art of the Ancient World, vol IV,1984, no. 258; Art of the AncientWorld, vol IX, 1997, no. 4.

Cf. the portrait of Domitia in V.Poulsen, Les portraits romains,Glyptotheque Ny Carlsberg,Copenhagen, 1974, vol. 2, no. 13.

Domitia Longina, born ca. AD 53,was the youngest daughter of aRoman General and Consul,Gnaeus Domitius Corbulo.Before AD 70, she married LuciusAelius Plautius Lamia Aelianus,but Domitian, according toSuetonius, became infatuated withher and forced her to divorce andthen married her.

In AD 81, upon the death of hisbrother Titus, Domitian becameEmperor and Domitia was grantedthe title of Augusta.

Always referring to herself as theemperor’s wife even decades afterDomitian’s death, she remained animportant personality in Romeuntil her death sometime beforeAD 126 when a temple was dedicated to her in Gabii.

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ROMAN MARBLE DEEP BUST OF A TRITONESS being grasped from above by the hair by agiant. From a large group sculpture.Ca. 2nd Century AD. H. 14 1/8 in. (36 cm.)The tritoness was a sea creature with the head of awoman, her torso ending in two fish tails.

ROMAN MARBLE STATUE OF PIETAS SACRIFICING, at her right is a columnar altar withflames. In her left hand is a small incense box. She wearsa tall polos over her long flowing hair. A chiton is beltedat her waist and a himation is wrapped about her body.1st-2nd Century AD. H. 26 3/8 in. (67 cm.) Ex German private collection since the mid-1970s.Pietas was the personification of piety and religious devotion.

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ROMAN MARBLE HEAD OF A YOUTH carved from Thasian marble, with thick, wavy hair.1st Century AD. H. 10 5/8 in. (27 cm.) Ex Van der Burgh collection, the Netherlands. Cf. J. Herrmann, Thasos and the Ancient MarbleTrade: Evidence from American Museums, GettyMuseum, 1990, pp. 87-90, fig. 27. 8

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15 ROMAN MARBLE HEAD OF ALEXANDERTHE GREAT, his expression upward and to hisleft. His luxuriant hair of tosselled locks and theopen mouth give an impression of pathos. 2nd Century AD. H. 11 1/4 in. (28.5 cm.)Ex English private collection since 1980. Cf. a similar head from Pergamon in theArchaeological Museum in Istanbul, inv. no.1138.

ROMAN MARBLE HEAD OF ALEXANDERTHE GREAT wearing a fillet; a hole in the topfor the insertion of an attribute. 2nd Century AD. H. 3 1/2 in. (9 cm.)

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17ROMAN MARBLE HEAD OFODYSSEUS (ULYSSES), bearded andwearing an ornately decorated pilos helmet.This relief decoration starts at the top witha rosette, then a corona of rays, a frieze ofrosettes, a frieze of erotes, and a frieze ofpalmettes and lotus blossoms. Late 1st-early 2nd Century AD.Total H. 19 1/2 in. (49.5 cm.)Ex collection of Lord Bristol, acquired in the 18th century; Elderay collection, ca. 1920.

The significant 18th Century additionsinclude the nose, the rear left part of theface, part of the helmet, the bust, and thebase. They were probably done byBartolomeo Cavaceppi (1716-1799) or his studio.

Odysseus was the Greek king of Ithaca and a hero of the Trojan war. He figuresprominently in Homer’s Illiad, and the ten-year adventurous return home from thatwar to his faithful wife Penelope is thesubject of Homer’s epic, the Odyssey.Reknowned for his resourcefulness, Homeruses the epithet ‘the cunning’ in bothpoems.

A magnificent drawing by the celebratedGerman artist Johann Heinrich WilhelmTischbein (1751-1829), now in theDeutsches Literaturarchiv in Marbach,depicts seven heroes celebrated by Homer inthe Iliad and the Odyssey. These heroes weredrawn after ancient busts that Tischbein sawduring his lengthy stay in Naples at the endof the 18th century. The bust, which is iden-tified as Odysseus in a description publishedin 1801, is in the center of the compositionshown at right. Tischbein based his paintingof ‘Odysseus and Penelope’ (1802) on thissculpture, then in the possession of LordBristol, who allowed Tischbein to draw it atthat time. Our thanks to the DeutschesLiteraturarchiv in Marbach for allowing us toreproduce this drawing.

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18 ROMAN MARBLE HEAD OF ATTIS He wears a Phrygian cap over his filleted curly hair. Ca. 1st Century AD. H. 12 1/2 in. (32 cm.) Ex collection of Pierre Vérité, Paris, begun in the 1920s; by descent, the collection of Claude Vérité, his son. Cf. a pilaster relief representing the god Attis, 2nd AD,from Toul, in the Musée Lorrain, Nancy, France. A life-death-rebirth deity, he was the consort of Cybele and driver of her lion-drawn chariot.

20 ROMAN MARBLE BUST OF A BEARDED PHILOSOPHER, his head crowned with vine leaves. Ca. 2nd Century AD. H. 18 in. (45.7 cm.) Ex Sir Francis Sacheverell Darwin, Sydnope Hall, Two Dales,Matlock, Derbyshire, England, acquired in the early 19th century. F. S. Darwin authored a book: Travels in Spainand the East: 1808-1810, last published by Cambridge University Press in 1927.

19 ROMAN MARBLE DEEP BUST OF THE ATHENIAN PHILOSOPHER SOCRATES, 469-399 BC. Depicted late in life, bearded and balding, wearing only a himation draped loosely over each shoulder. 1st-2nd Century AD. H. 24 in. (61 cm.) Ex old French collection.

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21 ROMAN MARBLE HEAD OF A YOUTH, POSSIBLY AN EARLY DEPICTION OF NERO being crownedemperor by his mother, Agrippina the younger, her fingers visible behind his right ear, or a victorious athlete beingcrowned. Mid-1st Century AD. H. 8 3/4 in. (22.2 cm.) Ex French collection; private collection, WoodlandHills, California.

ROMAN MARBLE HEAD OF AGRIPPINA, THE ELDER, WIFE OF GERMANICUS, and mother ofCaligula; daughter of Agrippa and Augustus’ daughter Julia. Born in Greece in 14 BC, she married Germanicus inAD 5; he died in AD 19. In AD 26 the emperor Tiberius refused to allow her to leave Rome, had her arrested, andthen exiled her to the island of Pandotoria, where she was starved to death in AD 33. Ca. AD 20-40. H. 5 1/2 in. (14 cm.) Ex German collection.

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24 ROMAN MARBLE HEAD OF THE SPINARIO (‘THORN-PULLER’) after a Hellenistic prototype of the 2nd century BC. 1st-2nd Century AD. H. 6 1/4 in. (15.9 cm.) Ex French private collection, acquired ca. 1970. For a bronze herm bust of the same type see: J. Eisenberg, Gods and Mortals II: Bronzes of the Ancient World,2004, no. 55. See also similar heads in the Antikenmuseum, Basel, and the Allard Pierson Museum, Amsterdam.

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ROMAN MARBLE PORTRAIT HEADOF MENANDER, ca. 342-293 BC,the comic playwright. He has short hairfalling in curls at his forehead, deep-set eyes, and strong, angular jaw. Reputedly from Ostia. Later 1st Century AD. H. 9 3/4 in. (25 cm.) Ex Jovy Collection, Cologne. Published: W. R. Megow, Antiken ausRheinischem Privatbesitz, RheinischesLandesmuseum, Bonn, 1973, no. 359, pl. 164. Lacking the back of the head; possibly from a relief.

Menander was one of the founders of the so-called New Comedy. His first play was‘Ogre,’ written in 321 BC, and over the next20 years he wrote 100 additional comedies.Though not greatly appreciated in his life-time, his reputation grew throughout theearly Roman Imperial period. Plutarchwrote of him, Plautus and Terence imitatedhim, and Ovid thought him “worthy ofimmortality.”

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25ROMAN OVER LIFE-SIZE MARBLE HEAD OFTHE EMPEROR DOMITIAN (AD 81-96.)Sensitively carved of Greek marble with large openeyes, over-hanging upper lip, small lower lip, anddelicate curls. Lacking ears, which were inserted separately. Greece or Asia Minor, later 1st Century. H. 15 3/4 in. (40 cm.) Very fine style.Ex old European collection, 19th century or earlier;J.B. collection, Switzerland, acquired in the 1970s.

Titus Flavius Domitianus was a member of theFlavian Dynasty, being the son of Vespasian by hiswife Domitilla, and brother of Titus, whom he succeeded on 14 October, AD 81, at the age of 30.Born in Rome, as a child he studied rhetoric andliterature, publishing some of his writings on lawand administration. In his biography Suetoniusdescribes him as a learned and educated adolescent,with elegant conversation. Unlike his brother,Titus, who was much older, Domitian did not joinhis father's campaigns in the African provinces andJudaea. As emperor he proved to be a poor admin-istrator, lackluster military commander, and anotorious womanizer.

26 ROMAN MARBLE HEAD OF A WOMAN, possibly a portrait of Marcia Otacilia Severa, wife of Philip I, or a contemporary. Ca. AD 245-250. H. 10 5/8 in. (27 cm.)Ex old collection of M. de W., France.Severa was a member of the ancient gensOtacilius who were people of consular andsenatorial rank. Severa’s father was OtaciliusSeverus, who served as Roman Governor ofMacedonia and Moesia. In AD 234 she married Marcus Julius Philippus who becameemperor, as Philip I, in AD 244. He hadgreat respect for the Roman Senate andbestowed Severa with the honorific title ofAugusta.

ROMAN MARBLE HEAD OF A BEARDEDMAN wearing a fillet, knotted in front; from a relief. Ca. 3rd Century AD.H. 10 3/4 in. (27.3 cm.) Ex collection of Sir Francis Sacheverell Darwin, Sydnope Hall,Two Dales, Matlock, Derbyshire, England,acquired in the early 19th century. F.S. Darwin authored a book: Travels in Spainand the East : 1808-1810, last published byCambridge University Press in 1927.

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28ROMAN MARBLE HEAD OF THEEMPEROR HADRIAN (AD 117-138) Earlier 2nd Century AD.H. 14 1/8 in. (36 cm.) Cf. Glories of the Past, Ancient Art from the Shelby White and Leon Levycollection, Metropolitan Museum of Art,New York, 1990, p. 211, no. 152; K. deKersauson, Catalogue des portraitsromains, vol. II, Musée du Louvre, Paris,1996, p. 117 - 131, nos. 48 - 54. Ex French collection.

Hadrian was a man of extraordinary talents; certainly one of the most giftedemperors that Rome ever produced. Hebecame a fine public speaker, and was astudent of philosophy and other subjects,who could hold his own with the luminar-ies in their fields. He wrote both an auto-biography and poetry but it was through his passion for architecture that he left hisgreatest mark. Hadrian was probably themost traveled emperor spending so littletime in Italy, compared with abroad, thathis governmental policies at home play alesser role in consideration of his entireprincipate.

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29 ROMAN MARBLE HEAD OF ATHENA(MINERVA), the virgin goddess of wisdom,of war, and of the arts and crafts, wearinga helmet of Attic type, the high crest sup-ported by two winged lions. 1st-2nd Century AD. H. 5 5/8 in. (14.5 cm.)Ex Belgian private collection, acquiredca.1950; French private collection.

ROMAN MARBLE HEAD OF FLORA,goddess of flowers and the season of spring. 2nd Century AD. H. 11 1/4 in. (28.6 cm.) Ex private collection, Amityville, New York.

Her festival, the Floralia, was held in Aprilor early May and symbolized the renewal ofthe cycle of life, marked with dancing,drinking, and flowers. Her Greek equiva-lent was Chloris. Flora was married toFavonius, the wind god.

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ROMAN MARBLE STELE OF A WOMAN RECLINING UPON A COUCH (kline). Her hair is set intiers of tight curls in the style of Julia Titi, daughter of the Emperor Titus. She wears a long chiton, and inher left hand she holds a wreath. Inscribed in Greek: Leontos' (wife) age 33, farewell.Ca. AD 80-100. H. 15 3/4 in. (40 cm.) Ex Swiss collection, acquired in 1980.

31 ROMAN MARBLE MONOPODIUM (TABLE LEG) OF A ROARING PANTHER emerging from a palmette. 2nd Century AD. H. 15 7/8 in. (32.7 cm.) Ex American collection; English collection.

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ROMAN MARBLE RELIEF OF HERAKLES STEALING THE CATTLE OF GERYON, one of his twelve Labors. The nude hero brandishing a club is flanked by two bulls. Ca. AD 270. L. 38 1/2 in. (93 cm.); H. 33 7/8 in. (83 cm) Ex Lepine collection, 19th century; M. M. collection, Paris, acquired in 1975.

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ROMAN MARBLE CINERARIUM COVER, the corners carved with palmettes, the central triangular pediment with a relief of Eros riding a hippocamp. 1st-2nd Century AD. H. 5 7/8 in (15 cm); W. 12 1/2 in. (32 cm); D. 11 7/8 in. ( 30 cm.) Ex French collection.

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35 ROMAN ROUND MOSAIC DEPICTING THE HEAD OF DIONYSOS (BACCHUS) within a floraltondo. 2nd-3rd Century AD. D. 26 in. (66 cm.) Ex collection of Henri Boucher (1847-1927), France,Minister of Commerce from 1886-98.

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ROMAN MOSAIC PANEL CENTERING THE HEAD OF DIONYSOS (BACCHUS) god of wine andvegetation. 2nd-3rd Century AD. L. 47 1/2 in (120.7 cm.); H. 18 1/4 in (46.4 cm.) Ex H.W. collection, New York

ROMAN MOSAIC: ZEUS AS AN EAGLE ABOUT TO ABDUCT GANYMEDEThe eagle, with spread wings, grasps the nearly nude Trojan prince, who holds the god’s spear, from off arocky outcrop. North Africa, 2nd Century AD. H. and W. 31 1/8 in. (79 cm.) Ex English private collection, acquired in the 1960s.

