royal-athena galleries

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

Volume XXII - 2011

londonnew york

We are pleased to issue this catalog celebrating our 69th anniversary of dealing inclassical numismatics and our 57th year of deal-ing in ancient art. It illustrates in full color 205selected antiquities priced from $1,250 to over$3,000,000.

This publication is one of a continuing seriesprimarily illustrating new acquisitions featuredin our New York galleries, where over twothousand fine works of art are on permanentdisplay. All of the antiquities in this catalog aredisplayed at our New York gallery, the largestand most extensive collection of the ancientarts 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.

©2010 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.

royal-athena galleries established 1942

Jerome M. Eisenberg, Ph.D. Director

Royal-Athena at Seaby 14 Old Bond Street London W1S 4PP UKBy appointmentTel.: (44) 780-225-8000Fax.: (44) 18-8334-4772

No. 89 - Art of the Ancient World - Vol. XXII - January 2011

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 BAAF Basel, The Basel Ancient Art Fair, Basel, Switzerland, November 4-10, 2010TEFAF, The European Fine Arts Fair, Maastricht, The Netherlands, March 18-27, 2011 The New York Spring Show, New York, New York, April 24-May 4, 2011BAAF Brussels, The Brussels Ancient Art Fair, Brussels, Belgium, June 8-12, 2011 BAAF Basel, The Basel Ancient Art Fair, Basel, Switzerland, November 3-9, 2011

(Check our website to confirm the dates)

COVER PHOTOS:Roman marble Aphrodite holding a scallopshell. 2nd Century AD. 55 in. (140 cm.) No. 22

Back cover:Roman marble deep bust of Eros stringing hisbow. H. 15 3/8 in. (39 cm.) No. 11

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

and F. Williamson PricePhotographs by Brent M. Ridge and

Ramon Perez

CLASSICAL ARTGreek Marble Sculptures 2Roman Marble Sculptures 5Ancient Stone Sculptures 18Greek Bronze Sculptures 20Etruscan Bronze Sculptures 21Roman Bronze Sculptures 22Ancient Bronze Animals 30Classical Bronze Vessels 31 Ancient Arms and Armor 32Varia 35Neolithic Terracottas 37Greek, Etruscan, and Roman Terracottas 38Early Greek Vases 43Attic Black-figure Vases 45Attic Red-figure Vases 53South Italian Vases 58Etruscan Vases 66Ancient Glass 68

Classical Gold Jewelry 70Ancient Silver 71

EGYPTIAN ARTEgyptian Stone Sculptures and Reliefs 72Egyptian Stone Vessels 76Egyptian Bronze Sculptures 78Egyptian Faience 85Egyptian Wood and Terracottas 87

NEAR EASTERN ART 90

COLLECTING ANCIENT ART 94

ROYAL-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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Photo above: Attic black-figure hydria by the Swing Painter (detail of shoulder).Ca. 535-530 BC. H. 18 1/4 in. (46.4 cm.), No. 110.

1GREEK MARBLE HEAD OF A KORE She wears a diadem that begins at the back ofthe head and runs to the forehead in three flat,overlapping double ears of grain. Under thediadem the slightly wavy hair is combed back-wards; a corkscrew curl on either side of theneck and a small curl in front of the right ear.She has an oval face with an almost pointedchin. Broad eyelids frame the almond-shapedeyes. A blossom was originally located in thecentre of the diadem above the forehead.Athens, ca. 460-440 BC.H. 8 1/2 in. (21.5 cm.) Ex Swiss private collection; D. Cahn, Basel.The planar treatment of the forehead andcheeks with the special emphasis placed on theeyebrows and lids, as well as the compact chinare similar to the head of an athlete in Boston,inv. no. 51.1404. Cf. C. Vermeule, Sculpturein Stone, Boston, 1976, p. 26, no. 32. Thesestylistic features suggest a date for the headbetween the pediment figures of the temple ofZeus in Olympia and those of the Parthenon.Cf. the head of a goddess from the East pedi-ment of the Parthenon, Agora Museum,Athens, inv. no. S 2094.

Greek Marble Sculptures

IntroductionAs we enter our 56th year of dealing in ancient art we are pleased to present in our

89th publication an outstanding selection of antiquities assembled primarily from old collec-tions in the United States and Europe. A large number of these objects were originally pur-chased from us over the past several decades and we are delighted to offer them again to a newgeneration of enthusiasts.

We are especially proud to offer in this catalog a selection of 24 fine ancient vasesfrom the collection of Patricia Kluge, all acquired from Royal-Athena between 1984 and 1995.The complete collection of 45 vases from her collection has been published in our new catalog‘One Thousand Years of Ancient Greek Vases II’ illustrating 193 select Greek, Etruscan, andSouth Italian vases from our current inventory.

We have devoted over half a century to selling carefully attributed works of art with particular attention to their provenance. This diligence has resulted in an astonishingly low per-centage of claims against legal ownership – less than 0.0006% or one out of every 2000 objects!In view of the increasing legislation being passed in several countries to restrict the trade in ille-gally exported antiquities (which we applaud), we may assure our clients that we continue toproudly conduct a very ethical business and take all of the proper steps to insure that our inven-tory is free of any possible claims.

Jerome M. Eisenberg, Ph. D.

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2 HELLENISTIC MARBLE BEARDEDMALE HEAD, possibly of a Hellenisticruler or victorious athlete, turned to theleft, his close-cropped hair brushedforward and bound with a laurel wreath. 2nd-1st Century BC. H. 8 in. (20.2 cm.) Ex collection of M. Desmoulies, Avignon,France, acquired in 1960.

3 HELLENISTIC MARBLE HEAD OFAPHRODITE, her head turned to her right,her wavy hair centrally-parted and sweptback into a chignon at the nape of her neck,held with a diadem around her head, heroval face with soft almond-shaped eyes andfull pouting lips. 1st Century BC. H. 5 in. (12.7 cm.)Ex Belgian private collection, acquired in1971.

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4 GREEK MARBLE HEAD OF A GODDESS depicted gazing forward, her expression serene, with almond-shapedeyes and a small mouth, her wavy hair centrally-parted and drawn back over her ears, the back flat. 3rd-2nd Century BC. H. 5 1/2 in. (14 cm.) Ex private collection, formed in the early 1980s.

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5 GREEK MARBLE HEAD OF A YOUNG GIRL, her head turned slightly to her right, wearing a crescentic diademin her curly hair, which is gathered above each ear. Ca. 4th Century BC. H. 6 1⁄4 in. (15.9 cm.) Ex Martinos,Athens, 1930s; F. Vegas, La Vega, Una Casa Colonial (ill.); private French collection; acquired in New York,

December 2003. Likely a child votary, it is related to agroup of marble figures, the so-called Arktoi or "littlebears," at the temple of Artemis at Brauron near Athens.Cf. M. True and K. Hamma, A Passion for Antiquities,Ancient Art from the Collection of Barbara andLawrence Fleischman, 1994, no. 50, p. 113.

6 HELLENISTIC MARBLE STELE OF ZOAwith a deeply sunken relief of a woman wearing ahimation, standing in the center flanked by two girls,probably servants. Ca. 125-100 BC. H. 29 in. (73.5 cm.) Ex B. collection, Switzerland,acquired 1960-1980. Published: E. Pfuhl-H. Möbius,Die ostgriechischen Grabreliefs, vol. 1, Mainz,1977, p. 151, no. 469, pl. 77.Her himation covers the head and body, leaving only asmall section of the right arm and the richly pleatedundergarment visible. The right hand grasps the hemof the himation. The girl to the left, shown in profile,is in a reflective or mourning pose, and looks up to thedeceased from the side. The fingers of her left handtouch her throat. The pose of Zoa is reminiscent ofthat of the so-called Small Herculanian Woman; cf. W.Fuchs, Die Skulptur der Griechen, 1979, p. 219, no.237, with illus. The girl to the right holds an openbox or mirror in both hands. A box, a kalathos and adouble comb (?) stand on a ledge in the upper part ofthe relief. On the upper frame, an inscription whichtranslates: Zoa, daughter of Menios, farewell.

Roman MarbleSculptures

7 ROMAN MARBLE RECLINING YOUNG FAUN LEANING UPONA WINE ASKOS He is depicted as a handsome adolescent, nude, lyingupon a draped rock in a languid pose; originally used as a fountain. 1st-2nd Century AD. H. 11 3/8 in. (29 cm.) L. 19 1/4 in. (49 cm.)Ex collection of Massimo Gargia, Paris; French collection.

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9 ROMAN MARBLE NUDE EROS, love’s messenger,standing with long curls falling to his shoulders.1st-2nd Century AD. H. 16 1/2 in. (42 cm.)Ex French private collection, acquired in the 1970s.

10 ROMAN LARGE MARBLE SANDALLED FOOTfrom a statue, probably of Aphrodite.1st-2nd Century AD. H. 16 1/2 in. (42 cm.)Ex French private collection, acquired in the 1970s.

ROMAN MARBLE DOUBLE HERM On one side is the bearded head of Dionysos and on the other a maenad; both wearing ivy wreaths. 1st-2nd Century AD. H. 16 in. (40.5 cm.)Ex private collection, Argentina, acquired in the early1990s.

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ROMAN MARBLE DEEP BUST OF EROS STRINGING HIS BOW Love’s messenger and the companionof Aphrodite is depicted bending forward to attach his bowstring. His head is turned to the right, facing theviewer, and his centrally parted hair ends in curls. 1st Century AD. H. 15 3/8 in. (39 cm.)Ex collection of B. N.-L., Chiswick, London, acquired in 1983 from an English private collection.

He has the features of an adolescent with a knowing expression. After the 4th Century BC original by Lysippos.Cf. H. Döhl, Der Eros des Lysipp, 1968, 10,49; LIMC III, 1986, p. 881, s.v. Cupid; P. Moreno, Lisippo,L'arte e la fortuna (exhibition in Rome), 1995, p. 166.

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ROMAN MARBLE HEAD OF AESCHYLUS, 525-456 BC, the Greek playwright recognized as the father oftragedy. 1st-2nd Century AD. H. 12. 1/2 in. (31.8 cm.) Ex old Portuguese collection; W. L. collection, SintNiklaas, Belgium.

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ROMAN MARBLE HEAD OF SOCRATES, 466-399 BC, the Greek philosopher and one of the founders ofWestern thought. 1st-2nd Century AD. H. 13.5 in. (34.3 cm.) Ex F. and X. Calico, Barcelona, Spain; W .L.. collection, Sint Niklaas, Belgium, acquired ca. 1990.

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ROMAN MARBLE HEAD OF THEEMPEROR HADRIAN (r. AD 117-138),turned to the left with gaze directed upwards,drilled wavy hair swept forward over the fur-rowed brow and tight curls framing the face. Ca. AD 117-140.H. 13 1/4 in. (33.6 cm); H. of bust 21 1/2 in. (54.6 cm.); H. of bust with socle 25 3/4 in. (65.4 cm.)

Ex Maynard Mitchell collection, Rose Place,Claines, Worcester, England, 1992; M.B. collection, Woodland Hills, California, acquiredfrom Royal-Athena in 2003. The back of thehead is restored. Mounted on an ancient bust of the period, possibly Hadrianic in date.

Hadrian was a man of extraordinary talents. A student of philosophy, he wrote both an autobi-ography and poetry, but architecture was his pas-sion, designing both the Pantheon in Rome andhis extensive villa at Tivoli.

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LATE HELLENISTIC MARBLE HEADOF A YOUNG SATYR his hair carved inwavy locks; his ears pointed. 2nd Century AD.H. of head 7 7/8 in. (20 cm.); H. with bust 13 in. (33 cm.); H. of headand bust with socle 15 3/4 in. (40 cm.). Ex private collection, Belgium.The bust and socle are 18th or 19th century additions.

ROMAN MARBLE PORTRAIT OF THEEMPEROR CARACALLA (r. AD 211-217) depicted as a prince or already asCaesar to his father Septimius Severus in thefirst portrait type of the heir apparent.Ca. AD 196-204.H. 10 1/2 in. (26.7 cm.) Ex European private collection, acquired in the 1990s. It is similar to his depiction on the Arch of theArgentarii in Rome. For the type, cf. K.Fittschen and P. Zanker. Katalog der römis-chen Porträts in der CapitolinischenMuseen, vol. V, 1985, 98ff., no. 86, pl. 105;V. Poulsen, Les Portraits Romains, II, NyCarlsberg Glyptotek, 1974, no. 132, pls.CCX-CCXI..

When he was seven years old, his name waschanged to Marcus Aurelius Antoninus. Thename change was a way of connecting thefamily of Severus to that of the Antonines.This portrait and others like it were probablymade to commemorate this event.

17ROMAN MARBLE HEAD OF THE EMPEROR HADRIAN (r. AD 117-138), his brow framed by a thick row of wavy lockscrowned by the corona triumphalis,a thick laurel wreath centered by acircular jewel. Ca. AD 120-140. H. 11 in. (28 cm.) Ex M.B. collection, Belgium,acquired before 1985; C.N. collection, Maryland.

For portraits of Hadrian see M.Wegner, Das römischeHerrscherbild II, 3, Berlin, 1956,p. 108, pl. 2.

Hadrian was a man of extraordi-nary talents, certainly one of themost gifted emperors that Rome everproduced. He became a fine publicspeaker, he was a student of philoso-phy and other subjects, who couldhold his own with the luminaries intheir fields, he wrote both an auto-biography and poetry, and he was asuperb architect. It was in this lastarea that he left his greatest mark,with several of the empire's mostextraordinary buildings and com-plexes stemming from his fertile mind.

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ROMAN MARBLE RELIEF HEAD OF A DIOSKOUROS,from a sarcophagus probably depictingthe hunt of Meleager, the young deitywith parted lips and long wavy hairsurmounted by a pilos, his eyes withrecessed pupils. Ca. AD 230-260. H. 9 1/4 in. (23.5 cm.) Ex Jean Marais (1913-1998), Parisand Cannes; Fraysse & Associés,Drouot, Paris.

For a closely related head of aDioskouros from a fragmentaryMeleager hunt sarcophagus in theLiebieghaus Museum, Frankfurt, see G.Koch, Die MythologischenSarkophage, VI: Meleager (Die antikenSarkophag-reliefs, vol. 12), Berlin,1975, pls. 47 and 48.

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ROMAN MARBLE LIFE-SIZE HEADOF APOLLO in the style of a Greek sculp-ture of the 5th Century BC, with straightnose, parted lips drilled in the inner corners,and almond-shaped eyes, his wavy hairradiating from the crown, parted in the cen-ter over the forehead, and bound with adouble mitra.Earlier 1st Century AD. H. 10 in. (24.5 cm.) Ex English collection dispersed in 1988; collection of Ortrud Carstens, New York,acquired from Royal-Athena in 2005.For related heads in the classicizing style seePaul Zanker, Klassizistische Statuen:Studien zur Veränderung desKunstgeschmacks in der römischenKaiserzeit, Mainz, 1974, pls. 68-69.

20 ROMAN MARBLE LIFE-SIZE BEARDED PORTRAIT HEADin the guise of a Greek philosopher.2nd-3rd Century AD.H. 11 in. (27.9 cm.) Ex private Swiss collection, acquired in the 1980s.

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21 ROMAN LARGE MARBLE TERPSICHORE, the Muse of dance and choral song, lifting the hem of hergarment as she prepares to step forward. In her now lostright arm she probably once held a lyre. From Bulla Regia, Tunisia. 1st-2nd Century AD.H. 29 1/2 in. (75 cm.) Ex French collection; J.K. collection, Palm Beach, Florida (1997-2009).Published: J. Eisenberg, Art of the Ancient World, vol.VIII, 1997, no. 8. Cf. M. Bieber, Ancient Copies,1977, figs. 574-578. She was the mother of the sirens byAchelous, chief among all river deities.

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22 ROMAN MARBLE STATUE OF APHRODITE (VENUS) OR A NYMPH HOLDING A SCALLOPSHELL This is a variant of the well-known Aphrodite of Syracuse, usually termed “Nymph with a shell”. Ourexample is quite close to the Vatican Museum sculpture but with a more pronounced Aphrodite-type hairdo.2nd Century AD. H. 55 in. (140 cm.) Ex English collection, pre-1984; S. R. collection, Beverly Hills,California, 1985-2010. Published: J. Eisenberg, Art of the Ancient World, vol. IV, 1985, no. 237.

Water once poured out of the shell for such statues were used as garden and fountain decoration. Cf. M.Bieber, Ancient Copies, 1977, fig. 238. For similar sculptures in the Istanbul and Torlonia Museums, see S.Reinach, Repertoire de la Statuaire, 11, 1908, p. 405, nos. 2 and 4.

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ROMAN MARBLE HERM BUST OF A CELTICQUEEN OR GODDESS with long curling hair, central-ly-parted and flowing to the shoulders, wearing a diadem,the brow furrowed above deep-set eyes, the ears drilled forearrings, a torc around the neck; the back flat.1st-2nd Century AD. H. 6 in. (15.2 cm.) Ex American collection, acquired between 1970 and1989; thence by descent. Depictions of the gods and god-desses of Celtic mythology frequently show them wearingtorcs; it was a sign of nobility and high social status.

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ROMAN MARBLE THALIA, MUSE OF COMEDYand idyllic poetry, holding a theater mask in her righthand and wearing a himation over her chiton.Mid 2nd Century AD. H. 24 1/2 in. (62.2 cm.)Ex Bruce MacAlpine, London, 1984; M.S. collection,Princeton, NJ (1985-1995); John Kluge collection, PalmBeach, Florida (1995-2009). Published: J. Eisenberg, Artof the Ancient World, vol. IV, 1985, no. 242.

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ROMAN MARBLE STATUE OF APHRODITEACCROUPE The nude goddess of love caught unawares,crouching at her bath, after a work by the Greek sculptorDoidalsas of Bythnia, ca. 250 BC, now in the Louvre.Lacking head, arms, parts of lower legs. 1st Century BC/AD. H. 8 5/8 in. (22 cm.)Ex private Belgian collection acquired in the early 1970s.Margarete Bieber in Sculpture of the Hellenistic Age,Oxford, 1955, points out that there were, by the 1950s,about fifteen marble statues and statuettes of this subject(the Vatican, Naples, Florence, the Torlonia Museum, Rome,etc.) in addition to the Lely Venus in the British Museum.

Visit our website, updated weekly,

to view more of thenearly 100 marblesculptures in our current inventory

as well as our latest acquisitions.

www.royalathena.com

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ROMAN MARBLE NUDEAPHRODITE OR NYMPH seated upon a cloak that partially

covers a rocky outcrop. She leans languidly upon her right hand; herleft hand, touching her thigh, is partlycovered with a drapery falling overher left forearm and leg. Her head isleaning back and her hair is gatheredinto a long braid. 2nd Century AD.H. 11 3/8 in. (29 cm.)Ex French collection.

Doubtless, an ornamental sculpturerather than a cult image, intended todelight the viewer with her vulnera-bility suggested by the sensitive carving of the goddess in so relaxed a posture.

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ROMAN MARBLE PORTRAIT OF A SEVERAN WOMAN The oval face is framed by a voluminous, shoulder-length coiffure styled in even waves. The hair is then laid loosely around the ears, and finally formed into two plaitswhich were loosely coiled to form a flat spiral in the nape of the neck. Early 3rd Century AD. H. 13 in. (33 cm.) Ex B. collection, Switzerland, acquired between 1960-1980. This coiffure is typical of the Severan period. The

coiffures of the empresses Julia Domna andPlautilla served as models. Cf. K. Fittschen andP. Zanker, Katalog der römischen Porträts inder Capitolinischen Museen, vol. III, 1983,99, no. 144, pls. 171-172.