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38 GREEK GEOMETRIC BRONZE COLTOlympia, ca. 750 BC. L. 2 3/4 in. (7.2 cm.)Ex Eric de Kolb collection, New York; acquired 1984.Cf. W.-D. Heilmeyer, Olympische Forschungen XII, 1972, pl. 42, no. 346.

39 GREEK BRONZE CRESCENTIC FORM APPLIQUE with griffin head termini, the summit of the arch surmounted by a handle-shaped scroll flanked by birds of prey with incised feather detail; one griffin head restored. Late 7th Century BC. W. 4 in. (10cm.) Ex German private collection assembled in the 1980s.

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HELLENISTIC BRONZE HERAKLES, NUDE, WRESTLING THE NEMEAN LION, the animal’s forepaws grappling the hero about the waist, its head firmly gripped under his left arm.Probably from Alexandria, early 2nd Century BC. H. 4 in. (10.2 cm.) Published: J. Eisenberg, Art of the Ancient World, vol. IX, 1997, no. 43.

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HELLENISTIC BRONZE HEAD OINOCHOE with a trefoil mouth, depicting a young woman, hairswept back, and wearing a chain diadem; eyes originally inlaid. Found near Beirut, Lebanon (ancientBerytus, Phoenicia). 1st Century BC - 1st Century AD. H. 4 7/16 in. (11.3 cm.) Published: J. Eisenberg, Art of the Ancient World, vol. IV (1985), p. 105, no. 298.

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43HELLENISTIC BRONZE ROUNDELOF A GODDESS, PROBABLYARTEMIS (DIANA), goddess of thehunt. The laureate head, in high relief,turning to the right, the chiton clad bustbears a baldric diagonally across her chest. North Africa, 2nd-1st Century BC.H. 5 in. (12.7 cm.)

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HELLENISTIC BRONZE NUDEHERAKLES. The hero, weary after completing his Labors, is depicted leaning against a support. Ca. 1st Century BC.H. 6 7/8 in. (17.6 cm.)Ex French collection.After the original by Lysippos in the 4th Century BC. The support is a modern addition.

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UMBRIAN BRONZE KORE (TURAN) Hands to her sides, wearing a chiton and a conical cap with wavyhair flowing over her back. Early to mid-6th Century BC. H. 3 1/2 in. (8.8 cm.) Rare type. Olive greenpatina. Ex collection of Dr. David Landau, Newton, Massachusetts; acquired in Boston, January 1992.Published: J. Eisenberg, Art of the Ancient World, vol. VIII, 1995, no. 30.

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ETRUSCAN BRONZE SPHINX SEATED ON HER HINDQUARTERS probably a vessel foot; both leftpaws are restored. Very fine style. Ca. 4th Century BC. H. 3 in. (7.6 cm.) Ex P. Richardson collection, Waterford, Michigan. Exhibited: Ball State University Art Museum, 1996-99.

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UMBRIAN BRONZE KORE (TURAN) wearing a conical headdress, left hand on hip, right hand out-stretched; long loose garment incised with dots. Ca. 500 BC. H. 3 1/8 in. (7.9 cm.) Ex English collection; J. S. collection, Shelby, Michigan. Exhibited: Picker Art Gallery, Colgate University, 1986-2003; GeorgeMason University, 2003-2007. Published: J. Eisenberg, Gods & Mortals, 1989, p. 10, no. 25.

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ETRUSCAN BRONZE RECUMBENT RAM Probably from a tripod. 6th Century BC. L. 3 1/8 in. (8 cm.)Ex English antiquarian.

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48 ETRUSCAN BRONZE CISTA HANDLE OF TWO NUDE YOUTHS, PROBABLY THEDIOSCUROI, standing frontally, each with one arm on the other’s shoulder. Possibly from Palestrina. Late 5th Century BC. H. 3 3/8 in. (8.7 cm.) Ex French collection.

49 ROMAN BRONZE PEDIMENT FROM A LARARIUM with a pyramidal crown above a dentil cornice. Atop the apex is a figure of a draped youth wearing a fillet, above each corner, an eagle.Right eagle restored. 1st-2nd Century AD. W. 17 in. (43 cm.); H. 11 3/8 in. (29 cm.) Ex Georgiades family collection, London, formed in the 1970s. Published: J. Eisenberg, Art of the Ancient World, vol.XII, 2001, no. 80. The lares were the personification of the spirit of the household and images of them alongwith those of the master and mistress of the house would be displayed beneath this pediment for veneration.

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ROMAN BRONZE MARS ULTOR, wearing a helmet and full armor, his raised lefthand once held a spear. In fine style. Based upon the statue in the Temple of MarsUltor in the Roman Forum. 1st-2nd Century AD. H. 3 1/2 in. (9 cm.)Ex German collection.

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ROMAN BRONZE NUDE HERMES(MERCURY), messenger of the gods, patron oftravelers, athletes, and merchants, wearing awinged petasos, a chlamys on his shoulder, andholding a money purse. Hermes was not only themessenger of the gods but also the god of businessand commerce. Anatolia, 2nd Century AD.H. 3 in. (7.6 cm.)Ex J. F. collection, Loveland, Ohio, acquiredfrom Royal-Athena in 1986. Exhibited: OhioState University, 1986-90; Picker Art Gallery,Colgate University, 1990-2007.

ROMAN BRONZE ARES (MARS), god of war,wearing full armor and holding a shield andspear. 2nd-3rd Century AD. H. 2 3/4 in. (7 cm.) Ex French collection.

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54 ROMAN BRONZE STANDING NUDE ZEUS,his right leg advancing, and his right arm out-stretched to support an eagle. His raised left handonce clenched a spear or thunderbolt; on ancientbronze spindle base. 1st Century AD. H. 6 7/8 in. (17.5 cm.)Superb olive green patina. Ex European collectionacquired in the 1970s. This work is based on aGreek original ca. 420 BC.

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ROMAN BRONZE NUDE ZEUS (JUPITER),HOLDING A THUNDERBOLT; in his left handhe once held a scepter. A himation is draped overhis left shoulder and he stands with his weight onhis right leg; after the original Greek sculpture byMyron, ca. 450 BC. 1st Century AD H. 4 3/8 in. (11 cm.)

According to the 1st century BC Greek geographerStrabo (XIV, 637), the original was part of agroup depicting Athena recommending to Zeusthat the hero Herakles be allowed entry toOlympus. The original was set up on the islandof Samos but was removed by Marc Antony;Augustus later returned the Athena and Heraklesbut set up the Zeus on the Capitoline. While thereis a large-size marble copy of the returned pair inthe Munich Glyptothek, only small copies of theZeus remain with the exception of a torso from theMarcellus theater in Rome. See: B. Vierneisel-Schlörb, Glyptothek Munich.Catalog of the Sculptures 2, 1979.

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55LARGE ROMAN BRONZE MEN, THEANCIENT MOON GOD OF ANATOLIA;lacking the lunar crescent tips on his shoulders. His right arm is raised to support a spear, hisextended left hand holding a pine cone, andhis foot resting upon the severed head of a bull,with an eagle, separately cast, at his feet; allresting upon the original bronze pedestal base.He wears a Phrygian cap, an ankle-length,long-sleeved garment tied at the waist, and along cloak; his eyes are inlaid with silver. A superb sculpture. Ca. 2nd Century AD. H. of figure 10 1/4 in. (26 cm.); with stand 16 1/8 in. (41 cm.)Ex J.-P. A. collection, Brussels. The spear is a later replacement.

Sculptural depictions of this deity areextremely rare. For a cruder version see asimilar statue in the Rijksmuseum, Leiden,Netherlands, published in J. Godwin,Mystery Religions in the Ancient World.

Men was worshipped as far back as the 3rdmillenium BC. One of the Men cult's mostimportant centers was the ancient city ofAntiocheia. The temple there can be dated to the 4th century BC.

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GALLO-ROMAN BRONZE ROSMERTA ORMAIA, consort of Esus/Hermes, the goddess standingand holding a phiale filled with fruit in her righthand, and wearing a long chiton with overfold,and himation, her eyes with recessed pupils andremains of silver overlay, her wavy hair parted inthe center, bound in a diadem, tied in a chignon,and surmounted by wings and a stephane. A very rare deity. Ca. 2nd Century AD. H. 6 1/16 in. (15.5 cm.)For two related bronze figures of a goddess, eachwith wings emerging from her hair, a very rare fea-ture on representations of female deities, see MuséeBargoin, Clermont-Ferrand, inv. no. 57-54-1 (S.Boucher, "Quelques figurines de bronze: Rosmerta,parèdre de Mercure, et autres divinités gauloises,”Alba Regia, vol. 21, 1984, p. 35, no. 1, pl. 17.1;G. Bauchhenss, ‘Rosmerta,’ LIMC, vol. VII, p. 647,no. 27); Musée Rolin, ‘Autun’, inv. no. 333 V 91 (P.Lebel and S. Boucher, Musée Rolin, Bronzes figurésantiques, Paris, 1975, p. 61, no. 89; S. Boucher,op.cit., pl. 17.2, idem; Récherches sur les bronzesfigurés de Gaule pré-romaine et romaine, Rome,1976, p. 162; Bauchhenss, op. cit., p. 647, no. 28).

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ROMAN LARGE BRONZE FITTINGAPPLIQUE: ATALANTA AND MELEAGERduring the hunt for the Caledonian boar. She isdepicted nude, holding a spear, and standing by herhorse. At the right is Meleager, nude but for achlamys, also holding a spear. The metaphor alluded to here is fated love. The pair are flankedby the griffins of Nemesis. Small rivet holes forattachment remain. 3rd Century AD. L. 11 3/8 in. (29 cm.) A very rare mythological subject, especially inbronze. Atalanta was a hunting companion ofArtemis (Diana). Meleager, son of Oeneus, King ofCalydon, was one of the fabled Argonauts; it was hewho killed the Calydonian boar.

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ROMAN BRONZE ATHENA PROMACHOS, in archaistic style, striding and wielding a missingspear in her right hand, a shield formerly held in herleft hand, and wearing a long chiton, a himationdraped over her right shoulder and across the aegis,and a Corinthian helmet with fragmentary crest, herhair falling in two tresses over the front of the shouldersand in a long plait down the back.1st Century AD. H. 4 11/16 in. (12 cm.) Ex American private collection, acquired prior to 1980.

ROMAN BRONZE STATUETTE OF TYCHE-FORTUNA, goddess of fortune and destiny, wearing adiadem with a tall polos, and holding a cornucopia;her right hand once held a rudder. 1st-2nd Century AD. H. 4 1/4 in. (10.8 cm.) Ex J.F. collection, Loveland, Ohio, acquired from Royal-Athena in 1987. Exhibited: Miami University ArtMuseum, 1988-1995; Ball State University ArtMuseum, 1995-2005; George Mason University ArtMuseum, 2005-2007.

59 ROMAN BRONZE ATHENA (MINERVA), GODDESS OF WISDOM wearing her aegis withgorgoneion and a mantle over a long peplos, and highcrested helmet; her right hand originally held a spearand, perhaps, an owl in the left hand. 1st-2ndCentury AD. H. 5 3/4 in. (14.7 cm.) Ex J. F. collec-tion, Loveland, Ohio. Published: J. Eisenberg, Art ofthe Ancient World, vol. IV, 1985, p. 102, no. 285.Exhibited: Ohio State University 1985-90; Picker ArtGallery, Colgate University, 1990-07. For a nearlyidentical example see H. Walters, Catalogue of theBronzes in the British Museum, 1899, pl. 29, no.1042.

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61 ROMAN BRONZE DEEP BUST OF A PANISKOS, a young version of Pan, the god of fertility and sexualpower, with long curly hair, a top knot, and wearing a faun skin across his body. In his left arm he holds alagobolan, a throwing club for hunting, and in his right hand he holds a garland. 2nd Century AD. H. 5 7/8 in. (15 cm.) Ex collection of Dr. A. L. Austria, acquired at the Dorotheum,Vienna, June 6, 2000. Probably from a lectica, a type of portable bed. The lectica became an increasinglypopular mode of transportation for the wealthy classes during the late Republic, becoming more elaborate during the Empire.

62 ROMAN BRONZE BALSAMARIUM IN THE FORM OF A BLACK LANTERNARIUS or lantern-bearer, seated in a pensive attitude on a high molded base with his right hand on his knee and his left hand against his chin, his garment draped around his lower body, a lantern by his left foot, a fragmentary loop on each shoulder for the attachment of the now missing handle. Ca. 2nd Century AD. H. 4 5/16 in. (10 cm.) Ex collection of Susette Khayat, New York; Dr. Robert Waelder (1900-1967). Lanternarius balsamaria with negroid features are scarce; for an example in the Bibliothèque Nationale, see E. Babelon and A. Blanchet, Catalogue des bronzes antiques de la bibliothèque nationale, Paris, 1895,p. 442, no. 1014.

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64 GALLO- ROMAN SILVER-COVERED BRONZEAPPLIQUE BUST OF APOLLO, his long locks fallingover his shoulders and chest, and tied in a bow atop hishead. A fully modelled bust in very fine style, coveredin part with a thick silver sheet. 2nd Century AD. H. 4 1/4 in. (11 cm.) Said to have been found inNormandy, the metal is most probably potin, an alloyof copper, tin, and lead that was most often used by theGallic tribes. Ex J.S. collection, Paris.

65 ROMAN BRONZE APPLIQUE BUST OFATHENA (MINERVA) The goddess wears a breastplate with an elaborate aegis, and a helmet with three plumes and an eagle. Themouth, eyes, and nostrils are pierced.Presumably from an equine parade mask. 2nd Century AD. H. 7 7/8 in. (20 cm.)Ex private German collection, acquired in themid-1970s. Cf. J.Garbsch, RömischePraderüstungen, 1978 - 1979, pl. 42.

63 ROMAN BRONZE STEELYARD WEIGHTOF A DIADEMED FEMALE BUST, probably an idealized portrait of AntoniaMinor, daughter of Mark Anthony, a veil onthe back of her head and falling to her shoul-ders. Her right shoulder is bare and the bustis covered by a sensuously draped chiton. Ca. AD 30-50. H. 6 7/8 in. (10 cm.) Ex Austrian private collection. Cf. W. Megow, Cameos from Augustus toAlexander Severus,1987, pl. 7 D 13 - D 18.Antonia was one of the most prominentRoman women, celebrated for her virtue andbeauty. She was the youngest daughter ofOctavia Minor and Mark Antony. She wasalso the favorite niece of her mother’s youngestbrother, the emperor Augustus. Cf. The Ludovisi Juno, considered to be aportrait of Antonia Minor, in K.Dahmen,Investigations in Form and Function ofSmall Portraits of the Roman EmperialPeriod, 2001, nos. 77 and 78.