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28RHODIAN LIMESTONE SPHINXwearing an Egyptianizing headdresswith side lappets, the striated wings outstretched above the back, tail curledaround the left hind leg; seated on anintegral rectangular base. Ca. 6th Century BC. H. 3 3/8 in. (8.6 cm.) Ex Swiss private collection, acquiredprior to 1960 by the grandmother of themost recent owner. Very rare.

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29 ROMAN ALABASTER HEAD OF ZEUS-SERAPIS with a full beard and long curly hair,clearly defined with deep drill holes, a circular recess on the crown to receive his modius. Based onthe 3rd Century BC cult statue by Bryaxis for theSerapeum in Alexandria. 2nd-3rd Century AD. H.4 in. (10.1 cm.) Ex private collection, Midlands,England.

ROMAN LIMESTONE HEAD OF A PAGE withbow-shaped lips, straight nose, and almond-shapedeyes beneath grooved eyebrows, his hair arranged inrows of voluted curls and surmounted by a Phrygiancap with beaded, volute, and rosette decoration. Palmyra, 3rd Century AD. H. 11 in. (28 cm.) Ex French private collection, Nice, acquired in the 1930s. This head is from the lower part of a funerary relief decorated with a depiction of the deceased reclining on a couch with an attendantor page below, on either side. Cf. a similar head in G. Ploug, The PalmyreneSculptures in the Ny Carlsberg Glyptotek, 1995,p. 243, no. 113.

31 ROMAN LIMESTONE HEAD OF DIONYSOS(BACCHUS) The god of wine is shown wearing awreath of vines and grapes, his hair in a top-knot,the back unmodelled. 2nd Century AD. H. 8 1/2 in. (21.6 cm.)Ex French private collection, acquired in the 1970s.

32 ARCHAIC EAST GREEK BRONZE KOUROS, his hair falling in long wavy strands over his shoulders: on anintegral base. Ionian, probably from Samos, ca. 550 BC. H. 3 5/8 in. (9.2 cm.) Ex R. and L. H. collection,Beverly Hills, Michigan. Exhibited: Picker Art Gallery, Colgate University, 1990-1994. Published: D. Mitten,Master Bronzes, 1968, no. 45; A. Emmerich, Classical Art, 1977, no. 62; J. Eisenberg, Gods and Mortals,1989, no. 3.

33 ARCHAIC GREEK BRONZE NUDE KOUROS‘WANDERER’ The youth has long hair falling to theneck, and is using a long staff in his left hand to sup-port himself. The right hand holds a rod. Late 6th Century BC. H. 2 1/8 in. (5.7 cm.) Ex collection of Herbert A. Cahn, Basel, acquiredbefore 1980.

34 HELLENISTIC BRONZE NUDE HERAKLESstanding with his right arm raised toward a laurel garland encircling his brow, his left arm holding a club;nipples with copper inlay, eyes once inlaid. Ca. 1st Century BC. H. 4 1/2 in. (11.4 cm.) Ex English collection, acquired in 1983.

35 LATE HELLENISTIC BRONZE CHILD OR EROS(CUPID) holding a rooster in the crook of his left armand standing in a relaxed pose, a mantle draped overhis left shoulder; his eyes inlaid with silver. 1st Century BC. H. 5 1⁄4 in. (13.3 cm.)Ex collection of Mrs. Albert Lasker, New York, acquiredfrom Royal-Athena in London, December 1990; JohnKluge collection, Charlottesville, Virginia. Published: J. Eisenberg, Gods & Mortals II, 2004, no. 34.

The offering of a rooster was imbued with sexual sym-bolism; see: M. Vickers, Greek Vases, AshmoleanMuseum, p. 89, no. 43.

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36 ETRUSCAN BRONZE NUDE KOUROS Striding with his left leg advanced,both arms bent at his sides, his right hand clenched, his left hand open with thepalm facing out; a hair roll surrounds his face. Umbria, early 5th Century BC. H. 5 5/8 in. (14.3 cm.) Ex John Kluge collection, Charlottesville, Virginia,acquired from Royal-Athena in 1994. Published: J. Eisenberg, Art of theAncient World, vol. VII, 1992, no. 87.

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ETRUSCAN BRONZE NUDE MALE DANCER OR ATHLETE, his bodytwisted forward with arms extended. A decorative figure from a candelabrum. Cf. S. Aurlgemma, Scavi di Spina, 1965, pl. 100. Ca. 420-400 BC. H. 3 in. (7.6 cm.) Ex Swiss collection, 1995.

ETRUSCAN BRONZE VOTIVE MALE FIGURE of stylised elongated, flattenedform, wearing ankle-length close-fitting drapery, the hands emerging from the body;wearing a radiate crown; a v-shaped tang below. 3rd Century BC.H. 5 5/8 in. (14.3 cm.) European private collection, from the late 1950s onwards.

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ETRUSCAN BRONZE SEATEDYOUTH wearing a himation and adiadem with three rosettes. Ca. 460 BC . H. 3 3⁄4 in. (9.5 cm.) Ex John Kluge collection, Charlottes-ville, Virginia, acquired from Royal-Athena in 1994. Published: Münzen und Medaillen,Antike Kunst, 1982, no. 100; C.Vermeule and J. Eisenberg, Catalogueof the Greek, Etruscan, and RomanBronzes in the Collection of JohnKluge, 1995, no. 90.03; J.Herrmann, ‘From Olympus to theUnderworld, Ancient Bronzes fromthe John Kluge Collection’, Minerva,vol. 7, no. 2, 1996, p. 39, fig. 2.Exhibited: Museum of Fine Arts,Boston, 1996.

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40 ROMAN BRONZE COMBATANT GLADIATORnude to the waist, wearing a helmet, double belt, loin-cloth, and arm protector; his left leg advancing and hisleft arm extended in a thrust. 1st-2nd Century AD. H. 3 7/8 in. (9.8 cm.) Ex German private collection, Z.C., acquired betweeen1970 and 1980.

ROMAN BRONZE GROUP: TWO SOLDIERS ORGLADIATORS IN COMBAT, one standing about tothrust his sword into the neck of his kneeling adversary;sword blade now missing. Both wear full Roman military costumes, the fallen without a helmet. Late 2nd-early 3rd Century AD.H. 4 5/8 in. (11.8 cm.) Ex European private collection, acquired in the 1990s

ROMAN BRONZE PERSONIFICATION OFWINTER wearing a hooded tabard and pantaloons andholding a hare in his raised right hand and a staff in hisleft. 3rd Century AD. H. 4 1/8 in. (10.4 cm.)Ex German collection.

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43 ROMAN BRONZE NUDE APOLLO wearing a bow caseon a strap and holding a laurel sprig in his right hand. Ca. 2nd Century AD. H. 8 7/8 in. (13 cm) Ex Dutch private collection, Maastricht; H.J. collection,Sun City, Arizona. Published: J. Eisenberg, Art of theAncient World, vol. IV, 1985, no. 278. Exhibited at Kresge Art Museum, Michigan State University, 1985-2009.

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ROMAN BRONZE PAN PLAYING A SYRINXThe god of shepherds, herds, and hunters, with upperhuman body and goat horns, legs and tail, holds a syrinx inhis right hand, approaching his mouth, and in his left handhe holds a logobolan (shepherd’s crook). 1st-2nd Century AD. H. 5 1/8 in. (13.2 cm.) Ex German private collection, Z.C., acquired betweeen1970 and 1980. Cf. M. Kunze, Meisterwerke antikenbronzen und metallarbeiten aus der sammlung Borowski,Franz Phillip Rutzen, Germany, Mainz 2007, pp. 158-159, fig. C. 24.

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ROMAN BRONZE ISIS FORTUNA wearing a diademtopped with Hathor horns, plumes, and a solar disk. In herleft arm she cradles a cornucopia, and with her right shesteadies a rudder. 1st-2nd Century AD. H. 4 in. (10.2 cm.) Ex collection of Prof. Alcibiades N.Oikonomides (d.1988), Chicago, acquired in the 1970’s;private collection, Westlake Village, California.

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The Discobolos is known through numerous Roman copies, both full-scale examples in marble, such as the first to be found in 1781, at the Villa Palombara on the Esquiline Hill,or smaller versions in bronze such as this one. The discus thrower is depicted about to releasehis throw. The moment captured in the sculpture is an example of rhythmos: harmony andbalance. The body is perfect in its symmetry, the torso showing no muscular strain, eventhough the limbs are outflung. The athlete reveals no emotion in his expression as if concen-trating all on the moment of stasis just before the release, oblivious of his iconic physicalbeauty which is all too apparent to the observer. The Palombara Discobolos was initiallyrestored by Giuseppe Angelini; the Massimi installed it initially in their Palazzo Massimoalle Colonne and then at Palazzo Lancelotti. The Italian archaeologist Carlo Fea identifiedthe sculpture as a copy from the original of Myron. It was instantly famous and universallyadmired. It is now in the National Museum of Rome, displayed at the Baths of Diocletian.

ROMAN LARGE BRONZE DISCOBOLOS based on the famous lost Greek bronze original by Myron that was completed between 460-450 BC.1st Century BC/AD. H. 10 in. (25.4 cm.) Ex old Belgian collection said to have been acquired in Egypt before 1983.

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Originally, she supported herself by rest-ing her raised left arm upon a pillar asshe is about to remove her sandal fromher left foot. The figure is captured as shebalances precariously, in a self-consciouslycounterbalanced pose that highlights thenudity and sensuality of the goddess: apretext for the observation of the femalebody is a foible of the classical aesthetic.

Very fine style. Large bronze nude Aphrodites are very rare.

47 ROMAN LARGE BRONZE NUDETORSO OF APHRODITE inspired by a famous prototype of the Hellenistic period,which subsequently was copied many times.The goddess is represented entirely nude,wearing nothing but gold armlets. 1st-2nd Century AD.H. 10 1/2 in. (26.7 cm.)Ex private collection, Basel, Switzerland;Patricia Kluge collection, Charlottesville,Virginia, acquired from Royal-Athena in1990.

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50 PAIR OF ROMAN BRONZE APPLIQUE HEADS OF THE YOUNG DIONYSOS with elaborate coif-fure including grape clusters; his eyes with partial paste inlays remaining. 3rd Century AD. Hs. 2 3/4 in.(7 cm.) Ex collection of B.H.S., a retired military officer, St. Petersburg, Florida, formed in the 1950s-early1970s.

ROMAN BRONZE NUDE NUBIAN SLAVE BOY seated on his haunches, his legs drawn up. It probablyformed the handle of a key or a knife. A charming representation. 1st-3rd Century AD. H. 1 7/8 in. (4.8 cm.) Ex French collection.

ROMAN BRONZE STEELYARD WEIGHT: HEADOF A NUBIAN YOUTH with characteristic hair style,articulate, large almond eyes, broad nose, and large lips.2nd Century AD. L. 3 in. (7.6 cm.)Ex collection of Prof. Alcibiades N. Oikonomides(d.1988), Chicago, acquired in the 1970s; private collection, Westlake Village, California.

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52 ROMAN BRONZE MOUNT: BUST OF THE YOUNG DIONYSOS with elaborate coiffure includinggrape clusters; his eyes recessed for inlay. Wrapped with a goat skin tied over his left shoulder, he restsatop an architectural element. 3rd Century AD. H. 6 3/4 in. (17.2 cm.) Ex collection of B.H.S., aretired military officer, St. Petersburg, Florida, formed in the 1950s-early 1970s.

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PAIR OF ROMAN BRONZE APPLIQUES: DEEP BUSTS OF HERAKLES wearing a lionskin overtiers of curly hair, the paws tied across his chest; probably from a wagon or carrying chair. 2nd Century AD. Hs. 4 1/2 in. (11.4 cm.) Ex collection of B.H.S., a retired military officer, St.Petersburg, Florida, formed in the 1950s-early 1970s.

ROMAN BRONZE APPLIQUE THEATER MASKExpressive mask of an older bearded actor, the mouthwide open, the silver-inlaid eyes deeply pierced, thecurly hair tied back. 2nd-3rd Century AD. H. 2 7/8 in. (7.3 cm.) Ex B. Collection, Munich,1960s.

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54 ITALO-GEOMETRIC BRONZE DOUBLE-HEADED RAM Ca. 8th-7th Century BC. L. 4 5/8 in. (11.7cm.) Rare. Published: J. Eisenberg, Art of the Ancient World, vol. VI, 2, 1991, no. 43. Acquired in Basel,October, 1988.

ROMAN BRONZE LEAPING GOAT, head turned slightly to the left, with back-curving horns, long ears,and heavily detailed fleece. 2nd Century AD H. 4 3/8 in (11.1 cm.) Ex A. Abraham collection, New York.

ROMANO-IBERIC OR CELTIC BRONZEPRANCING HORSE Ex Lord McAlpine col-lection of West Green, England; acquired July1988. Published: J. Eisenberg, Art of theAncient World, vol. VIII, 1995, no. 68.

GREEK BRONZE DOG carrying a puppy in its mouth; on an integrally cast rectangular base. A rare type.Late 6th-5th Century BC. L. 2 5/8 in. (6.7 cm.) Cf. a 6th Century BC terracotta of the same type in R. A.Higgins, Catalogue of the Terracottas in the British Museum, 1970, no. 789. Published: J. Eisenberg, Art ofthe Ancient World, 1992, vol. VIII, no. 170.

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Ancient Animals

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58 GREEK LARGE BRONZE HYDRIA Reddish-brown surface with areas of mottled green patina.Ca. 4th Century BC. H. 17 5/8 in. (44.8 cm.) Ex Swiss collection; Patricia Kluge collection,Charlottesville, Virginia, acquired from Royal-Athena in 1990. The base was probably reworkedin the 1st-2nd Century AD.

Classical Bronze Vessels

ROMAN BRONZE OLPE with incised horizontalbands encircling the neck and body, the handle terminating in a comic mask. 1st Century AD. H. 6 7/8 in. (17.5 cm ) Ex collection of Mrs. Elias-Vaes (1908-2002),Netherlands; Kralings Museum, Rotterdam.

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MIDDLE EUROPEAN BRONZE AGE BRONZE DAGGERCa. 1500-1200 BC. L. 14 3/8 in. (36.6 cm.) Ex German collection.

MIDDLE EUROPEAN BRONZE AGE BRONZE ARM PROTECTOR, formed as a broad flat band with central rib, terminating in spirals. Ca. 1200-1000 BC. L. 11 1/4 in. (28.5 cm.) Ex German collection.

MIDDLE EUROPEAN BRONZE AGE CEREMONIAL BRONZE AXE HEAD Ca. 1500 BC. L. 7 1/8 in. (18 cm.) Ex German collection. Cf. similar one in J. Eisenberg, Art of the Ancient World, vol. XXI, 2010, no. 85.

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Ancient Arms & Armor

63 MIDDLE EUROPEAN BRONZE FIGHTING AXE HEAD cast with raised circles and dots on the shaft. 9th-6th Century BC. L. 6 7/8 in. (17.5 cm.)Ex German collection.

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CENTRAL EUROPEAN BRONZE AGE BRONZE LANCE HEAD,Urnfield Culture, with a ridged blade and a round socket with two attachmentholes on each side. 10th-7th Century BC. L. 6 1/2 in. (16.5 cm.) Ex German collection.

66 CENTRAL EUROPEAN BRONZE AGE BRONZE LANCE HEAD,Urnfield Culture, with a ridged blade and a round socket with two attachmentholes on each side. 10th-7th Century BC. L. 6 5/8 in. (17 cm.) Ex German collection.

67 CENTRAL EUROPEAN BRONZE AGE BRONZE LANCE HEAD,Urnfield Culture, with a ridged blade and a round socket with two attachmentholes on each side. 10th-7th Century BC. L. 7 1/4 in. (18.5 cm.) Ex German collection.

CENTRAL EUROPEAN BRONZE AGE BRONZE LANCE HEAD with aridged blade and a round socket with two attachment holes on each side. 10th-7th Century BC. L. 13 5/8 in. (34 cm.) Ex German collection.

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EASTERN CELTIC IRONCURVED KNIFE with curved, one-sided blade with anengraved wave tape at both endsof the handle, with two bronze-decorated ferrules and the scab-bard shoe remaining. 2nd-1st Century BC. L. 14 in. (35.5 cm.) Ex German collection.

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69 LONG CELTIC WROUGHT IRON LANCE HEAD of attenuated leaf shape with a central rib fromwhich the two faces of the blade plane off. 6th-5th Century BC. L. 24 in. (61 cm.) Ex German collec-tion.

70 CELTIC IRON LONG SWORD WITH SCABBARD Stuck tightly in the iron scabbard, a broad iron bladewith curved iron quillons and a conical tang. The ridged scabbard has a super-imposed chape and a rivetedsuspension ring on the reverse side of the locket. 3rd-2nd Century BC. L. 35 in. (89 cm.)Ex German collection.

71 ROMAN LEGIONNAIRE’S FORGED IRON PUGIO DAGGER BLADE with characteristic curved bladeand a midrib on both sides. 1st Century AD. L. 15 in. (38 cm.) Ex collection of Axel Guttmann (1944-2001), Berlin, acquired in Munich in the 1990s. Found in Germany.

72 DACIAN IRON SLASHING WEAPON (SPATHA) with a wide two-edged blade with long flat handleornamented with notches between and capped with a suspension ring. 1st-2nd Century AD. L. 23 3/4 in. (60.5 cm.) Ex German collection. A rare weapon from Southeastern Europe during theDacian Wars, probably captured by a Roman soldier.

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CYPRO-ARCHAIC LIMESTONE HEAD OF AYOUTH with a cap-like hairdo of snail curls, almond-shaped eyes with offset lids, and an oval face withpointed chin; traces of red paint indicate the pupils.Ca. 600 BC. H. 2 1/2 in. (6.3 cm.) Ex collection of the Sarasin family, acquired between1960-1970.

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74 CELTIC HAMMERED IRON BOAT-SHAPED HANGING OIL LAMP witha partially reeded handle terminating in astylized dragon head with long horns.Danubian region, 2nd-1st Century BC. H. without chain 6 7/8 in. (17.5 cm.) Ex Austrian collection. Cf. similar lampbut without chain, in J. Eisenberg, Art ofthe Ancient World, vol. XXI, 2010, no.179.

73 CELTIC SILVER INLAID IRON RING-HANDLED KNIFE Slightly curved backblade with t silver-inlaid ornament. 2nd-1st Century BC. L. 19 1/4 in. (49 cm.)Ex German collection.

CELTIC BRONZE AMPHORA Thick-walled, with bellied body, short, cylindrical neck, flaring slightlytowards the mouth. The handles, cast separately, each have a decorative human face terminus. Scarce. 2nd-1st Century BC. H. 7 in. (18 cm.) Ex collection of Dr. Florian Papp, Munich (1964-1990s).

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80 ROMAN LEAD WAGON WITH TWO FIGHTING GLADIATORS The shorter Thracian wears aplumed broad-rimmed helmet that encloses the entire head, a square-shaped shield, and two thigh-lengthgreaves. In his right hand he holds a curved sword (sica). The murmillo wears a plumed helmet with a stylized fish (mormylos) on the crest, an arm guard (manica) and carries a gladius and an oblong Gallicshield. 2nd-3rd Century AD. H. 2 3/8 in. (6.2 cm.); L. 3 1/8 in. (8 cm.) Probably a votive or toy; the twoback wheels and axles missing, Ex German private collection, 1970s.