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67PAIR OF ROMAN BRONZEHALF FIGURES OFANTINOUS, with thick curlyhair, each holding a scallop-shelltray. Ca. AD 130-140.H. 4 7/8 in. (12.5 cm.)Probably from a lectica, aportable bed. Very rare. Cf. a similar pair of bronzes inthe Hermitage, nos. V866 andV867.

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ROMAN BRONZE BALSAMARIUM PORTRAIT OFANTINOUS,COMPANION OFTHE EMPEROR HADRIANThe legendary face is depicted surrounded with masses of tieredcurls, the expression modelled withalert eyes and incised pupils. From an unusually large and finevessel. Ca. AD 130-140.H. 4 3/4 in. (12.1 cm.) Ex German collection.

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ROMAN BRONZE BALSAMARIUM: NUDE PORTRAIT BUST OF ANTINOUS, COMPANION OF HADRIAN,with masses of finely worked, thicklocks surrounding his youthful face.His neck is scored to receive aninlaid necklace. The handle terminates in duck heads. Very fine style. Excellent dark green patina. Ca. AD 130-140. H. 4 5/8 in. (11.8 cm.) Ex Austrian private collection.

Antinous was born in the town ofBithynion-Claudiopolis, in theGreek province of Bithynia on thenorthwest coast of Asia Minoraround AD 110. Little is knownas to how Antinous came to be inthe house of Hadrian. It is thoughtthat he was taken to Rome as apage and perhaps entered into theimperial paedagogium, a board-ing school for pages.He is first mentioned as the emper-or’s favorite during their trip toGreece in AD 128. He wasaccounted beautiful by all whosaw him, and was said to havegreat intelligence and a sharp wit,as well as being a skillful hunterand athlete.

69 ROMAN BRONZE JANIFORM HERM OF HERMES (MERCURY). One side depicts the young godwith feathered wings emerging from thick wavy hair; the other depicts Artemis (Diana) wearing a rayedcrown, a quiver emerging from her right shoulder; from a candelabrum. 2nd -3rd Century AD. H. 3 3 /8 in. (8.6 cm.) Ex Sid Port collection acquired in the 1970s; private collection, New York. Cf. A candelabrum with a double herm fitting in J. Ward-Perkins and A. Claridge, Pompeii AD 79,Boston, 1978, p. 160, no. 112a.

70 ROMAN BRONZE YOUNG BOY AS A GLADIATOR. 1st-2nd Century AD. H. 2 5/8 in. (6.7 cm.)A rare subject. Fine reddish brown patina . Ex French collection; J. F. collection, Loveland, Ohio, acquiredfrom Royal-Athena in 1989. Exhibited: Ohio State University Art Museum, 1985-1990; Picker ArtGallery, Colgate University, 1991-2007.

71 ROMAN BRONZE THRAEX GLADIATOR wearing a typical tall helmet with a griffin crest. 2nd-4th Century AD. H. 2 1/4 in. (5.7 cm.) Ex collection of Axel Guttman (1944-2001), Berlin.

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73 ROMAN LIFE-SIZE BRONZE RIGHT FOOT probably from a statue of Aphrodite, with slightly raisedheel, the angle turned inward. There is an ancient rectangular repair on the last and another very small one on the the big toe. Extremely fine style. Asia Minor, 1st Century BC/AD. L. 9 in. (22.9 cm.) Ex European collection; S.Z. collection, Bronx, New York, acquired from Royal-Athena in 1969.

ROMAN LARGE BRONZE PROWLING LION robustly scupted, with finely worked, thick mane, livelypanting expression, large paws, and a long tail. Probably a decorative element from a carriage; on an integrally cast, irregular plinth. Fine green patina. 2nd Century AD. L. 8 1/4 in. (21 cm.)Ex European private collection since the 1980s.

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ROMAN BRONZE INCENSE OR LAMPSTAND, architectural in form, each side modelled as a naiskos with male busts and bull heads within arches; surmounted by four eagles. 2nd-3rd Century AD.H. 4 in. (10 cm.)

ROMAN BRONZE PROTOME OFPEGASUS, probably once attached to the handle of a lamp. 2nd Century BC/AD. H. 3 1/8 in (8 cm..); L. 2 in. (5 cm.). Ex French collection. Cf. M. Comstock et C. Vermeule, Greek, Etruscan, and RomanBronzes in the Museum of Fine Arts, Boston, 1971, p. 349, no. 489.

ROMAN BRONZE OIL LAMP with a handle in the form of the head and neck of a griffin; with original lid. Ca. 3rd Century AD. L. 7 3/4 in. (19.7 cm) Ex English collection; K. F. collection, GardenCity, Michigan, acquired from Royal-Athena in1987. Exhibited: Picker Art Gallery, ColgateUniversity, 1996-2003; George MasonUniversity, 2003-2007.

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78ETRUSCAN BRONZE HELMETOF MONTEFORTINO TYPEOf domed form, the rim is turnedout and further peaked at the rearand riveted at the center with twohinged loops preserved on the inte-rior. The crown is topped by a knobfinial with a central depression, theseparately-made cheekpiecesattached by means of hinges rivetedto each side and secured by a longpin with a disk-shaped terminal;each cheek-piece with a scallopedoutline and floral decoration at thecenter with a hook at the lower endfor attachment of the chin-strap.Attractive mottled blue and greenpatina.4th-3rd Century BC.H. 11 3/4 in. (29.8 cm.) including cheekpieces.

Ex Kurt Deppert, Frankfurt,1970s; collection of Florian Walch,Germany. For a similar example,from the Axel Guttmann collec-tion, see p. 57, pl. 7, in M.Junkelmann, Römische Helme:Sammlung Axel Guttmann, 2000.For another similar in the LosAngeles County Museum of Artfrom the William Randolph Hearstcollection, see D. Mitten and S.Doeringer, Master Bronzes fromthe Classical World, 1968, p. 224,no. 227. The helmet bears a com-bat dent on the left side.

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CORINTHIAN BRONZE HELMET with almond-shaped eyecut-outs, spoon-shaped nose-guard,a sweeping skirt, and riveted edges. 2nd half of the 7th Century BC.H. 9 1/2 in. (24 cm.)Ex private collection, Cologne,Germany, acquired ca. 1990;American collection. Cf. a similar in the MuseoNazionale del Melfese in H. Pflug,Antike Helme, Mainz, 1988, p. 86, pl. 24-25.

Ancient Helmets& Weapons

79ETRUSCAN BRONZE NEGAUHELMET OF THE VETULONIATYPE with a high domed body surmounted by a median ridge. Anunusual feature is the softly roundededge of the brim. It has holes for theattachment of a chin strap on eachside. Two incised workshop or owner-ship marks can be made out on theforward face of the brim. 5th Century BC. H. 7 in. (18.5 cm.)Ex collection of Axel Guttmann(1944-2001), Berlin.

80 GREEK BRONZE HELMET CHEEK PIECE bearing a relief scene of a cuirass-clad warrior wielding ashield and standing over a well-muscled, nude warrior futilely trying to fend off his attacker with a roundedshield, possibly a representation of Achilles slaying Hector. Ca. 425-375 BC. H. 6 1/2 in. (16.5 cm.) Ex private collection, New York. Cf. Cheek piece in the Antikenmuseum, Berlinwith a depiction of Odysseus, published in Pflug, Antiken Helme, Mainz, 1988, p.146, pl. 13.

81 MACEDONIAN BRONZE HELMET OF PILOS TYPE, conical with a narrow flange around the rim withholes for attachment; an indistinct owner’s name inscribed in dots. 5th-4th Century BC. H. 7 1/2 in. (19 cm); diam. 8 1/4 in. (21 cm.) Ex collection of Axel Guttmann(1944-2001) Berlin. Cf. H. Pflug, Antike Helme, Mainz, 1988, p. 174.

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82 ROMAN BRONZE MILITARY DIPLOMA OF M. SOLLIUS GRACILIS, constituted 22 August 139under the emperor Antoninus Pius and the suffect consuls L. Minicius Natalis (Quadronius Verus) and L.Claudius Proculus, for the Praetorian Fleet of Ravenna. The recipient veteran was from the tribe of theScordisci, with the Roman name M. Sollius Gracilis. His fathers name is Zura, a name known from MoesiaInferior in the lower Danube area. The Scordisci were a Celtic tribe living in lower Pannonia - Illyriabetween the Sava, Drava, and Danube rivers.Copied and checked from the bronze tablet fixed to the wall at Rome behind the temple of the deified Augustus at the shrine of Minerva. The outside face of the reversetablet lists the names of seven witnesses. The whole comprises two rectangular tablets, each pierced twice for binding. Ca. AD 139. H. 5 1/2 in. (14.2 cm.) x 4 5/8 in. (11.8 cm.) Ex European collection. Repaired, but complete.Soon to be published in Zeitschrift für Papyrologie undEpigraphik: "New Diplomas for the Italian Fleets", byWerner Eck and Andreas Pangerl. These diplomas are actually copies of original bronze documents that were kept in an archive in Rome. The copies were distributed to a serviceman upon his retirement as proof of his honorable service and newly acquired citizenship.

83 EUROPEAN BRONZE AGE SWORD, a slender blade with a rounded mid rib on both sides, a riveted grippiece with a flat oval disk pommel, and with remnants of engraved grooved and incised spirals. Bavaria, Germany, ca. 1100 BC. L. 20 7/8 in. (53 cm.) Published: A. Hänsel, Die funde derBronzezeit aus Bayern, Berlin, 1997, p. 37, fig. 13.

84 CELTIC IRON SWORD BLADE with tapered tang, still in the scabbard. The iron scabbard has threeridges on the obverse side and a decorated chape. There is a rectangular suspension bracket on the reverse sideof the locket. La Téne Period, ca. 400-350 BC. L. 27 1/8 in. (69 cm) Ex German private collection.

85 LARGE EUROPEAN BRONZE AGE KNIFE On the blade are two parallel scratch lines, each paired witha dotted line. 12th-10th Century BC. L. 11 7/8 in. (30 cm.)

86 ROMAN BRONZE OLPE WITH RELIEF HANDLE terminating in a relief of the head of a youth in aPhrygian bonnet. 2nd-3rd Century AD. H. 6 1/8 in. (15.5 cm.) Ex French collection; E. B. and K.B.collection, Orion, Michigan. Exhibited: Picker Art Gallery, Colgate University, 1996-2003; George MasonUniversity, 2003-2007. Published: J. Eisenberg, Art of the Ancient World, 1985, p. 110, no. 326.

87 ETRUSCAN BRONZE TREFOIL OINOCHOE, the base of the handle with an applique of a wingedsiren. Ca. 6th Century BC. H. 8 1/4 in. (21 cm.) Said to have been found near Rheims. With an oldlabel, “No. 104. VIe siècle av. J.-C., Oenochoé de bronze trouvée près de Reims (Marne) travailétrusque.”

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ARCHAIC GREEK TERRACOTTA PROTOME OF A GODDESS, probably Persephone; traces of white slip remaining. Thessaly, 6th-early 5th Century BC. H. 4 5/8 in. (12 cm.) Ex von Driesum collection.

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GREEK TERRACOTTA RELIEF FRAGMENT OF THETISriding a ketos and carrying the sword and helmet of Achilles; afrieze above. Ca. 4th Century BC. L. 3 in. (7.5 cm.) Cf. R. A. Higgins, Greek Terracottas, London, 1967, pp. xxxvi and 104, pl. 47B-C. Ex British private collection, acquired in Paris in the late 1980s.

GGrreeeekk TTeerrrraaccoottttaass

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90 ARCHAIC GREEK TERRACOTTA HEAD OF A GODDESS Ca. 6th Century BC. H. 8 in. (20.3 cm.) Ex Phelps collection, La Jolla, California, acquired fromRoyal-Athena Galleries in 1982.

GREEK TERRACOTTA HAND HOLDING A PYXIS from a votive statue, with remnants of the crimson slip. Ca. 4th Century BC. L. 5 in. (12.5 cm.)Ex English private collection acquired between 1968-78.

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91 GREEK TERRACOTTA PROTOME: OF A GODDESS,veiled, holding a fan in her upraised right hand; some orig-inal paint remaining. Tarentum, later 4th Century BC. H. 7 7/8 in. (21 cm.) Cf. G. Laviosa, ‘Le antefisse fittili di Taranto’, Archeologia Classica 6, 1954, pl. 73.

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92 HELLENISTIC POLYCHROME TERRACOTTAPHLYAX AND MAENAD, the actor dressed as a satyrcavorting with a maenad. Canosa, 3rd Century BC. H. 7 1/4 in. (18.5 cm.) Ex Nina Borowski, Paris; estate of a prominent French collector. Published inArchitectural Digest, December 1982.

HELLENISTIC TERRACOTTA LADY OF FASHIONwrapped in a himation, capite velato, and covering her mouth and chin. She stands with her weight on her left foot, her left hand resting on her hip; traces of the white slip remaining. Asia Minor, 3rd Century BC. H. 8 5/8 in. (22 cm.)

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95ETRUSCAN POLYCHROME TERRACOTTACINERARIUM depicting the battle between Eteocles and Polynices to succeed their father, Oedipus, as king of Thebes; inscribed with the name of the owner. The combatant pair are flanked by two figures. Chiusi, mid-2nd Century BC. H. 11 in. (28 cm.); L. 17 3/4 in. ( 45 cm.); D. 8 1/4 in. (21 cm.) Ex private Swedish collection.Cf. A. Maggiani et al, Treasures from Tuscany - The Etruscan Legacy, p. 136, no. 229, for a similar cinerarium depictingEteocles and Polynices battling; see: G.Q.Giglioli, l’Arte Etrusca, Milan 1935, pl.CCCCX, 1 and 2; Ines Jucker et al, Italy of the Etruscans,The Israel Museum, Mainz 1991, p. 270, fig. 354 .