ROMAN BRONZE ARCHITECT’S CORNER, CONICAL PLUMB, CALIPERS, AND REGULA The corner a total of 12.7 cms long and 9 cms wide, with 90° and 45° corners. The hinged regula inopened state is 11 1/2 in. (29.3 cms.). 3rd Century AD. The calipers: L. 5 7/8 in. (15 cm.) Ex German private collection. Cf. similar in: Pompeii. Nature, science and technology in a Romantown. Exhibition and conference, Deutsches Museum, Munich, 1999, p. 134, no. 384; J. P. Adam, Roman Building. Material and Techniques, 1994, 43; Pondera, Pesi e plight nell'Antichità, 2001,p. 241, no.171.

GALLO-ROMAN BRONZE RETICULATED BELT FITTING with rich punched decoration and cut outwith two stylized horse heads. Ca. AD 400. L. 3 in. (7.5 cm.) Ex J. H. collection, acquired in the 1990s.Cf. Die Alamannen, exhibition catalogue, Stuttgart Museum, 1997, p. 94, fig. 79, p. 138, fig. 138.

ROMAN RETICULATED BRONZE BELT BUCKLE: LEOPARD AND TIGER FIGHTING, the loopsending in lion heads. 2nd-3rd Century AD. L. 2 1/8 in. (5.4 cm.) Ex Dorotheum, Vienna, September15, 1999, no. 180; ex Austrian collection.

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81 NEOLITHIC POTTERY IDOL Cruciform, with incised almond-shaped eyes, raised nasal ridge, andpointed nose. The body is incised with lines indicating, perhaps, clothing or jewelry. Vinca Culture, Balkanarea. 6th-5th Millennium BC. H. 3 1/2 in. (8.8 cm.) Ex French collection

82 NEOLITHIC BROWN POTTERY OVEN IN THE FORM OF A HUMAN FACE, decorated with white-filled, incised lines. Vinca Culture, Balkan area. Very rare. Late 5th-4th Millennium BC. H. 3 3/4 in. (9.5 cm.) Published: J. Eisenberg, Art of the Ancient World, 1999, no. 70.

83 NEOLITHIC LARGE GRAY POTTERY HEAD FROM AN IDOL Roughly spade-shaped, with raisedarching eyes surrounded by incisions, an incised cheek line, and a raised nasal ridge; the nose lacking; theback of the concave head with a row of four perforations. Vinca Culture, Balkan area. Ca. 5th MillenniumBC. H. 3 1/8 in. (7.9 cm.) Ex M. M. collection, Belgrade; private collection, London.

84 NEOLITHIC LARGE BROWN POTTERY HEAD FROM AN IDOL Roughly spade-shaped with incisedarching eyes, the face with incised lines following the contours of the facial planes. Choice. Vinca Culture, Balkan area. Ca. 5th Millennium BC. H. 2 5/8 in. (6.7 cm.) Ex M. M. collection,Belgrade; private collection, London.

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GREEK TERRACOTTA KORE wearing a peplos and draped with a himation. In her right hand sheholds a wreath. Ca. 530-500 BC. H. 7 7/8 in. (20 cm.) Ex German collection.

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GREEK POLYCHROME TERRACOTTA PROTOMEOF A KORE wearing a polos. Later 5th Century BC. H. 6 1/4 in. (16 cm.)Ex German collection.

GREEK LARGE TERRACOTTA KORE wearing a chiton wrapped in a himation, a polos on her head. Her hair is combed beneath a stephane and then back into two long braids. In her left hand she holds alotus cup. 5th Century BC. H. 13 3/4 in. (35 cm.) Ex French collection.

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BOEOTIAN TERRACOTTA PROTOME OF A GODDESS Her hair is arranged in an opulent,wavy coiffure. She wears a poloswhose bands fall down to her shoulders and a necklace with triangular elements.Late 5th-early 4th Century BC. H. 6 1/2 in. (16.4 cm.) Ex collectionof Helen Schou, acquired 1930-1940. Cf. S. Mollard-Besques, CatalogueRaisonné du Louvre, 1954, p. 93,nos. C 59-61, 65, 73, pls. LXVI,LXVIII.

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90 HELLENISTIC TERRACOTTA LADY OF FASHION with delicate facial features and her hairdressed in a melon coiffure. She turns her headslightly to the right. She wears a chiton and a cloakpulled over her breasts and angled right arm.Ca. 300 BC. H. 6 in. (15.4 cm. ) Ex English collection.

91 HELLENISTIC TERRACOTTA OF A YOUTH with curly red hair, wearing a chiton andhimation, leaning against a column. 3rd Century BC. H. 9 3/4 in. (24.7 cm.) Ex collection of Yves Saint Laurent, Paris; traces oforiginal pigment remaining.

92 HELLENISTIC POLYCHROME TERRACOTTA DRAPED FEMALE She wears a draped, ankle-length himation, drawn up at her side with her hands beneath the fabric, the pleated lower hem of the floor-length chiton revealed; with pastel mauve pigment over white ground. Canosa, ca. 3rd Century BC. H. 10 3/4 in. (27.3 cm.) Ex Dr. M. S. collection, Scarsdale, New York.

GREEK TERRACOTTA DEEP BUST OF AKORE her arms close to her body. She wears a peplos with richly layered folds over a finely pleatedchiton which is knotted at the arms; her wavy hairin a sakkos. Ca. 450 BC. H. 6 1/8 in. (15.8 cm.) Ex collection of HerbertCahn, Basel, acquired before 1994. For the type cf.R.A. Higgins, Catalogue of the Terracottas in theBritish Museum, 1954, nos. 678-679, 682, pl. 89.

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94 ETRUSCAN TERRACOTTA VOTIVE HEAD OF A YOUNG BOY, capite velato, with hair ripplingtowards his back. 4th Century BC. H. 6 1/8 in. (15.5 cm.) Ex French collection.

ETRUSCAN POLYCHROME TERRACOTTA SATYR MASK executed in the bold relief of the Archaic style,with a row of brow curls, pointed ears, broad moustache, thick lips, and a wide, curly spade-form beard; exten-sive polychromy remaining. Veii, 5th Century BC. H. 8 7/8 in. (22.5 cm.) Ex R.H. collection, New York, acquired before 2001.

ETRUSCAN TERRACOTTA ANTEFIX in the form of a female head, with 'archaic smile', and curls over herforehead, with remains of painted decoration and arched

attachment at back. 6th-5th Century BC. H. 7 in. (18 cm.); Depth 10 1/2 in. (26.6 cm.) Ex Americanprivate collection, acquired from Faustus Ancient Art Ltd, London, in 1988.

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ETRUSCAN TERRACOTTA HEAD OF HERAKLES wearing a lion skin hood. The head is framed by thelion’s mane; the browline has a row of applied snail curls. Ca. 6th Century BC. H. 6 in. (15.2 cm.)Ex Belgian collection; Dr. M. S. collection, Scarsdale, New York, acquired from Royal-Athena in 2004.

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ETRUSCAN TERRACOTTA HEAD OF A GODDESS wearing a broad stephane. The hair is laid over the brow in fine, wavy strands, with acurl in front of each ear. Ca. 480 BC. H. 7 1/4 in. (18.5 cm.) Ex R. M. collection(1956-1979), Bern, Switzerland.

ETRUSCAN TERRACOTTA VOTIVE HEADOF A YOUNG WOMAN with centrally partedhair, veiled, and falling to her shoulders; aroundher neck is a necklace with two rows of circularbeads from which biconical beads are pendant. 4th Century BC. H. 6 5/8 in. (17 cm.)Ex Tollmann collection, Cologne, acquired in the1960s-70s. Cf. H. Brijder, et al., De Etrusken.Amsterdam, 1989, 169; I. Jucker, Italy of theEtruscans, Jerusalem, 1991, p. 265 no. 348.

99 LATE HELLENISTIC TERRACOTTA OF ANOLD SLAVE WOMAN supporting a large trans-port amphora with her right hand and holding ajug in her left. 1st Century BC/AD. H. 7 in. (17.8 cm.) Ex English private collection,acquired in the 1980s.

Stylistically based on Hellenistic Greek figures,however, drawn from the popular characters of theNew Comedy, fabulae palliatae, in the Greek styleof Plautus and Terence.

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100ROMAN TERRACOTTA NUDE APHRODITE(VENUS PUDICA) WITH EROS The goddess of love wears a diadem over a hairdo reminescent of Julia Domna, wife of Septimius Severus.Late 2nd- early 3rd Century AD. H. 7 1/8 in. (18cm.) Ex German collection.

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ROMAN TERRACOTTA ALTAR (ARULA): THERAPE OF EUROPAEuropa, daughter of Agenor, king of Tyre, beingabducted by Zeus in the form of a bull.1st-2nd Century AD. H. 5 1/2 in. (14 cm.)Ex French collection.

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GALLO-ROMAN TERRACOTTA THEATER MASKOF A BEARDED HERO, eyes, nose, and mouth open;holes on the side for attachment.3rd-4th Century AD. H. 9 in. (22.8 cm.) Related to a group of masks found near Trier, ca. 1925-1931. Ex Dutch private collection. For a near-identical mask see J. Eisenberg, Art of theAncient World, vol. XVI, 2005, no. 65. Cf. P.Stuart, Provincie van een Imperium, Rijksmuseumvan Oudheden te Leiden, p. 131, no. 192.

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103PROTOCORINTHIAN ROUND-MOUTHED OINOCHOE with a central band of animals. Ca. 640-630 BC. H. 7 1/8 in. (18.1 cm.) Ex Germancollection; John Kluge collection,Charlottesville, Virginia, acquired fromRoyal-Athena in 1983; Patricia Klugecollection, Charlottesville, Virginia,1990-2010.