96 ETRUSCAN TERRACOTTA VOTIVE HEADOF A YOUTH Ca. 3rd Century BC.H. 9 1/4 in. (23.5 cm.)Ex French collection.

EEttrruussccaann && RRoommaannTTeerrrraaccoottttaass

97ROMAN POTTERY RAMP-TOWER(TURRICULA) FOR A GAME OF DICEon which the dice were thrown down thesteps. A trapezoid-shaped object with astamped decoration of circles and a lion protome. The upper side is provided withsteps. A rare object. 4th -5th Century AD. L. 5 1/8 in. (13.1 cm.)Cf. M. Fittà, Games and Toys inAntiquity, 1997, p. 110 fig. 201-203. Ex Munich art market, 1990.

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ROMAN TERRACOTTA TILE depictingin low relief heads of Apollo between plung-ing dolphins. 1st-2nd Century AD. L. 12 1/2 in. (32 cm.)

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MYCENAEAN POTTERYTHREE-HANDLED PIRIFORM JAR Late Helladic IIIA2, ca. 1400 BC.H. 8 in. (20.5 cm.) Ex Dr. Appelboom, collection,the Netherlands,acquired in 1970.Cf. E. Furumark, TheChronology of MycenaeanPottery, early IIIA2, p. 341,pls. 4-5.

EEaarrllyy GGrreeeekk VVaasseess

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MYCENAEAN LARGEPOTTERY STIRRUP JARdecorated in black slip withbanding, chevrons, and atthe shoulder a frieze oftracery. Ca. 13th Century BC. H. 8 5/8 in. (22.5 cm.) Ex French collection.

MYCENAEAN POTTERY STIRRUP JAR with overall banding and strokes on theshoulder in brownish-orange slip. Ca. 1400 BC. H. 4 1/8 in. (10.5 cm.)Ex Austrian collection.

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CORINTHIAN POTTERY AMPHORAdecorated with a central register of lotusbuds, palmettes, three panthers, and a stag;rosettes in the field. Early 6th Century BC.H. 6 7/8 in. (17.5 cm.) Ex Dr. ElieBorowski collection, Basel, Switzerland.Published: J. Eisenberg, Art of the AncientWorld, vol. XII, 2001, no. 165.

103GREEK GEOMETRIC POTTERY TREFOIL OINOCHOE, the body of spherical silhouette with banding formed ofthree lines; the trefoil lip, shoulder, and footwith a broad band; the cylindrical neck with a waterbird between vertical wavy lines, bordered by triple-line bands.Possibly East Greek. 8th Century BC.H. 11 in. (27.9 cm.) Ex collection of Dr. W.E., Staufen, Germany, acquired in 1973.

102ATTIC GEOMETRIC LARGE POTTERYOLPE, the entire surface decorated in blackslip with banding, rows of Greek key designs,and stylized water birds. Earlier 8th Century BC.H. 16 1/2 in. (41.8 cm.) Ex French collection.

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105 EUBOEAN BLACK-FIGURE PLATE CENTERING A COCKEREL, with grooved lip, a ridge definingthe floor on the exterior, and a ring-base. The rim is pierced for suspension. The decoration, which makeslavish use of crimson and white, shows a strutting cockerel with, above him, a palmette and, to the right, a spiral supporting a lotus flower on a long stem. Rare. Ca. 600-550 BC. D. 5. 3/4 in. (14.6 cm)

106 GREEK FIKELLURA POTTERY TREFOIL OINOCHOE, with registers of geometric designs Rhodes,6th Century BC. H. 7 1/2 in. (19 cm.) Fikellura is named after the modern name of ancient Kamiros,Rhodes. Scarce. Ex French collection.

107 GREEK POTTERY ARYBALLOS IN THE FORM OF A SANDALLED LEG Rhodes, ca. 600-575 BC. H 7 7/8 in. (20 cm.) Ex French collection. Cf. similar in the RoyalOntario Museum, published: J. Ducat, Les vases plastiques rhodiens,archaïques in terre cuite, Paris, 1966, p. 135, group A 2, no. 1. Rare and in choice condition.

108 BOEOTIAN TERRACOTTA ASKOS IN THE FORM OF A SIRENwith a spout projecting from one wing, the neck moulded as a femalehead wearing a low polos, and a double ridged handle.5th Century BC. H. 5 1/4 in. (13 cm.) Ex Swedish collection.

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ATTIC LARGE BLACK-FIGURETYRRHENIAN AMPHORA BYTHE CASTELLANI PAINTERTheseus is shown pursuing four centaurs, his sword drawn and grasping the nearest one by the wrist.The others are fleeing and one pre-pares to cast a rock. The leadingcentaur holds a branch. Reverse:Two hoplites are shown in combat atthe center. To their right threebearded men, two carrying spearsand one a circlet, watch the contest.On the left, two more hoplites arefighting, one down on his knees.Two of the shields have tripod devicesand one a bucranium (ox skull).Ca. 560-550 BC.H. 17.9 in. (45.5 cm)Ex. Conradty collection, Nuremburg,Germany.

AAttttiicc BBllaacckk--ffiigguurree VVaasseess

110 ATTIC BLACK-FIGURE PANEL AMPHORA BY A CONTEMPORARY OF LYDOS Probably a departure scene, depicting a warrior wearing a Corinthian helmet and holding a round shield facing left,flanked by two bearded men. They are flanked by two other men, one bearded. The four wear long stripedgarments. The reverse is similiar except that the inner pair are semi-nude youths. Ca. 565-535 BC. H. 10 5/8 in. (27.2 cm.) Ex collection of Albert Pilot (1922- 2002), France, acquired circa 1940.

111 ATTIC BLACK-FIGURE PANEL AMPHORA RECALLING THE PRINCETON PAINTER. Both sidesdepict a footrace. On one side three muscular, nude youths run to the right with arms raised. On the reversetwo youths race. Above either panel is a band of zig-zags. Earlier 6th Century BC. H. 11 1/8 in. (28.5 cm.) Ex 19th century German collection, thence by descent.

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112a

112 ATTIC BLACK-FIGURE LIDDED NECK AMPHORA. Herakles, at left, attacks the three-bodiedGeryon. Eurytion, who having guarded Geryon’s cattle, is mortally wounded and sinks to the ground. Reverse: A warrior arms himself, while a female holds his spears and shield; two hoplites flanking. Ca. 510 BC. H. 16 1/2 in. (42 cm.) Ex 19th century collction; collection of G. Miltner, Bregenz,Austria. Published: H. Jobst, ‘Eine spätschwarzfigurige Halsamphore in Wiener Privatbesitz,’ inFestschrift für Hedwig Kenner, 1985, pp. 191-194, no. 19.

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ATTIC BLACK-FIGURE HYDRIAA goddess mounts a quadriga withthree attendants; below, a stagflanked by two lions. In the predellaon the shoulder are two nude boxersflanked by attendants.Ca. 550-525 BC.H. 19 3/4 in. (50 cm.)

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sale anywhere. For anoverview, consult our recentcatalogs, visit the New York

gallery, or go to www.royalathena.com.

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ATTIC BLACK-FIGURE WHITE GROUND LEKYTHOS NEAR THE HAIMON PAINTER Herakles and Apollo scuffle over the Delphic tripod, Athena, at right, watching. Ca. 490 BC. H. 7 1/8 in. (18.3 cm.) Ex French collcetion.

ATTIC BLACK-FIGURE WHITE GROUND LEKYTHOS BY THE DIOSPHOS PAINTERAthena, Iolas, and Herakles wrestling with the Nemean lion. Ca. 490 BC. H. 8 in. (20.5 cm.) Ex European private collection, acquired in the 1970s.

ATTIC BLACK-FIGURE TREFOIL OINOCHOE BY THE ATHENA PAINTER The bearded Dionysosstands between dancing maenads; grapevines in the field. Ca. 500-480 BC. H. 7 in. (17.8 cm.) Intact.Ex collection of Dr. F. P., New York; Dr. J. L., Bay City, Texas, acquired from Royal-Athena Galleries in1990.

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ATTIC BLACK-FIGURE EYE CUP. A Gorgon running to right; a mounted warrior riding right, a bird inflight above; a leaping winged dolphin below each handle. Ca. 530-520 BC. H. 5 1/4 in. (13.2 cm); D.11 1/4 in. (28.4 cm.) Published: A. Pollino, Guerriers et Cavaliers dans le Monde Grec, 1988, pp. 182-183; J. Jordan, Attic Black-figured Eye-Cups, Ann Arbor, 1989, no. C198; P. Heesen, The J. L. TheodorCollection of Attic Black-figure Vases, Amsterdam, 1996, no. 48.

114 ATTIC BLACK-FIGURE OLPE BY THE MICHIGAN PAINTER A youth, holding spears, stands besidea horse, flanked by two Scythian archers. Ca. 510 BC. H. 7 7/8 in. (20 cm.)Ex collection of Dr. J. L., Bay City, Texas, acquired from Royal-Athena Galleries in 1988.

119

AAttttiicc RReedd--ffiigguurree VVaasseess

ATTIC RED-FIGURE NOLAN AMPHORA NEAR THE OIONOKLES PAINTER, A young hunter moves to the right, holding twospears, a petasos tied with a red cord slung behindhis shoulder; a short himation clasped at the oppositeshoulder. Reverse: Bearded male wrapped in a hima-tion and holding a staff. Very fine style. Ca. 470-460 BC. H. 13 5/8 in. (34.6 cm.) Ex American private collection.

118 ATTIC RED-FIGURE LEKYTHOS FROM THEWORKSHOP OF BRYGOS A bearded man wearing a fillet, and a bordered himation. He leans upon a knotty staff, his right hand restingupon his waist. In his left hand he holds a lyre. Ca. 490-480 BC. H. 10 1/2 in. (26.7 cm.)Ex Swiss collection.

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120

ATTIC RED-FIGURE HYDRIA IN THE MANNER OF THEKLEOPHON PAINTER To the left, a woman in a richly pleated chiton sits on a klismos; tothe right, stands another woman. On the floor between them is akalathos above which hovers a largeEros holding a basket and a smallchest. Ca. 430 BC. H. 11 1/8 in. (33.5 cm.)Ex Spink & Sons, William RandolphHearst, San Simeon, California, soldat Parke-Bernet Galleries, New York, 1-6 April 1963, lot 91.Published: J. Beazley, Attic Red-figureVase-painters, 1963, p. 115.

ATTIC RED-FIGURE COLUMNKRATER BY THE PAINTER OFTHE LOUVRE CENTAUROMACHY The capture of Helen. Theseus carryinga spear, a large round shield with a serpent blazon, and wearing a crestedhelmet runs toward Helen, at left.Another draped female, possiblyClytemnestra, flees to right toward abearded figure, probably Tyndareus. Reverse: Three draped youths. Ca. 470-460 BC. H. 17 in. (43.2 cm.) Ex French collection, acquired in 1971.

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122ATTIC RED-FIGURE NOLAN AMPHORA BY THEBERLIN PAINTER Athena strides to the right holding ahelmet in her left hand and a spear in her right. Reverse: A female with open arms gazes backward whilestriding right. Ca. 470 BC. H. 13 3/4 in. (35 cm.)Published: J. Beazley, Attic Red-Figure Vase-Painters,202.77, 1963; J. Boardman, Athenian Red-figure Vases,pl.160, 1775. Ex M. Studer collection, Lugano,Switzerland; private collection, Ascona, Switzerland,acquired from Royal-Athena in 2001.

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ATTIC RED-FIGURE COLUMNKRATER Standing by her frontdoor, a draped female with her leftfoot crossed over her right, gazes toright with her right arm extended ina beckoning gesture; kale painted onthe stoop. Reverse: A draped youth,striding to right, his arm extended.Ca. 470-460 BC. H. 17 3/8 in. (44.2 cm.) Ex collection of J. R. de Bourgogne,Paris, France, acquired in 1970.

124

ATTIC RED-FIGURE COLUMNKRATER BY THE EUPOLISPAINTER A helmeted Amazonwearing a high crested helmet, and anoriental style tunic and leggings, holdsan axe, a spear, and a large apronnedshield with a scorpion device. Reverse:A draped youth striding and holding atorch. Ca. 470-460 BC.H. 15 1/4 in. (38.7 cm.) Published:J. Eisenberg, Art of the AncientWorld, vol. XII, 2001, no. 218.

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126

125ATTIC RED-FIGURE COLUMNKRATER BY THE AGRIGENTOPAINTER Three youths with wreathsat a komos (procession after acarousal). The first carries a barbiton(lyre) and turns towards his singingcompanions. The central figure holds a staff; the last one holds an amphoraand swings a torch. Reverse: Threedraped youths. Ca. 460-450 BC. H. 14 1/2 in. (36.7 cm. ) Ex C. R. collection, Nordrhein-Westfehlen, Germany. The komos wasa part of the symposium and a popularmotif for wine vessels. For the painter see Corpus VasorumAntiquorum, München 2, 2005, 14f.pls. 70-72.

ATTIC RED-FIGURE BELLKRATER BY THE CHRISTIEPAINTER A komos procession led bya draped female playing a flute fol-lowed by two nude youths, the frstholding a barbiton. Reverse: Threedraped youths. Ca. 450-440 BC. H 10 3/4 in. (27.3 cm.)Ex French collection, acquired in1971.

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127ATTIC RED-FIGURE COLUMNKRATER BY THE PAINTER OF THE LOUVRE CENTAUROMACHYDionysos, holding a thyrsos and a kantharos, looks to the left at a maenad playing a lyre; to the right anude satyr grasps a maenad. Reverse:Three draped youths. Around the lip are black-figure bulls and felines. Ca. 450 BC. H. 14 1/8 in. (36 cm.) Ex collection of J.-M. R., Dijon,France, acquired in 1970.

Cf. J. Beazley, Attic Red-figure Vase-painters, pp. 1088-89 for other columnkraters with satyrs and maenads by thispainter.

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ATTIC RED-FIGURE COLUMN KRATER BY THE SUESSULA PAINTER Quadriga driven by a femalewearing a decorated Phrygian cap and ornate costume, an equally ornately attired bearded male stands in thecar with her. In front, about to be run down, is an ornately attired youth or female holding a hand axe.Reverse: Three draped youths. Ca. 420-390 BC. H. 17 1/4 in. (44 cm.) Ex collection of J.-M. R., Dijon,France, acquired in 1970. (Cover photo) Cf. the column krater, Naples 146740, in J. Beazley, Attic Red-fig-ure Vase-painters 1345.9; Notizie degli Scavi 1935, pl. 15.4; also: New York 44.11.12, in J. Beazley, AtticRed-figure Vase-painters 1344.3; Lexicon Iconographicum Mythologiae Classicae, I, pl. 485, no. 329.

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130 APULIAN RED-FIGURE RECTANGULAR FISHPLATE FROM THE HIPPOCAMP GROUP A mullet, two-banded bream, striped bream, and a star-gazer (uranoscopus scaber) are positioned around a cental depression. Ca. 340-320 BC. 7 1/2 in. (19.1 cm.) x 8 1/8 in. (20.6 cm.) Non-circular fishplates are very rare.

APULIAN RED-FIGURE PLATE BY THE DARIUS PAINTER Tondo: The battle between Athena andPallas. Athena wears a belted chiton and plumed helmet, holding the Argolic shield on her left side with thehead of Medusa, and her golden staff, her right arm outstretched brandishing a flaming torch. The wingedgiant Pallas is depicted with an animal skin over his left shoulder, his legs encased in two pouches withsnakes emerging on either side. A rare and unusual depiction. Ca. 320 BC Diam. 11 in. (27.9 cm.) Ex private Swiss collection, prior to 1975. Published: C. Aellen, A. Cambitoglou, and J. Chamay, LePeintre de Darius, 1986, p. 234.

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APULIAN RED-FIGURE HYDRIA BY THEBALTIMORE PAINTER Within an Ionicnaiskos, a woman seated on a stool, wearing achiton and a red himation, holds the hem in her right hand. Before her stands anotherdraped female holding a fan in her left hand.The naiskos is framed by four female offeringbearers. Ca. 330-320 BC.H. 22 1/4 in. (56.5 cm.) Ex F. D. collection, New York.Published: K. Schauenburg, "Zu Grabvasendes Baltimoremalers," in Jahrbuch desDeutschen Archaeologischen Institute, 105,1990, p. 69, pls. 5-8; A.Trendall and A. Cambitoglou, Second Supplement toThe Red-Figured Vases of Apulia, part II,London, 1992, no. 27/52e, pl. LXXIV,2; J.Eisenberg, Art of the Ancient World, 1997,no. 118.

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LARGE CANOSAN POTTERY VOLUTEKRATER, the body decorated with opposedequestrian warriors in combat, the horses withtheir forelegs raised, the naked riders withtheir cloaks flapping behind them, holdingspears. Reverse: In profile the head of femaleher hair dressed with a kekryphalos.Ca. 3rd Century BC. H. 20 1/2 in. (52 cm.)Ex private Belgian collection, inherited in the 1950s; probably acquired between 1920-1940.

SSoouutthh IIttaalliiaann VVaasseess

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133 APULIAN RED-FIGURE PELIKE BY THEHOPPIN PAINTER A standing nude male,wearing a diadem and holding a cloak, isaddressed by a seated, draped female holding a mirror. Reverse: Two youths. Ca. 380-360 BC. H. 11 7/8 in. (30.2 cm.)Ex J. M. collection, Emblem, Belgium, acquiredfrom J. Billen in the 1980s. Published: A.Trendall and A. Cambitoglou, Red-figuredVases of Apulia. Suppl. 2, 1992, ch. 5, no. 46b.

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LUCANIAN RED-FIGURE PELIKE BY THEAMYKOS PAINTER A nude youth holding astaff is chased by a draped female holding a mir-ror. Reverse: Two youths. Ca. 420-400 BC.H. 10 3/4 in. (27.2 cm.) Ex Belgian private collection, acquired in the 1980s.Published: A.Trendall, Red-figured Vases ofLucania, Campania, & Sicily, Suppl. 2, 1973,no. 263a.

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APULIAN RED-FIGURE TREFOILOINOCHOE BY THE SNUB NOSEPAINTER A nude youth is seated upon draperyand is holding a patera and a grape cluster. Ca. 370 BC. H. 7 1/4 in. (18.6 cm.) Ex Belgian private collection, acquired in the1980s.

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136 ETRUSCAN IMPASTO VOTIVE INTHE FORM OF A KILN OR OVEN with a tapering cubic bottom section withtwo sides incised with zig-zags and the othersides with a cut-out square in the midst.This is topped with a tapering cylindricalneck with everted lip. Latium, 9th-8th Century BC. H. 6 1/8 in. (15.6 cm.) Ex English collection; acquired in 1983. Very rare.

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ETRUSCO-CORINTHIAN POTTERYPIRIFORM ARYBALLOS in the manner ofthe Castellani Painter, with a frieze of tworunning dogs. Ca. 620-580 BC.H. 3 3/4 in. (9.5 cm.) Ex Tollmann collection, Cologne, acquired in the 1970s.Published: J. Szilágyi, Ceramica Etrusco-corinzia Figurata II, 1998, p. 706, no. 13;pl. 261c.

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ETRUSCAN POTTERY TREFOILOINOCHOE: PANKRATIASTS The combatant at right, having fallen, looks back at the victor. Both are nude, their hands and wrists bound with meilichai.Ca. 5th Century BC. H. 8 7/8 in. (22.5 cm.)Ex H. H. collection, Zurich, Switzerland1973.

EEttrruussccaann && RRoommaann VVaasseess

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139

ROMAN TERRA SIGILLATA BOWL DEPICTING ULYSSES AND THE SIRENS With appliques ofUlysses bound to his ship’s mast and leaping dolphins. Circe told the hero, who desperately wanted to hear the sirens’ song, to be bound to the mast, after ordering his men to block their ears with wax. Very rare.Eastern Mediterranean, 3rd-4th Century AD. H. 5 1/2 in. (14 cm.) Ex English private collection.

141 ROMAN POTTERY LAMP: DISCUS WITH HERMES (MERCURY) RIDING A RAM He holds acaduceus and a ring-shaped object; on the bottom is a workshop signature in the form of three branches.Loeschcke VIII type, with a heart-shaped spout. 1st-2nd Century AD. L. 4 1/2 in. (11.4 cm.) Unusually fine style. Ex English private collection.

142 ROMAN GREEN GLAZED POTTERY LAMP of Loeschcke IX type, the handle surmounted by an eagle;conical ribbed foot. Figurative glazed lamps are rare, especially in this well preserved condition.3rd-4th Century AD. L. 4 5/8 in. (12 cm.); H. 4 1/2 in. (11.5 cm.) Ex German private collection.

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HELLENISTIC POTTERY HEMISPHERICAL BOWL OF THE MEGARIAN CLASS with fine moldeddesigns in relief of an Amazonomachy, a Centauromachy, and a Greek warrior fighting against a Persian.The Megarian bowls were patterned after contemporary metal bowls. Rare subjects for this pottery.South Italy, earlier 4th Century BC. H. 5 1/2 in. (14 cm.) Ex Austrian private collection.

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143 ROMAN YELLOW GLASS BARREL BEAKER of irregular cylindrical profile, rounded at the base with wheel-cut bands around the body.. Eastern Mediterranean. 1st Century AD. H. 4 1/8 in. (10.5 cm.) Ex J.Camper collection, Pennington, New Jersey.

144 ROMAN AUBERGINE GLASS TWIN-HANDLED BOTTLE with a splayed foot, slender body withindented sides, cylindrical neck, everted, rounded rim, and applied handles; some iridescence.2nd-3rd Century AD. H. 4 1/8 in. (10.5 cm.)

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SIDONIAN MOLD-BLOWN PURPLE GLASS AMPHORA with globular body blown into a two-partmold, decorated with a central band of scrolls between gadrooning with two small heavily weathered glasshandles. Ca. 1st Century AD. H. 2 3/8 in. (6.2 cm.) Collection of Dr. Carle Kempe (1884-1967),Ekolsund, Sweden.

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ROMAN IRIDESCENT GREEN GLASS HONEYCOMB PATTERN JAR Cylindrical, with rounded base, and rolled lip. Eastern Mediterranean, 4th Century AD. H. 3 1/2 in. (8.9 cm.)Ex collection of Julius Carlebach (1909-1964), New York; thence by descent.

147 ROMAN TRANSLUCENT OLIVE GREEN CUT GLASS BOWL with three rows of staggered elongatedhexagons around the body; slight narrowing toward the neck; narrow horizontal edge to the rim..Ca. 4th-5thCentury AD. H. 1 7/8 in. (4.7 cm.); Diam. 2 1/2 in. (6.4 cm.)

RRoommaann GGllaassss

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EARLY IRON AGE GOLD BRACELET consisting of an oval plate incised with an edging band ofapotropaic eyes surrounding a central eye. 8th-7th Century BC. W. 3 in. (7.5 cm.); wt. 18.9 gr. Ex German collection.

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ROMAN GOLD AMULETIC TABLET INSCRIBED IN GREEK With such sheets on which wishes and curses were incised the owners tried to repulse evil or to influence the future. 1st Century AD. L. 1 3/8 in. (3.5 cm.) Ex German private collection. Cf. M. Reuter and M. Scholz, Alles Geritzt: Botschaffen aus der Antike, Munich, 2005.

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ROMAN LARGE GOLD AMULETIC TABLET INSCRIBED IN GREEK 5th Century AD. L 3 1/2 in. (9.1 cm ); wt. 7.12 gr. Ex Munich dealer, acquired in the 1990s. Cf. Roy Kotansky, Greek Magical Amulets: The Inscribed Gold, Silver, Copper, and BronzeLamellae, Part I: Published Texts of Known Provenance, Papyrologica Coloniensia 22/1, Opladen,Westdeutscher Verlag, 1994. Small loss repaired.

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LATE ROMAN GILT SILVER RETICULATEDBELT FITTING Multiple cross design in roundelsurmounted by two stylized duck heads. Earlier 5th Century AD. L . 1 3/4 in. (4.6 cm )Ex German collection.

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CCllaassssiiccaall GGoolldd OObbjjeeccttss

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HELLENISTIC GOLD FINGER RING WITH A CARNELIAN INTAGLIO OF HERMES in profile wearingpetasos; caduceus in the field. 1st Century BC. Size 5; wt. 2.9 gr. Ex American private collection. Published: S. Dere, To Dress in Gold, New York, 2004, no. 146.

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ROMAN GOLD FINGER RING WITH A CARNELIANINTAGLIO OF TYCHE FORTUNA standing, holding a cornucopia and staff. 1st-3rd Century AD. Size 7 1/2; wt 9.1 gr. Ex American private collection.

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HELLENISTIC GOLD WREATH OF STYLIZED LAUREL LEAVES fastend to a gold band by applied flowers; a gorgoneion at either end of the band. In the centre of the wreath an embossed figure rises from achalice of leaves. 3rd Century BC. L. 12 in. (30.5 cm. ) Ex collection of Dr. Heinz Hoek, Basel,Switzerland, 1960-1970. Cf. Marshall, 1911, p. 266, no. 2299, pl. L.

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HELLENISTIC GOLD RING WITH LION HEAD TERMINI 4th-3rd Century BC. Size 6; wt. 6 gr. Ex German dealer, acquired in the 1990s.

GREEK GOLD FINGER RING: A SEATED GODDESSWITHIN AN OVAL DOUBLE BEZEL probably Hera, holding a scepter. The shank and bezel formed from twistedgolden wire which terminates in palmettes. 4th Century BC. Size 8; wt. 12.9 gr.

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157 HELLENISTIC REPOUSSÉ SILVER ROUNDEL OF ARTEMIS ASTRATEIA, the sky goddess, with bull horns on her forehead; probably the central boss from a hair net. 3rd-2nd Century BC. Dia. 2 5/8 in. (6.9 cm ) Cf. H. Hoffmann and P. Davidson, Greek Gold - Jewelry from the Age of Alexander, The Brooklyn Museum, 1965, p. 107, no. 94. Extremely fine style.

ROMAN SILVER WEDDING RING Centering two clasped hands within an oval (dextrarum iunctio).2nd-3rd Century AD. Ring size 6 1/2; Ex German collection.

158

ROMAN SILVER FIGURINE OF A BULL standing on a self-contained rectangular silver base.1st-2nd Century AD. L. 1 in. (2.5 cm.) Ex Monnier collection, Paris; J. F. collection, Loveland, Ohio,acquired from Royal-Athena in 1996. Exhibited: Ball State University Art Museum, 1997-2005; George Mason University Art Museum, 2005-2007.

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MEROVINGIAN STAMPED SHEET SILVER FIBULA with a cross, and inscription: ANDEBERTVS F W DEO EI; bronze backing. 7th Century AD. Diam. 1 1/4 in. (3.4 cm ) Pin lacking.Ex English private collection, acquired in the 1990s; Ex Frank Sternberg, Zurich. Rare. For a similar representation of Christ see Merowingerzeit, Die Altertümer im Museum für Vor- undFrühgeschichte, Staatliche Museen zu Berlin, 1995, p. 112, pl. 102.

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CCllaassssiiccaall SSiillvveerr OObbjjeeccttss

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ROMAN SILVER GOBLET with flaring mouth and slender silhouette, with a central bandof repoussée floral decoration on the waisted body; the base with concave edged tongues abovethe knopped pedestal stem and conical foot. An elegant example of Roman silverwork. 4th Century AD. H. 7 1/4 in. (18.5 cm)Ex private English collection, acquired in the 1970s.

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162 PAIR OF BYZANTINE GOLD CRESCENT EARRINGS with stamped openwork decoration of two birds flanking a cross within a circle. 6th - 7th Century AD. Ht. 1 3/4 in. (4.5 cm.); wt. 9.1 gr. Ex Munich dealer, acquired in the 1990s.

163 EARLY BYZANTINE BRONZE LAMP ON A STANDThe head of a woman is on top of the handle; the pricket stick stand has three chubby feet.6th Century AD. Total H. 16 7/8 in. (43 cm.)