This is a rare and important vase, a masterwork of potting and paintingproduced in Corinth in the time of transition from the Late Protocorinthianto the Corinthian styles. In the friezearound the middle of the body are eightanimals: two goats, two leopards (?), alion, a boar, a bull, and a ram. Seven of the beasts walk to the left. The ram,however, walks to the right and comeshead to head with the bull; both lowertheir heads as though determined to contest the right of way. This parade ofbeasts is executed with far more feeling and precision than would ever again be found in the developed Corinthian style. Parts of each animal are highlighted bythe use of added red. The shape is East Greek but the decoration is pure Corinthian. Only one other example is knownwhich also has an animal frieze: Munich 228; see H. Payne, Necrocorinthia, Oxford, 1931, p. 272, no. 149. Cf. A.Lane, Greek Pottery, New York, 1949, pl. 24A; F. Villard, CVA Louvre 13, pl. 47, 1-2; and H. Bloesch, ed., GreekVases from the Hirschmann Collection, Zurich, 1982, 18-19 and 94, no. 6.

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CORINTHIAN FLAT BOTTOMEDOINOCHOE BY THE PAINTER OFBOSTON F471 Between bands, a cen-tral frieze of animals including a panther,an ibex, a small bird, and a siren; tongueson the shoulder and rays beneath thefrieze; with dipinto (painted inscription).

Ca. 580 BC. H. 8 in. (20.5 cm.)Acquired in Basel, Switzerland, June2000. Published: J. Eisenberg, Art ofthe Ancient World, vol. XII, 2001, no.169. Cf. D.A. Amyx, Corinthian Vase-painting of the Archaic Period, 1988,221, pl. 91.

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GREEK GEOMETRIC TANKARD witharching striated handle, the body withoverall banding, flanking a central frieze of water fowl.

Geometric IB-IIA, 750-725 BC. H. 6 3/8 in. (16.2 cm.) Ex private North German collection. Published: W. Hornbostel, Kunst derAntike, Schätze aus NorddeutschenPrivatbesitz, 1977, p. 241, no. 226; J.Eisenberg, Art of the Ancient World,vol. XV, 2004, no. 81.

This is a small selectionof the many newlyacquired vases just published in our

One Thousand Years ofAncient Greek Vases IIcatalog featuring 195Greek, Etruscan, andSouth Italian vases.

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ATTIC BLACK-FIGURE PANELAMPHORA BY THE BATEMANPAINTER Herakles stands in the center,locked in combat with the Nemean lion,an invulnerable beast that terrorized thevicinity near Nemea in the N. W.Peloponnese. Iolaos, Herakles’ nephew and companion, stands at left holdingHerakles’ club and gesturing excitedly. At right stand Athena and Hermes.Reverse: The red-bearded Dionysos standsin profile holding a kantharos; at rightdance two nude satyrs. Behind him, atleft, dance a third satyr and a white-skinned maenad.

Ca. 530-520 BC. H. 19 in. (48.3 cm.)Ex collection of Patricia Kluge, Charlottesville, Virginia, acquired fromRoyal-Athena in 1991.Published: Summa, Ancient Art, BeverlyHills, California, 1976, no. 9.

Only five other vases are known by thispainter, an artist Sir John Beazley placedamong the followers of the Lysippides Painter(the name vase in the Cleveland Museum,two in the Metropolitan Museum, New York,one in the Museum of Fine Arts Boston, andthe other in a private American collection).

The goddess Athena was a frequent compan-ion of Herakles and was his patron amongthe gods. Hermes was also present during several of his Twelve Labors.

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AAttttiicc BBllaacckk--ffiigguurreeVVaasseess

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107

ATTIC BLACK-FIGURE NECK AMPHORAOn both sides, a Gigantomachy: Athena attacksto the right, plunging the spear in her upraisedright hand into the giant who kneels in front ofher, probably Enkelados. Reverse: Similar, butAthena fights without a shield.

Ca. 520-510 BC. H. with lid 20 1/2 in. (52 cm.)Ex collection of Patricia Kluge, Charlottesville,Virginia, acquired from Royal-Athena in 1991.

In mythology, the Gigantes were a tribe of one hundred giants born of Gaia, the Earth. Ather instigation they made war on the Olympiangods but, with the help of Herakles, weredestroyed in the ensuing conflict. The battle between the gods and the giants hada long history in art and literature, being men-tioned by Homer (Odyssey 7.59) and describedby Hesiod (Theogeny 185).

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ATTIC BLACK-FIGURE NECK AMPHORA FROM THE GROUP OFTORONTO 305In a battle between Greeks and Amazons (Amazonomachy), a four-horse chariot(quadriga) is wheeling to the left. The horseshave already turned, but the chariot itselfstill faces frontally, with the wheels foreshort-ened. The charioteer is not visible, but we seethe Theban shield he wears on his back, withits red rim and characteristic indented sides.Of the warrior riding beside the charioteer,we see only his high-crested Corinthian hel-met, his scabbard, his two long spears, andhis round Argive shield. An air of equineferocity is reinforced by the open mouths andwhite teeth. At the left is an Amazon carry-ing a spear and shield. She falls to the left;at first glance, the horses seem to be tramplingher, but in fact she is behind them. Herattacker is probably the warrior at the farright, who strides to the left behind the chari-ot, his face hidden by the shield of the chario-teer.

Reverse: In the center, Dionysos stands holding arhyton in his left hand and a grapevine in hisright. He wears an ivy wreath. Like the twosatyrs in the scene, the god has a long red beard.One satyr stands empty-handed at the far right;the other stands behind Dionysos holding a jug,ready to fill the god’s rhyton when summoned.Behind this satyr, at the far left, is a maenadwearing a deerskin (nebris) over a chiton deco-rated with stars and rosettes. A second woman,probably Dionysos’ consort, Ariadne, standsbefore the god, in a chiton and red-stripedhimation, her right hand gesturing toward him.

Ca. 520-510 BC. H. 17 1/8 in. (43.5 cm.)Ex English collection; Patricia Kluge collection,Charlottesville, Virginia, acquired from Royal-Athena in 1990.Published: J. Eisenberg, One Thousand Yearsof Ancient Greek Vases, 1990, no. 30.

The painters in this group were followers ofthe Antimenes Painter and worked in a comparable style.

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ATTIC BLACK-FIGURE NECKAMPHORA FROM THE LEAGROSGROUP Herakles holds the Erymanthianboar upside down on his left shoulder, scaring the daylights out of Eurystheus, who hides in a sunken storage jar (pithos),gesturing excitedly. Athena, on the right,looks on. Iolaos, Herakles’ companion,stands behind him at the far left. Reverse:Dionysos holding a kantharos. Flankinghim are two maenads, both dancing awayfrom the god but looking back and gesturingat him.

Ca. 510-500 BC. H. 17 in. (43.2 cm.)Ex English collection; Patricia Kluge collection, Charlottesville, Virginia,acquired from Royal-Athena in 1990.Published: J. Eisenberg, One ThousandYears of Ancient Greek Vases, 1990, no.29.

The goddess Hera hated Herakles because he was the son of her husband Zeus and themortal woman Alkmene. When it was fatedthat Herakles and Eurystheus would be bornon the same day, and that the first-bornwould have dominion over the other and beking of Argos, Hera intervened to haveEurystheus born prematurely. Eurystheus wasa spiteful weakling and envious of Herakles.It was he who set Herakles the Twelve Labors,one of which was to capture the vicious boarof Erymanthos. When the hero returned toArgos with the beast, Eurystheus was so terri-fied that he hid in a pithos.

Herakles was a favorite subject of the LeagrosGroup. The heroic proportions and featuresare typical and, as usual, there is little wastedspace.

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110 ATTIC LARGE BLACK-FIGURE HYDRIA BY THE SWING PAINTER A warrior prepares todepart in a chariot. The charioteer stands in the box, the reins in one hand and the goad in theother. His hair and beard are red, like those of the man standing in the background conversing withthe warrior (his son?). At either end of the chariot, stand two males mantled in red-striped hima-tions; the one at the left is bearded. In the foreground, a woman stands by the chariot box, appar-ently conversing with the driver. On the shoulder, a hoplite is among four enemy horsemen, whohave surrounded him for the kill. Ca. 540-530 BC. H. 18 1/4 in. (46.4 cm.) Ex English collection; Patricia Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in 1990. Published: J. Eisenberg, One Thousand Years of Ancient Greek Vases, 1990, no.33.

Of the Swing Painter, Sir John Beazley said he was perhaps a pupil of the Princeton Painter, andclearly also influenced by Exekias. Some thirteen hydriae are known by his hand, all with chariotscenes on the body, but only one other with a fight scene on the shoulder: British private collection; J. Beazley, Paralipomena, Oxford, 1971, 135, 98.

111 ATTIC LARGE BLACK-FIGURE HYDRIA BY THE EUPHILETOS PAINTER Dionysos and Ariadne in a quadriga; behind, Apollo, a goddess, and Hermes. On the shoulder: Dionysos reclining, satyrs and maenads in attendance. Ca. 520-500 BC. H. 20 in. (50.1 cm.)Ex English collection; Patricia Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in1990. Published: J. Eisenberg, Art of the Ancient World, vol. VII, part I, 1992, no. 264.

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112ATTIC BLACK-FIGURECOLUMN-KRATER BY THEPAINTER OF LOUVRE F 6 from the workshop of Lydos. A swan between two confrontingpanthers. Reverse: A large mountain-goat; under the handles a swan on either side, same on thesquare top of the handles.Ca. 560-550 BC.H. 11 in. (28 cm.); Diam. 11 1/4 in. (28.5 cm.); W. 14 in. (35.6 cm.)Ex South German private collec-tion, acquired in the 1980s.