164 BYZANTINE BRONZE CRUCIFIX RELIQUARY (ENKOLPION) Obverse: Christ; reverse: Maria Orans. On each of the cross arms: a bust of one of the four evangelists.Choice. 10th-12th Century AD. H. 3 1/2 in. (10.3 cm.) Ex English privste collection, acquired in the 1990s.

165 LATE BYZANTINE BRONZE ANCHOR CROSSEach transcept surmounted by a latin cross; a cross springingfrom both sides of the base, curving up and inward to form the anchor. A cross is engraved in the center. The arms alsoengraved with lotus buds and symbols including IC XC. 12-14th Century AD. H. 5 in. (12.9 cm.).

BByyzzaannttiinnee AArrtt

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166 NEOLITHIC POTTERY GROUP: MOTHER NURSING CHILD ON A BED The mother lies on herright side, knees raised, and cradles the suckling infant in her arms. The bed is styled as a table-like objectwith four legs and overall incisions; the head end with three projections. A unique early representation of anursing mother. Vinca Culture, Balkan area, 5th Millennium BC. L. 3 in. (7.6 cm.); H. 2 1/2 in (6.4 cm.)

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NEOLITHIC POTTERY ANIMAL HEAD, fox-like, with raised, elongated, almond-shaped eyes sur-rounded by incised lines, an exaggerated chin line ending in a pointed snout, and two thick cylindrical horns or ears at the top of the head that have incised cross-bands. A diamond is incised into the brow. A rare type. Vinca Culture, Balkan area, 5th Millennium BC. H. 2 7/8 in. (7.3 cm.)

168

NEOLITHIC POTTERY IDOL, cruciform, with incised almond-shaped eyes, raised nasal ridge, and pointed nose; both ears are pierced. The body is incised with lines indicating, perhaps, clothing; partial inlays remain. Intact. Vinca Culture, Balkan area, 5th Millennium BC. H. 3 3/8 in. (8.6 cm.)

NNeeoolliitthhiicc AArrtt

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NEOLITHIC LARGE BLACK POTTERY HEAD FROM AN IDOL of sharply delineated outline,deeply incised eyes, raised nasal ridge, and long pointed nose; the arching back of the concave head withfive perforations. Choice. Vinca Culture, Balkan area, 5th Millennium BC. H. 2 3/4 in. (7 cm.)

171

PAIR OF LARGE MIDDLE BRONZE AGE ARM PROTECTION SPIRALS OF SALGOTARJAN TYPE, named after the treasure findings atSvedlar in eastern Slovakia. Extensive decorative incision work and richolive-green patina. 15th-13th Century BC. Diam. of spiral 6 1/4 in. (16 cm.); total length 10 1/4 in. (26 cm.) Cf.M. Novotna, The Axes and Hatchets in Slovakia, 1970, pl. 56, 13.14.Ex German collection. Intact and exceptionally well preserved.

170

PAIR OF LARGE LATEBRONZE AGE ARM SPIRALS with superb rich green patina and decorated endings of the type found in central and southeastern Europe. Similar examples werefound in the Blödesheimhoard in Germany and the Pétervására hoard inHungary. 11th-10th Century BC. L. 8 1/4 in. (21 cm) and 7 1/2 in. (19 cm.) Ex German collection. Intact and unusually well preserved with anexceptional green patina.

BBrroonnzzee AAggee&& IIrroonn AAggee

AArrtt

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173

HALSTATT BRONZE SPIRAL ARMBAND slightly ridged on the outside; the ends rolled. Said to havebeen found in Austria. 13th-12th Century BC. L. 7 1/4 in. (18.5 cm) Ex German private collection.

172

EARLY IRON AGE BRONZE PECTORAL consisting of two spectacle fibulae joined by seven chains.Hallstatt, 8th-7th Century BC. H 13 3/4 in. (35 cm.) Ex English private collection, acquired in the 1990s.

SARDINIAN BRONZE HARP PLAYER 7th-6th Century BC. H. 2 1/8 in. (5.5 cm.) A rare type.Ex collection of Dr. Charles T. Seltman (1886-1957), Cambridge, England; Dr. G.F. Reber, Lausanne,Switzerland, acquired in 1927. Cf. J. Thimme, Kunst und Kultur Sardiniens vom Neolithikum bis zumEnde der Nuraghenzeit, 1980, p. 388, no. 122.

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175 CELTIC BRONZE APPLIQUE cast as a convex, open-work disk with an outer band of s-scrolls and aninner band of c-scrolls around a cluster of seven spheres; four attachment loops evenly spaced around the rim.3rd-2nd Century BC. Diam. 2 3/4 in. (7 cm.) Ex German private collection.

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EGYPTIAN OLD KINGDOM LIMESTONE STATUE OF A BAKER kneeling, kneading bread.Integrally carved with a long rectangular base. Extensive remains of polychromy.VIth Dynasty, ca. 2345-2181 BC. H. 8 1/2” in. (21.5 cm.); L. 11 5/8 in.(29.5 cm.)Ex old French collection, Beaulieu sur Mer; M. B. collection Westlake Village, California. Published: J Eisenberg, Art of the Ancient World, vol. X, 1999, no. 177. A extremely fine example of Old Kingdom sculpture, in an unusually fine statue of preservation with much of its original color; fore-arms and part of upper arms restored Cf. a similar servant figure in W. Seipel, Gott, Mensch, Pharao,Vienna, 1992, p. 140, no. 35.

176

EEggyyppttiiaann SSttoonneeSSccuullppttuurreess &&

RReelliieeffss

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178 EGYPTIAN NEW KINGDOM QUARTZITE HEAD OF AN OFFICIAL, wearing a smooth wig withtabs at temples. XIXth Dynasty, ca. 1292-1190 BC. H. 4 1/8 in. (10.5 cm.) Ex H.W. collection, New York, acquired from Royal-Athena Galleries in 1992.

179 EGYPTIAN LATE NEW KINGDOM SMALL LIMESTONE DEEP BUST, PROBABLY OF A SCRIBE,wearing a tiered wig with remains of black paint.XXth Dynasty, ca. 1185-1070 BC. H. 2 7/8 in. (7.4 cm.) Ex private American collection.

177 EGYPTIAN NEW KINGDOM SANDSTONE RELIEF: MALE FIGURE IN ADORATION L. 16 1/2 in. (42 cm.) From Karnak, XVIIIth Dynasty, reign of Akhenaten, ca. 1350-1334 BC. Ex Jean-Marie Talleux Collection, Grand Fort Philippe, France; H.W. collection, New York, acquired fromRoyal-Athena Galleries in 1998.

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Although it is not known where heis buried, Senenmut had twotombs constructed for him, one(TT71) in the Tombs of theNobles, and another near the tem-ple at Deir el-Bahri, nearHatshepsut's mortuary temple.They were both heavily vandal-ized in the reign of Thutmose III,perhaps during the latter's cam-paign to eradicate all traces ofHatshepsut's memory.Intriguingly, this second tomb wasfound to have a hidden passage-way that leads directly under andinto her mortuary temple as if heplanned to be near her forever.

Senenmut supervised thequarrying, transport, anderection of twin obelisks, at the time the tallest inthe world, at the entranceto the Temple of Karnak. His masterpiece, however,was Hatshepsut’s mortuarytemple complex at Deir el-Bahri.

Senenmut was of low birth,born in the provincial townof Iuny to literate parents,Ramose and Hatnofer.More is known aboutSenemut than many othernon-royal Egyptiansbecause the joint tomb ofhis parents was discoveredand preserved, the construc-tion of which Senenmutsupervised himself.

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IMPORTANT EGYPTIAN NEW KINGDOM ORANGE-BROWN QUARTZITE PORTRAIT HEAD OFSENENMUT XVIIIth Dynasty, reign of Hatshepsut, ca. 1479-1458 BC. H. 21 cm. (8 1/4 in.)Ex collection of Georges Picard (d. 1946), France; Comtesse de B., France.Although not inscribed, this accomplished portrait of Hatshepsut’s High Steward and architect may be assigned ona stylistic basis to the second half of her reign. Its stylistic characteristics include the soft modeling of the fleshyface, proportionately narrow, almond-shaped eyes, and horizontally arranged lips. The ears are large and purpose-fully protrude from the undulating, striated wig. The figure has a false beard, part of which is visible beneath theincised line that marks the lower chin.

Magic and symbolism play important roles in ancient Egyptian sculpture. It is for this reason that this portrait issculpted in quartzite, a material which is associated with solar deities and was specifically selected to impartcharacteristics of those deities to the aristocrat. Foremost among those qualities is the stone’s warm tones suggestingthe solar deities’ potential for resurrection. The seemingly disproportionately large ears are likewise intentionaland suggest that the aristocrat was a good listener. Not only could he hear the commands of his pharaoh, but hecould, as the ancient Egyptian proverbs state, listen to the complaints of a petitioner until he had finished his pre-sentation.

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182EGYPTIAN LARGE GREEN GREYWACKEOSIRIS, mummiform, wearing the atef-crown and holding the crook and flail. XXVIth Dynasty, 664-525 BC. H. 18 1/2 in. (47 cm.)Ex collection of Pierre Vérité, Paris, begun inthe 1920s; by descent, the collection of ClaudeVérité, his son. Greywacke is a type of chlorit-ic schist characterized by its hardness, dark color,and angular grains of quartz and feldspar set ina compact, fine matrix.

181EGYPTIAN ALABASTER LID FROM ACANOPIC JAR depicting the head of Imsety, the Son of Horus who protected the liver; traces of polychrome remaining. Section of lip lacking. Later Dynastic Period, 712-342 BC.H. 5 in. (12.7 cm.)Ex H.W. collection, New York.

EGYPTIAN NEW KINGDOM LIMESTONE RELIEF OF SAI-EM-PETREF The supervisor of goldsmithsin the mortuary temple of Seti I at Abydos is depicted kneeling in prayer, which is written above: Hail to theeRe, Harakhti, Atum, Lord of Heliopolis...” To the right are two columns of text to the “Lord of Denderahand of Sokaris.” XIXth Dynasty, ca. 1313-1185 BC. H. 23 5/8 in. (60 cm.); W. 14 1/2 in. (37 cm.)Ex collection of Prof. Dr. Friedrich Wilhelm Freiherr Von Bissing (1873-1956), The Hague; collection of Dr.H.C. Jelgersma, Oegstgeest; by descent to M. Jelgersma, the Netherlands. From a series of five reliefs from thetomb of Sai-Em-Petref, exhibited in the Museum at Carnegielaan 12, The Hague. Another relief from thisgroup is in the Gemeente-Museum, The Hague, and a third is in the Van Leer collection in Amsterdam.Published:. H.P. Blok, Fünf Grabeliefs aus dem Neuen Reich, AcOr 10, 1931, 81-94. Also: W.B.VanWijngaarden, Annual Report no. 6 of the Near-Eastern and Egyptian Society, 1939, pl. 264.

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184 EGYPTIAN LIMESTONE RELIEF OF A PHARAOH depicted facing to right, wearing a crown fronted by a uraeus, and a broad beaded collar. XXXth Dynasty-Early Ptolemaic, ca. 350-250 BC. H. 18 1/4 in. (46.4 cm.); w. 14 1/2 in. (36.8 cm.) Ex Helena Rubenstein collection, sold at Parke-Bernet Galleries, New York, 1966; S.Z. collection,Bronx, New York; Christies, New York, January 25, 1979, lot 205; reacquired by S.Z., Bronx, NewYork.

EGYPTIAN BRONZE OSIRIS, mummiform, holding the crook and flail across his chest and wearing theatef-crown. Late Dynastic Period, 664-343 BC. H. 6 5/8 in. (17 cm.) Ex French collection.

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EGYPTIAN BRONZE SCEPTER FINIAL OF AN ENTHRONED GODDESS wearing a uraei circlet.Late Dynastic Period, 664-343 BC. H. 4 3/4 in. (12 cm.) Ex French collection.

188 EGYPTIAN BRONZE ENTHRONED HARPOKRATES-AMUN with his hands palm down by his thighs.He wears the Red Crown with plumes and sundisk fronted by a uraeus; with the side lock of youth. Rare.Late Period, 715-30 BC. H. 4 7/8 in. (12.5 cm.) Ex old Swedish private collection, acquired in the1920s.

186 EGYPTIAN BRONZE NUDE HARPOKRATES striding, finger to mouth, wearing the Double Crown ofUpper and Lower Egypt. Fine reddish-brown patina. Ptolemaic Period, 305-30 BC. H. 7 in. (17.7 cm)Ex French collection; J. F. collection, Loveland, Ohio. Published: J. Eisenberg, Art of the Ancient World,vol. IV, 1985, no. 448. Exhibited: Ohio State University Art Museum, 1986-90; Picker Art Gallery,Colgate University, 1990-2007.

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EGYPTIANBRONZE CAT seatedin the traditional posewith alert ears and itstail wrapped aroundits forepaws. LatePeriod, 712-30 BC.H. 3 1/8 in. (8 cm.)Ex collection of M.Michel Guy, Ministerof Culture of theFrench Republic,1974-1976. Bearsan old collection labelwith the no. 22.

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190IMPORTANT EGYPTIAN MONUMENTAL BRONZE SEATED CAT in the traditional attitude with alert ears.

XXIth-XXIInd Dynasty, 1080-715 BC. H. 24 in. (61 cm.) Ex collection of a French antiquarian; animportant American private collection,acquired from Royal-Athena Galleries in1990.

Superbly modelled. The largest known Egyptian bronze cat!

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IMPORTANT EGYPTIAN VERY LARGEBRONZE SEATED CATrealistically modelled with an alert expression. XXVth-XXVIth Dynasty, 750-525 BC. H. 14 1/2 in. (37 cm.) Ex Ernest Ascher collection, Paris, acquired in the early 1980s; an important American private collection, acquired from Royal-Athena Galleries in 1992.

One of the largest naturalistic Egyptian catsknown.

The cat represented Bastet, the goddess of joy,festivity, grace, and fertility; patroness ofwomen and a goddess of maternity. It waslater associated with Isis, protectoress ofwomen and model of conjugal love and motherhood.

For more on cats in ancient Egyptian see: N.and B. Langton, The Cat in Ancient Egypt,1940; L. Delvaux-E. Warmenbol (Ed.) Lesdivins chats d'Egypte, 1991.

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194 EGYPTIAN FRAGMENT FROM A WOOD SARCOPHAGUS, the jackal-headed Anubis and Isisattending a mummy on a lion-bier, canopic jars below. Above is a representation of the sky goddess Nut,kneeling, her wings outspread. Ptolemaic Period, 305-30 BC. H. 15 3/4 in. (40 cm.;W. 13 3/8 in. (34 cm.) Ex Bela Hein collection, Paris.

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updated continuouslywith our latest acquisitions:

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EGYPTIAN NEW KINGDOM PAINTED CARTONNAGE FRAGMENT: Bust of Isis facing right,wearing a sheath, tripartite wig, and her hierolglyphic on her head; 3 partial columns of text; minorrestorations. XVIIIth-XIXth Dynasty, 1550-1293 BC. H. 5 3/16 in. (13 cm.) Ex Neuhauser collection,acquired between 1952 and 1972; H.W. collection, New York. Fine style.

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EGYPTIAN LARGE WOOD MASK FROM AN ANTHROPOID SARCOPHAGUSPtolemaic Period, 305-30 BC.H. 33 1/2 in. (85 cm.)Ex collection of Pierre Vérité,Paris, begun in the 1920s; bydescent, the collection ofClaude Vérité, his son.

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EGYPTIAN BLUE FAIENCE AMULET OF A STRIDING BABOON with a long tail; a suspension loop on back. Late Dynastic Period, 712-343 BC. H. 2 1/2 in. (6.4 cm.) Ex English collection.

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EGYPTIAN GREENISH-BLUE FAIENCE AMULET OF MEHYT, the lion-headed goddess of Abydos,striding, wearing a feathered crown with cow’s horns and solar disk. Late Period, 712-30 BC. H. 2 3/8 in.(6 cm.) Rare. The type is mentioned in C. Andrews, Amulets,1994, p. 34.

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EGYPTIAN GREEN FAIENCE AMULET OF A SEATED CAT, hair indicated by small incised lines. XXVIth Dynasty, 664-525 BC. H. 1 7/8 in. (4.7 cm.) Ex French private collection; J.F. collection,Loveland, Ohio. Published: J. Eisenberg, The Age of Cleopatra, 1988, p. 24, no. 117. Exhibited: Picker Art Gallery, Colgate University, 1990-2007.

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LARGE EGYPTIAN WOODEN CAT seated on its hindquarters, with an alert expression, the earspricked, the details of the face incised, and carved on an integral plinth. Ptolemaic Period 305-30 BC.H. 11 in. (28 cm.) Ex French private collection.

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EGYPTIAN NEW KINGDOM POLYCHROME WOOD REIS USHABTI wearing a tiered Ramesside wig, the traditional kilt, and holding a whip and a ba-bird. XIXth Dynasty, ca 1293-1185 BC. H. 8 in. (20.5 cm.) Rare in wood. Cf. Louvre exhibition catalogue, Shaouabtis, des travailleurs pour l'éternité, Bibliographie nationale française, Paris, 2003, p. 30.

EGYPTIAN BLUE FAIENCE REIS (OVERSEER) USHABTI FOR DJEHUTI, First God's Father of Amun,the Osiris Djehuti. With fisted hands held at the waist, wearing the short kilt and triangular apron of dailylife, the details in black glaze, including the striated wig, facial features; single column of hieroglyphs. XXIth Dynasty, 1070-945 BC. H. 3 3/4 in. (9.5 cm.) Ex collection of Archie Case, acquired in the 1970s.

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EGYPTIAN BRONZE USHABTI OF THE GENERAL OUN-DJEBAU-EN-DJED mummiform, holding acrook and flail. XXIst Dynasty, r. of Psusennes I, 1039-991 BC. H. 4 in. (10 cm.) Cf. J-F. Aubert,Statuettes égyptiennes, Paris,1974, pl. 37, nos. 85-88; H. Schneider, Shabtis, Leiden, 1977, pp. 152-3.

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EGYPTIAN LIMESTONE USHABTI. Late Period, 664-342 BC. H. 7 in. (17.8 cm.) Ex P.A. (1908-2004) collection, a UN diplomat, New York, acquired in Cairo in 1970; thence by descent.

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EGYPTIAN TURQUOISEFAIENCE USHABTI wearing acobalt blue wig characteristic of the Qaou el Kebir necropolis nearAbydos. Early Ptolemaic, 3rd Century BC.H. 4 3/4 in. (12.1 cm.)

Ex old French collection; Brudy collection; H.W. collection, New York.Cf. J-F. Aubert, Statuettes égypti-ennes: Ouchebtis, Chaoubtis,Paris,1974, pp. 266-267.

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EGYPTIAN SILVER GILT NEKHBET, THE VULTURE GODDESS OF UPPER EGYPT,protectress of the king and goddess of childbirth, strid-ing with her right arm held to her side and her frag-mentary left arm formerly extended, and wearing a longclose-fitting robe, a tripartite wig with uraeus in front,and the atef-crown. Very rare. Late Period 715-30 BC. H. 4 9/16 in. (12 cm.)Ex collection of Edward Roger Pratt (1789-1863),Ryston Hall, Norfolk, 1937. For a related example inbronze see G. Röder, Ägyptische Bronzefiguren, p. 225, 277a, fig. 269 (Berlin, inv. no. 2447).

Edward Roger Pratt spent three years on a Grand Touraround the Mediterranean, including Egypt, fromChristmas 1833 to May 1834. His journal, much of itwritten in French, gives an account of the ancient siteshe visited, along with annotated maps and some tartobservations on the manner in which his fellowEuropeans treated the monuments and tombs. It is pos-sible he acquired some of his Egyptian works of art onthis tour, but at least one object in his collection camefrom the Giovanni d'Athanasi sale at Sotheby's, London,March 13th, 1837. Two New Kingdom steles from thePratt collection were sold at Sotheby's, New York,December 17th, 1998, nos. 24 and 26, the latter nowin the Los Angeles County Museum of Art.

EGYPTIAN DOUBLE-SIDED GOLD AMULETIC HATHOR HEAD PLAQUE of rectangular form, thegold sheet decorated in repoussé on each side with the head of Hathor, her hair tucked behind cow ears, anddressed with bands and curling tips, with a row of uraei surmounting her hair.New Kingdom - Third Intermediate Period, ca. 1320-656 BC. H. 1 1/4in. (3.2 cm.)

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EGYPTIAN OVAL SHEET GOLD HOLLOW-BACKED ATTACHMENT OF A BES HEAD chased andrepousséd on both sides in a rectangular recess, pierced around the border for attachment; probably from anecklace. Late Period - Ptolemaic, after 500 BC. H. 1 3/4in. (4.5cm.) Ex English collection. Protector of women and children, Bes also dispelled bad dreams.

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209 EGYPTIAN OLD KINDGOM WALL PAINTING FROM THE TOMB OF ABA at Dier el Gebrawi,depicting his son Khua, wearing a bag wig, broad collar, and white kilt moving to the right, his right armraised before him making an offering. Minor restoration. Ex collection of Dr. Benson Harer, Seattle,Washington. See: N. de G. Davies, The Rock Tombs of Deir el Gebrawi I: Tomb of Aba and Smaller Tombs of the Southern Group, Archaeological Survey of Egypt 11, London 1902, pl. XVII. Cf. J. Romano and G. Robbins, ‘A Painted Fragment from the Tomb of D cw at Deir el Gebrawi,’ Journal ofthe American Research Center In Egypt, vol. XXX1, 1994, pp. 21-32.

EGYPTIAN PREDYNASTIC OVOID SQUAT JAR with pierced lug handles on shoulder, and decorated withgroups of spirals made with brownish paint. Naqada II, 3650–3300 BC. H. 6 1/2 in. (16.5 cm); W. 8 3/4 in. Ex English collection; H.W. collection, New York. Cf. a nearly identical example in the Museumof Fine Arts, Boston from Mesaid (Mesa'eed), tomb 58, no. 3, M/58/3, 1910.

EGYPTIAN PRE-DYNASTIC BLACK-TOP POT. Naqada II, ca. 3600-3200 BC. H. 7 in. (17.8 cm.)Ex Bela Hein collection, Paris.

EGYPTIAN GRAIN MUMMY WITH A SHEET GOLD MASK. Late Dynastic, ca 712-342 BC. H 6 1/8 in. (15.6 cm.) Ex French collection;H.W. collection, New York. Grains of barley were sprouted in Nile mud andthen wrapped in linen bandages into a miniature mummy, which was thenplaced into the tomb as a symbol of the regeneration after death.

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AKKADIAN HEMATITE CYLINDER SEAL, Inscribed with a priest, his hands clasped and wearing along robe and round cap, standing beside a staff topped by a star. He is approached by two worshipers eachwith a raised right arm. Between them is a lion with a thick mane who walks upright holding a staff. Ca. 2334-2279 BC. 22 x 12 mm. Ex collection of S. M. Rowe, Jr., acquired from Dikran Kelekian in1972.

ACHAEMENID VARIEGATED TAUPE MARBLE CYLINDER SEAL inscribed with a king holding theforelegs of two rampant goats, a tree between. Ca. 540-400 BC. 27 x 12 mm. Ex Mrs. William H. Moorecollection, no. 51; Leonard Gorelick collection. Published: M. Noveck, The Mark of Ancient Man:Ancient Near Eastern Stamp Seals and Cylinder Seals: The Gorelick Collection, Brooklyn Museum,1975, no. 48.

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ANATOLIAN SMALL POTTERY IDOL in violin form, with incised cross-hatchings and details. Mid-3rd Millennium BC. H. 2 3/8 in. (6.1 cm.) Ex German private collection. Cf. E. Rehm, Kykladen und Alter Orient, Badisches Landesmuseum, Karlsruhe, 1997, nos. 24-27.

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URARTIAN BRONZE IDOL of flattened sheet metal with a schematic design, the face outlined by a dottedrow, the eyebrows, eye, and nose in slightly raised relief; a bird on the forehead. 7th Century BC. H. 6 in. ( 15.3 cm.) Very rare. Ex D. K. collection, Berlin, acquired in 1985. Cf. G. Zahlhaas, Idols-- Early Images of God and Offering, Munich exhibition, 1985, p. 53, no. 16.

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SYRIAN MINIATURE ARAGONITE FERTILITY IDOL of a seated nude female with oval face; eyes and mouth incised. Tell Bouqras, 6th-5th Millennium BC. H. 1 3/8 in. (3.5 cm.) Rare.Ex French collection.

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WESTERN ASIATIC BRONZE AND MARBLE MACE HEAD, the spherical marble head with overallraised elipses and surmounted by conjoined horse protomes. A very rare type.Later 2nd - early 1st Millennium BC. H. 4 3/4 in. (12 cm.)

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WESTERN ASIATIC BRONZE HORSEMAN 2nd-early 1st Millennium BC. H. 4 1/8 in. (10.5 cm.)Ex Thierry collection, France; John Kluge collection, Charlottesville, Virginia, acquired from Royal-Athenagalleries in the early 1980s; J. F. collection, Loveland, Ohio. Exhibited: Picker Art Gallery, ColgateUniversity, 1991-2007.

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SCYTHIAN BRONZE HORSE TRAPPINGS Each is cast in the form of a griffin with a down-curvingbeak, their crests forming loops along the tops and backs of their heads, with quadruped bodies, the hoofedlegs folded under; perforated vertically twice along the bodies for attachment, the back sides concave.Mid-5th Century BC. Larger: 4 in. (10.2 cm.) long. Ex private collection, acquired in the 1970s. For the form, see a horse trapping of a bird of prey in I. Piotrovsky, Scythian Art, 1987, no. 86.

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PAIR OF SCYTHIAN GILT BRONZE PLAQUES of shaped rectangular outline, depicting a bull being harnessed by a man from behind. The Steppes, 3rd-2nd Century BC. Ws. 1 7/8 in. (4.7 cm.)Ex private French collection.

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ACHAEMENID LARGE BRONZE CARINATED PHIALE, probably found in the area of Nihavand,Iran, 6th Century BC. Diam. 11 1/4 in. (28.6 cm.) Ex S. R. collection, Cincinnati, acquired from theKelekian Gallery in 1973. Shallow bowls of this form, used for drinking wine, were made from variousmaterials, including metal, glass, and ceramic. Restored.

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221 IRANIAN BRONZE KOHL VESSEL IN THE FORM OF A GODDESS wearing a long skirt, her handscupping her breasts, and her long hair dressed into a turban-like coiffure with a thick braid down her back.10th-8th Century BC. H. 4 3/4 in. (12.1 cm.) Published: J. Eisenberg, Art of the Ancient World, vol.XII, 2002, no. 200.

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SUMERIAN BRONZE PICK-AXE WITH TWOWRESTLERS atop the handle, perhaps a representa-tion of the hero Gilgamesh wrestling the wild Enkidu. Late 3rd Millennium BC. L. 4 in. (10.2 cm.) Ex collection of R. Bareylle, Paris, acquired before1958. Possibly unique.

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

Sylvia Porter in her New Money Book recommendsclassical antiquities as one of the best types of art forrapid growth. Dr Eisenberg was first quoted on theinvestment value of ancient art in the February 9,1966 issue of Newsday - 40 years ago! - and mostrecently in Business Week.

Royal-Athena GalleriesJerome M. Eisenberg, Ph.D., the founder and

director of Royal-Athena Galleries, is usually at theNew York gallery and visits the London gallery sev-eral times each year. He is available by appointmentfor consultation, expertise, and appraisals; or for atelephone conference. At no obligation he willarrange a private viewing with guidance on a sophis-ticated long term program of collecting and invest-ing in the fine arts. He also is in attendance at allthe fairs in which we exhibit.