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ATTIC BLACK-FIGURE LEKYTHOS “The Concert of Apollo” with the god of music playing a lyre instead ofhis usual kithara.The goddesses standing on either side of him are probably his sister Artemis (behind him) andhis mother Leto. Each holds a flower. At the far left, behind Artemis, stands Dionysos holding a rhyton. At thefar right, behind Leto, is the nude Hermes holding his kerykeion. Ca. 520-510 BC. H. 10 3/4 in. (27.3 cm.) Ex Swiss private collection; John Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in1988; Patricia Kluge collection, Charlottesville, Virginia, 1990-2010. Published: J. Eisenberg, Art of theAncient World, vol. IV, 1985, no. 63.

113ATTIC BLACK-FIGURE WHITE-GROUND TREFOIL OINOCHOE, perhaps by the Painter of Vatican G49.Dionysos holding a kantharos with a maenad to the right, a goat between. Ca. 500 BC. H. 9 in. (22.7 cm.) Ex Swiss collection; John Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in 1984;Patricia Kluge collection, Charlottesville, Virginia, 1990-2010. Published: J. Eisenberg, Art of the AncientWorld, vol. IV, 1985, no. 72.

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ATTIC BLACK-FIGURE NECK AMPHORAFROM THE LEAGROS GROUP depictingAjax in full armor holding a sword andattempting to seize Kassandra as she seeksrefuge at a statue of Athena Promachos, thegoddess’s shield emblazoned with a dolphin.The other side is decorated with a figure ofDionysos flanked by a maenad and a satyr, adotted vine in the background. As usual, raysabove the foot, linked lotus buds below thescenes, palmettes linked by tendrils in the han-dle zones, linked double palmettes on the neck,the details in added red and white; graffitounder the foot.

Ca. 520-500 BC. H. 11 3/4 in (29.8 cm.)From a New York private collection, acquiredin the 1960’s; Antiquarium, Ltd., New York,1990; Florida private collection; Dr. R. B. collection, St. Louis, Missouri.

The subject of Ajax and Kassandra is not common; two examples by the Painter ofMunich 1519, a Leagran artist, are VaticanG 22 and London B 242.

In Greek mythology, Kassandra ("she whoentangles men") was a daughter of KingPriam of Troy who captured the eye ofApollo and so was given the ability to see the future. However, when she didnot return his love, he placed a curse on herso that no one would ever believe her pre-dictions. Thus Kassandra foresees thedestruction of Troy (she warns the Trojansabout the Trojan Horse, the death ofAgamemnon, and her own demise), but isunable to do anything about it.

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Ca. 480-470 BC. H. 15 1/4 in. (38.7 cm.) Ex Swiss collection; Patricia Kluge collection,Charlottesville, Virginia, acquired fromRoyal-Athena in 1990. Published: J. Eisenberg, One Thousand Years ofAncient Greek Vases, 1990, no. 64.

He was strongly influenced by the BerlinPainter, though not from the same workshop.Another neck-amphora with twisted handleshas a nearly identical scene and is in the col-lection of the Vatican, no. 17889, in J.Beazley, Attic Red-figure Vase-painters(ARV), Oxford, 1963, no. 272,5.

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ATTIC RED-FIGURE AMPHORAWITH TWISTED HANDLES BYTHE HARROW PAINTER The music lesson: A youth is seated to the left on a rectangular block. He is covered from chin to ankle with a himation which he drawstaut with his covered right hand. In his left hand he holds a lyre, thetortoise-shell soundboard of which isnot visible. He looks straight ahead,not meeting the eyes of the beardedman who stands before him, leaningon his knotty staff, his left leg drawnback. Reverse: A youth stands to theleft, wrapped in a himation.

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ATTIC RED-FIGURE COLUMN KRATERBY THE LENINGRAD PAINTERThree nude youths, two holding lyres, andone holding a kylix in his left hand and anoinochoe in his right. Reverse: Threedraped youths in conversation, one holding a skyphos.

Ca. 460-450 BC. H. 16 5/8 in. (42.1 cm.);W. 16 1/2 in. (41.9 cm.);Diam. 14 in. (35.5 cm.)Ex G. collection, Tessin, Switzerland; J.S. collection, Cambridge, Massachusetts. Published: J. Eisenberg, Art of the AncientWorld, vol. XV, 2004, no. 104. Cf. T.Mannack, The Late Mannerists, Oxford,2001, pl. 10 (ARV 567.12).

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ATTIC RED-FIGURE COLUMN KRATER BYTHE ALKIMACHOS PAINTER Two gallopinghorsemen holding spears, one dressed in an ornatecloak called a zeira. This boldly patterned garmentwas favored by the Thracian cavalry, famed for theirhorsemanship. The rider’s cap is of animal skin; ittoo is Thracian and is called an alopekis. Reverse: Amantled youth is accosted by two youths with sticks,also wearing himations. The pillar separating themis probably one of the starting posts in the palaestra,the public exercise ground, a common trysting place.

Ca. 470-460 BC. H. 13 3/4 in. (35 cm.); W. 14 1/8 in.(35.8 cm.); Diam. 12 in. (30.4 cm.).Ex English collection; Patricia Kluge collection,Charlottesville, Virginia, acquired from Royal-Athena in 1991. Published: J. Eisenberg, OneThousand Years of Greek Vases, 1990, no. 72.This Early Classical painter is especially known forhis column kraters and neck amphorae.

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119 ATTIC VERY LARGE RED-FIGURELEKYTHOS BY THE CARLSRUHEPAINTER A female holding a sash, a servant to the left, a duck between; PAIDESwritten above. Ca. 440-430 BC. H. 17 1/8 in. (43.5 cm.)Ex Patricia Kluge collection, Charlottesville,Virginia, acquired from Royal-Athena in1992. Published: J. Eisenberg, Art of theAncient World, vol. VII, part I, 1992, no.275.

121 ATTIC RED-FIGURE OINOCHOE BYTHE MANNHEIM PAINTER A black glazewith set off shoulder and square handleattached at the lip and shoulder. Under theshoulder is a frieze with blossoms, an egg anddart frieze around the lip. Ca. 450 BC. H. 10 1/2 in. (26.9 cm.) Ex German collection. For the MannheimPainter and a group of similarly decoratedoinochoai see: J. Beazley, Attic red-figurevase painters, 1963, 1065,5, Oxford,Ashmolean Museum V298.

120 ATTIC RED-FIGURE LEKYTHOS FROMTHE GROUP OF PALERMO 16 A run-ning male, wrapped in a himation, his hairbound with a fillet, holding a lyre. Ca. 430-420 BC. H. 8 1/4 in. (21 cm.) Ex English collection; Patricia Kluge collec-tion, Charlottesville, Virginia, acquired fromRoyal-Athena in 1989. Published: J.Eisenberg, Art of the Ancient World, vol.IV, 1985, no. 97.

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ATTIC RED-FIGURE STAMNOS AND LID BY THETYSZKIEWICZ PAINTER A boy stands at the center, facing to the left. He holds a tortoise-shell lyre in his lefthand and with his right hand gestures at the taller youth at left. The latter leans on his knotty walking stick and rests his right hand on his hip. At the right, a bearded man assumes a similar posture, but without a stick and with his back turned toward us. The boy with the lyre, perhaps on his way home from a music lesson, is beingaccosted by the man and the older youth, who may wish anything from a few casual words to a sexual liaison. Theboy is distinguished from his waylayers both by his smallerstature and by the cut of his hair, with long side-locks andfour rolls on the nape. Reverse: Three nude youths are cleaning up after exercising in the palaestra. The youth atthe left holds out a round oil flask (aryballos) with a redleather cord around its neck. He has poured oil into his lefthand and is now rubbing it on the right arm of his friend at center. The latter scrapes oil and dirt from his right thighwith a bronze strigil; a stream of oil pours from the strigil’stip. With his left hand, he reaches back to touch the rump of a third youth, who walks away to the right. This youth, wearing a cloak over his shoulders and holdinga strigil in his left hand, looks back to see who is taking such liberties with him. On all three figures, the abdominal muscles are drawn with brown, diluted glaze. Ca. 480 BC. H. with lid: 19 1/2 in. (49.5 cm.); Ex English collection; Patricia Kluge collection,Charlottesville, Virginia, acquired from Royal-Athena in 1990. Published: J. Eisenberg, One ThousandYears of Ancient Greek Vases, 1990, no. 91. The incised graffito on the bottom of the foot is Type Fii in A.W.Johnston, Trademarks on Greek Vases, Warmington, 1979, p. 155; the shape of the vase is that of the Class ofthe Siren Painter’s stamnoi; see B. Philippaki, The Attic Stamnos, Oxford, 1967, pp. 98-100.

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APULIAN LARGE RED-FIGURE CALYX KRATER BY THE WHITE SACCOS PAINTERA seated Apollo with a thyrsos and alyre; a female with a situla, and a nudesatyr with a torch and a situla. Reverse:A large winged head of a goddess.

Ca. 320-310 BC. H. 18 1/8 in. (46 cm.);Diam. 16 1/2 in. (41.9 cm.) Ex English collection; Patricia Klugecollection, Charlottesville, Virginia,acquired from Royal-Athena in 1990.Published: A.D. Trendall, The Red-fig-ured Vases of Apulia, Suppl. II, 1992,no. 29/8c, pl. XCVI, 3-4;J. Eisenberg, One Thousand Years ofAncient Greek Vases, 1990, no. 103.

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124APULIAN LARGE RED-FIGURE COLUMN KRATER BY THE DIJONPAINTER A warrior is taking his leaveof two women. He stands in the center,facing left, wearing a tunic, cloak, andAttic helmet. In his left arm he holds apair of spears and a round shield. In hisextended right hand he holds a kantharosthat the woman at the left is filling froma jug. The wreath brought by the womanat the right is an omen of victory and isalso appropriate to wear when makingofferings. The cakes can be understoodboth as additional offerings at the ceremo-ny of departure and an allusion to theofferings brought to the tombs, areminder that the young warrior may begoing to his death. Such double meaningsare common in Apulian vase-paintings,which are frequently on vessels madespecifically for funerary use. The situlawhich the woman holds probably containswater.