Over the past 50 years we have sold more than 600works of ancient art to many of the country's lead-ing museums, including the Metropolitan Museumof Art, the Boston Museum of Fine Arts, the SacklerArt Museum at Harvard University, the YaleUniversity Art Gallery, the Princeton University ArtMuseum, the Newark Museum, the Walters ArtGallery, the Detroit lnstitute of Arts, the CincinnatiArt Museum, the Minneapolis Institute of Arts, theMilwaukee Public Museum, the New OrleansMuseum of Art, the Virginia Museum of Fine Arts,the Los Angeles County Museum of Art, and the J.Paul Getty Museum, as well as the British Museum,the Louvre, and a large number of museums inCanada, Belgium, Germany, Greece, Hungary, theNetherlands, Spain, Switzerland, Australia, andJapan. The catalogs of classical marble sculpturesfrom the Museum of Fine Arts, Boston, and fromthe J. Paul Getty Museum illustrate no less than 39pieces acquired from our galleries. In addition, overone thousand objects purchased from us have beendonated to many other museums, including theFreer Gallery of Art, the Sackler Gallery (TheSmithsonian Institution), and the Brooklyn Museumof Art.

Dr. Eisenberg travels overseas several times annu-ally to visit collectors, museums, clients, and manyof the nearly 150 private sources, agents, dealers, and auction houses with whom he is in frequentcontact. Since 1954 he has made over 200 overseastrips, purchasing over forty thousand antiquities fortens of millions of dollars.

This aggressive purchasing policy, perhaps withoutparallel in the field, enables us to offer an extraordinarynumber of choice objects at very reasonable prices. Ourwillingness to buy in volume and to purchase ourinventory outright, rather than to take it on con-signment, results in extremely competitive pricing,often considerably below that of other galleries.

Furthermore, exchanges and purchases are fre-

Why Collect Ancient Art?There are several reasons for collecting fine works

of ancient art:• The excitement of owning a beautiful work of artthat has survived for perhaps some 2,000 years ormore. • The decoration of one's home or office with uniqueobjects whose beauty and desirability have withstoodthe test of time.• The creative satisfaction, enjoyment, and pride

in forming a truly fine collection. • The probable appreciation in value.

How to Collect Ancient ArtSylvia Porter lists ten sound rules as a guide in art

collecting: 1. Study the field which interests you as much aspossible. 2. Buy cautiously at first.3. Make sure that your work of art has quality. 4. Deal with a top gallery or art dealer. “Some deal-ers and major galleries will guarantee the authentici-ty of the art works they sell, so check this point aswell." (Not only have we been guaranteeing ourancient art for over fifty years, but to the best of ourknowledge our two-day auction sale conducted byParke-Bernet Galleries (now Sotheby's) in 1964 wasthe first auction sale by several years in which everypiece was guaranteed - but by us!) 5. Have an understanding with your dealer or galleryabout trading up - so he’ll repurchase or resell yourworks as you have more money to invest in high qual-ity art. (We normally allow full credit for the exchangeor upgrading of objects purchased from us.)6. Do not buy art works just because they are a cur-rent rage. 7. Ask the advice of museum directors or curatorswhenever possible. 8. Decide upon your investing limit before you buy.If you fall in love with a more expensive object try toarrange for a time payment. (We certainly encouragethis and offer flexible time payments!) 9. Spread your financial risks by buying a variety ofart unless you are an expert in a particular field. 10. “Buy the best examples you can afford in anycategory.”

We would add two other important rules: 11. Ask for the provenance of any potential acqui-sitions. 12. Do not buy objects that have been signifi-cantly restored. Beware of overly restored faces inboth vase painting and sculpture.

Ancient Art as an lnvestmentHistorically, ancient art investments have yielded

excellent long-term capital appreciation, usually 8%to 10% annually. Any investment in tangibles, espe-cially works of art, should be projected for at leastfive to ten vears. Normally one should not hold more than 10% of their investment portfolio in art.Collecting fine art is a pleasurable way of hedging against inflation because the investor can enjoy

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quently made from many past and present clientswho may be upgrading their collections or liquidat-ing some of their holdings in order to collect in otherareas. Exchanges or purchases are sometimes carriedout with museums both in the United States and inEurope for their duplicate accessions or for objectsnot in their recent or current fields of specialization.

Expertise and EthicsAncient art has been the specialty of our director

for over 50 years, and numismatics for 66 years. Hismany publications on ancient art and numismaticsspan nearly five decades. The first volume of Art ofthe Ancient World by Dr. Eisenberg was published in1965. Since 1968 Dr. Eisenberg has concentrated onexpertise in the ancient arts, having lectured on thissubject at New York University and presented sever-al scholarly papers at the annual meetings of theArchaeological Institute of America, most recentlyon the ‘Roman’ Rubens Vase. His wide range ofexpertise is further revealed through other recentpapers: on Egyptian bronzes at a Congress of theInternational Association of Egyptologists, onEtruscan bronze forgeries at an International BronzeCongress, on the ‘Greek’ Boston and Ludovisithrones at the Magna Graecia Symposium in Venice,on Roman bronze forgeries at the 1999 InternationalBronze Congress, and on the Portland Vase as aRenaissance work of art at the 2003 InternationalCongress of Classical Archaeology.

In 1996 he was a Visiting Professor at the Instituteof Classical Archaeology of the University of Leipzig,Germany. He was elected a Fellow of the RoyalNumismatic Society in 1952; a member of theArchaeological Institute of America in 1960 (and aLife Member in 1988); a Patron of the AmericanNumismatic Society in 1955 (and a Life Associate in1998); a Fellow for Life of the MetropolitanMuseum of Art in 1966, and most recently, aBenefactor of the Museum of Fine Arts, Boston, andin 2000 an Honorary Fellow of the EgyptianMuseum in Barcelona, Spain.

Dr. Eisenberg has appeared as an Expert in theCourts of several states and has conducted appraisalsfor the U.S. Internal Revenue Service, the U.S.Treasury Department, the U.S. Customs Service, theMetropolitan Museum of Art and the J. Paul GettyMuseum, as well as many other prominent institu-tions. He was elected a Qualified Appraiser by theAppraisers Association of America in 1964 and hasrecently participated in several episodes of theAntiques Road Show. He served on the vetting com-mittee of the European Fine Art Fair at Maastrichtfrom 1993 to 2001 and was the Chairman and co-organizer of the New York Antiquarian InternationalFine Art Fair held in November 2001.

Dr. Eisenberg has been a leader for several years inthe promotion of the ethical acquisition of antiqui-ties by museums and collectors and has delivered papers on this subject at the Archaeology Section of the U.K. Institute for Conservation in 1993 and atthe 1998 International Congress of Classical Arch-

aeologists. He gave an address by invitationon the international trade in antiquities at theUNIDROIT Convention in Rome in 1993.

He organized two symposia in New York in 1994on public policy and the movement of antiquitiesand in 1998 on the acquisition of antiquities bymuseums for the International Association ofDealers in Ancient Art, of which he is a foundingmember and was a member of the executive boardfrom 1993 to 2002.

In 1999 he presented testimony to the UnitedStates Cultural Properties Committee on the legaland illegal trade in ancient art in Italy.In 2003 he was a featured speaker and panel partic-ipant in the U.S. Government Conference onStolen Mideast Antiquities in Washington, D.C.Also in 2003 he featured on the European TV chan-nel Arte and on BBC Radio’s File on Four in in-depth interviews on the antiquities trade. He ap-peared on television on CBS News, Dateline NBC,PBS Jim Lehrer News Hour, and CBC Television(Canada), and was interviewed on the BBC andPBR Radio, and in print in the New York Times,Wall Street Journal, Boston Globe, PhiladelphiaInquirer, Washington Post, The Times, and a dozenother publications. In 2004 he was featured on aDiscovery Channel program and on Fox News onthe antiquities trade. Also in 2004 he presented apaper on ‘The Mesopotamian Antiquities Trade andthe Looting of the Iraq Museum’ to the AmericanBar Association.

In 2005 he was interviewed on the antiquitiesmarket and the collecting of antiquities on NationalPublic Radio in the US and in 2006 on NationalPublic Television in Athens, Greece.

In 2007 he delivered a paper on ‘Perspectives onthe Antiquities Trade and the Collector: Past,Present, and Future’ at the symposium ‘The Futureof the Global Past’ at Yale University.

Ancient CoinsWe carry a fine stock of select Greek silver coins

from $100, Roman gold coins from $1,000, andRoman silver and bronze coins from $100. Webegan our business as ‘Royal Coin Company’ inJanuary 1942, 66 years ago, and Dr Eisenberg, co-founder of the firm, has specialized in ancientcoins, as sole proprietor, since 1952.

AcknowledgementsDr. Eisenberg wishes to express his gratitude to F.

Williamson Price who has again diligently preparedand co-authored the catalog, to Brent M. Ridgewho did nearly all of the photography, to the schol-ars who attributed and reattributed some of thesculptures and vases, especially Kees Neeft, KonradSchauenburg, and Cornelius C. Vermeule, and tothe several others who prefer to remain anonymous.

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MINERVAMinerva, 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.

Subscription (6 issues per year):U.K.: 1 year £21, 2 years £39, 5 years £90.

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

U.S.A., Canada, and rest of world:Surface: 1 year $50, 2 years $90, 5 years $220.Air: 1 year $66, 2 years $122, 5 years $296.

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

Art and Antique Dealers League

Appraisers Association of America

International Association of Dealers in Ancient Art

Confederation Internationale desNegociants en Oeuvres d’Art

Wanted to Purchase: Fine Antiquities of All PeriodsWe 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.

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Our website has been greatly improved and expanded as may be seen by the partialpage 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.

Recent Royal-Athena Catalogs:• Art of the Ancient World (Vol. XV, 2004) illustratesin full color 190 objects. (72 pages, $5) • Gods & Mortals: Bronzes of the Ancient World(2004, illustrates in full color 80 objects, 80 pages, $5) • Ancient Arms, Armor, and Images of Warfare(2004, illustrates in full color 100 objects, 48 pages, $5) • Art of the Ancient World (Vol. XVI, 2005, illustratesin full color 192 objects, 80 pages, $5)• Mythologies of the Classical World & Ancient Egypt(2006, 48 pages, $5)• Art of the Ancient World (Vol. XVII, 2006, illustratesin full color 233 objects, 96 pages, $5)• Art of the Ancient World (Vol. XVIII, 2007, illustratesin full color 259 objects, 96 pages, $5)• All 7 of the above catalogs (total list price $35), with price lists: $25. (Add $32.50 for overseas airmail.)

Other Royal-Athena Catalogs Available • Art of the Ancient World(Vol. IV, 1985) illustrates in full color over 600 works ofart. 208 pages, 192 color plates: $15 (add $10 for over-seas airmail) • The Age of Cleopatra: The Art of Late DynasticGraeco-Roman Egypt (1988) illustrates in full color151 selected works of art. (32 pages, $5) • Gods & Mortals: Bronzes of the Ancient World(1989) illustrates in full color 180 objects. (52 pages, $5) • One Thousand Years of Ancient Greek Vases fromGreece, Etruria, & Southern Italy (1990) illustrates infull color 186 vases. (48 pages, $5)• Art of the Ancient World (Vol. VIII, 1995) illustrates

in full color 244 objects. (48 pages, $5)• Art of the Ancient World (Vol. IX, 1997) illustrates

in full color 264 objects. (64 pages, $5)• Art of the Ancient World (Vol. X, 1999) illustrates in

full color 264 objects. (64 pages, $5)• Art of the Ancient World (Vol. XI, 2000) illustrates

in full color 167 objects. (64 pages, $5)• Art of the Ancient World (Vol. XII, 2001) illustrates

in full color 410 objects; 30 pages of glossaries andmythologies. (161 pages, $10)• Art of the Ancient World (Vol. XIII, 2002) illustrates

in full color 203 objects. (80 pages, $5)

New YorkRichard M. Novakovich Assistant Director &

ManagerBetty W. Eisenberg ComptrollerSuzanne Strachovsky Office Manager Brent M. Ridge PhotographerArkady Roytman WebmasterAlina Bessarabova Conservator Amanda Murphy Intern

royal-athena galleriesestablished 1942

F. Williamson Price, Associate DirectorJerome M. Eisenberg, Ph.D., Director

London (Seaby Antiquities)Sean Kingsley, Ph.D. Gallery Manager;

Managing Editor, Minerva

Mark Marrony, Ph.D. Editor, MinervaPeter Clayton Consulting Editor,

MinervaTony Curran Minerva WebmasterHenriette Johansen Intern

• Art of the Ancient World (Vol. XIV, 2003) illus-trates in full color 225 objects. (80 pages, $5)• A number of the objects in the last several catalogsare still available. Price lists will be included.• All 13 of the above catalogs (total list price

$70), only $50. (Add $37.50 for overseas airmail.)Orders for our catalogs may be charged to your creditcard.

Trade lnquiries We cordially invite inquiries from fellow art dealers,

art consultants, architects, interior designers, and insti-tutional collectors and investors.

Special Presentations, Condition Reports, andColor Photographs of Objects

We can supply special presentations with furtherinformation, such as condition reports, and 4 x 6 in.(10x15 cm.) or 8 x 10 in. (20x25 cm.) color pho-tographs, often with other views or close-ups, onany of the objects illustrated in this catalog uponrequest. A selection of photographs may also beviewed at our London gallery or at the various fairs.

Conservation and Mounting ServicesA professional conservator, Alina Bessarabova,

working on our premises in New York, does expertconservation and restoration of ancient art andantiques. A same-day or a one day service is availablefor an additional charge. Small metal and woodmountings and bases are custom made but due toinsurance restrictions this work is usually limited toobjects purchased from us. We are pleased to accepttrade accounts. Terms and Conditions of Sale

All items are offered subject to prior sale. All pricesare subject to change without notice, however, the cur-rent price list is valid through 2007. The following cred-it cards are honored: American Express,Visa, Mastercard.A deferred payment plan is also available. New York res-idents must add the appropriate sales taxes (currently 85/8%). No cash refunds may be made after 10 days ofreceipt; however, full credit is allowed on all objects pur-chased from our galleries with the exception of a fewconsigned items. All shipping and insurance charges willbe billed to the purchaser. Title remains with Royal-Athena Galleries until payment is made in full.

royal-athena gallerieslondonnew york