Reverse: Two youths converse at the left, as a third youth gestures toward them from the right. All three wear himations,and the one at center holds a walkingstick. The square ‘window’ and the liba-tion bowl (phiale) in the background arecommon ornaments. The low pillar belowthe ‘window’, however, and the pair ofjumping-weights at the upper left, identi-fy the setting as the palaestra, the publicexercise ground. The streaks on the pillarresemble the dried blood on altars, and we may wonder if a double-meaning isintended. Jumping-weights (halteres)were used by broad-jumpers to try toincrease the length of their jump; withone in each hand the jumper flung hisarms forward during the leap, so that themomentum of the weights would pull himforward.

Ca. 370-360 BC. H. 20 1/2 in. (52 cm.); W. 19 1/8 in. (48.5 cm.);Diam. 15 3/4 in. (40 cm.)Ex Swiss collection; Patricia Kluge collection, Charlottesville, Virginia,acquired from Royal-Athena in 1990.Published: A.D. Trendall, The Red-fig-ured Vases of Apulia, Suppl. II, 1992, p. 33, no. 6/166a.

125APULIAN VERY LARGE RED-FIGURE VOLUTE KRATER BY THEPAINTER OF TARANTO 7013. Two nude youths in an Ionic naiskossurrounded by attendants. On the neck: An Amazon on horseback pursu-ing a deer. Reverse: Two females on either side of a stele. Medusa masksand winged figures on volutes. Ca. 320 BC. H. 41 1/2 (105.4 cm.);maximum width: 19 in. (48.2 cm.) Ex Patricia Kluge collection,Charlottesville, Virginia, acquired from Royal-Athena in 1995.Published: A.D. Trendall, The Red-figured Vases of Apulia, Suppl. II,1992, 528, 28/39b; J. Eisenberg, Art of the Ancient World, vol. VIII,1995, no. 119. 60

126APULIAN VERY LARGE RED-FIGURE VOLUTE KRATER BY THEBALTIMORE PAINTER, close to Toledo 77.45. Seated in an Ionicnaiskos a bearded male clasps the hand of a standing youth, a cuirassbetween; a helmeted horseman at right. On the neck, the head of an elderly bearded male. Reverse: A youth seated within an Ionic naiskosflanked by attendants. Medusa masks on volutes. Ca. 340 BC. H. 44 1/4 in. (112.4 cm.); maximum width: 24 in. (60.9 cm.) Ex Patricia Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in 1995. Published: A.D. Trendall, The Red-figured Vases ofApulia, Suppl. II, 1992, 521, 27/13d; J. Eisenberg, Art of the AncientWorld, vol. VIII, 1995, no. 118.61

127 APULIAN RED-FIGURE FISH-PLATE FROM THE PERRONE-PHRIXOS GROUP Around a centraldepression are an ombrina, a red mullet, a squid, two small fish, and a mussel; a crab in the center. Ca. 340-330 BC. H. 1 3/4 in. (4.5 cm. ); Diam 9 in. (22.9 cm.) Ex Swiss collection, before 1982.Published: I. McPhee and A.D. Trendall, Greek Red-figured Fish-plates, 1987, p. 125, no. 81.

128 APULIAN RED-FIGURE BELL KRATER BY THE PAINTER OF BOSTON 00.342: THE RECOGNITION SCENE FROM EURIPIDES' IPHIGENEIA IN TAURUSThis is a remarkable and important vase, for the scene on the obverse is based on a stage production ofEuripides’ Iphigeneia in Tauris, first performed in Athens in 414 BC. The scene is set in Tauris, on theshores of the Black Sea. At the left, Iphigeneia stands before a rustic temple of Artemis, its doorway deckedwith laurel branches. The small wooden cult statue (xoanon) of Artemis holding a bow is visible in thedoorway. Iphigeneia wears a belted, diaphanous chiton with two black stripes, and a cloak that hangs overher arms. A veil hangs from the circular polos (open-topped crown) on her head, which along with thetemple key in her left hand identifies her as a priestess. The polos is decorated with palmettes and maean-ders. In her right hand is a letter, which she hands to the youth standing before her. He is Pylades, the com-panion of Iphigeneia’s brother Orestes, who sits below at center. Both youths are dressed as travelers: Pyladeswears a chlamys, petasos, and boots; Orestes sports a chlamys and pilos (pointed felt cap). Both carryspears. Sitting with Orestes is a dog, which looks up alertly, apparently at a biga drawn by leopards.Artemis in the biga wears a diadem, gown, and belted deerskin, and holds a goad in her right hand. Belowher, at the lower right, is a curious and unexplained group: a nude youth holding a cat over a marblelouterion (a washbasin).

Reverse: The young Dionysos reclines on an embroidered pillow. In his left arm he cradles a thyrsos andwith his right forefinger he twirls a kylix for the game of kottabos, in which wine dregs are tossed towarda target, usually a plate balanced on a metal pole. At his feet is a three-legged stool, to the right of whichsits a satyr. The satyr gestures to the left, probably telling the nude boy at the lower left to hurry up with thewine. The boy dips a jug into a calyx krater decorated with a black figure of a dancing man. While the godplays his game, his kantharos is held by a second satyr at the upper right. The latter holds a thyrsos in hisother hand and is draped with an animal skin. At the upper left sits a maenad dressed in a chiton andhimation and beating a tambourine. She looks toward Dionysos; hanging between them is a female theatri-cal mask. Dionysos was the patron god of the theater. His appearance on the reverse of this vase is furtherproof that the scene on the obverse was taken from the theater, a point made explicit by the presence of themask.

Ca. 360 BC. H. 13 1/2 in. (34.3 cm.); W. and Diam. 14 3/4 in. (37.4 cm.) Ex American private col-lection, New York; Patricia Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in1990. Published: A.D. Trendall, The Red-figured Vases of Apulia, Suppl. II, 1992, no. 10/48a. One of the few works attributed to this talented artist.

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129 APULIAN RED-FIGURE LIDDED OINOCHOE, SHAPE VII The body is decorated with a horse heademerging from scrolling tendrils; a large palmette under the knotted handle; the knobbed lid with two profile female heads between palmettes. Late 4th Century BC. H. 11 in. (28 cm.) Ex collection of an Austrian noble family, acquired 1750-1780.

APULIAN RED-FIGURE PLATE with Herakles seated on rocks, wearing lion-skin covering his head andtied around his shoulders, holding a club in his right hand and a raised bow in his left, flanked by foliatetendrils, wave pattern below. Ca. 380-360 BC. Diam. 8 1/8 in. (20.5 cm.) Ex G. and M. Goldfine collection, Tel Aviv, Israel.

CAMPANIAN RED-FIGURE BEAKED OINOCHOE FROM THE WHITEFACE GROUP, SHAPE VIA reclining female (Amazon?), a shield to the side. On the shoulder: a large female head and a swan.Scarce type. Ca. 360-330 BC. H. 8 3/4 in. (22.2 cm.) Ex John Kluge collection, Charlottesville,Virginia, acquired from Royal-Athena in 1988; Patricia Kluge collection, Charlottesville, Virginia, 1990-2010.

CAMPANIAN RED-FIGURE FISH PLATE BY THE THREE-STRIPE PAINTER with two bream and a torpedo around a circular depression; a wave design around the rim. Ca. 340-320 BC.Diam. 7 1/4 in. (18.4 cm.) Ex John Kluge collection, Charlottesville, Virginia, acquired fromRoyal-Athena in 1988; Patricia Kluge collection, Charlottesville, Virginia, 1990-2010. 64

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134 PAESTAN RED-FIGURE SKYPHOS FROM THE ASTEAS- PYTHON WORKSHOP with figures inapplied red. A seated female. Reverse: A seated nude male holding bird. Ca. 340-330 BC. H. 4 in. (10.2 cm.); W. 6 5/8 in. (16.8 cm.) Ex John Kluge collection, Charlottesville, Virginia,acquired from Royal-Athena in 1988; Patricia Kluge collection, Charlottesville, Virginia, 1990-2010.

135 GREEK TERRACOTTAPLASTIC VASE FROMTHE MAGENTA GROUPIN THE FORM OF ACOUCHANT GOAT, wearing an applied garlandaround his brow; longincised beard. The tubularneck and ribbon handle are attached to his back. South Italy, 3rd-2nd Century BC.H. 7 in. (17.8 cm.); L. 9 1/2 in. (24. cm.)Ex American collection.

133 PAESTAN RED-FIGURE SKYPHOS FROM THE ASTEAS-PYTHON WORKSHOP Two nudewomen washing at a laver; the girl at the right looks into the mirror in her right hand. An inscriptionincised above her head identifies her as Myrtipho; another inscription labels the girl at left as Emauta(refer to RVP, p. 149, where it occurs on a cup by Python). Such inscriptions are quite rare, especially onsmall vases like skyphoi. Reverse: A nude youth and a draped female exchanging objects. Ca. 340-325 BC. H. 10 1/4 in. (26 cm.); W. 10 1/8 in. (25.7 cm.); Diam. 6 in. (15.2 cm.) Ex English collection; John Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in1988; Patricia Kluge collection, Charlottes-ville, Virginia, 1990-2010.

136 ETRUSCAN BLACK-FIGURE PANELAMPHORA Bearded male head in profile to the right. Reverse: Youthful male head in profile to the right. Ca. 560-550 BC. H. 14 1/4 in. (36.2 cm.) Ex Patricia Kluge col-lection, Charlottesville, Virginia, acquired fromRoyal-Athena in 1991. Published: J. Eisenberg,One Thousand Years of Ancient Greek Vases,1990, no. 179. Inspired by Attic panelamphorae of the same design.

137 ETRUSCAN BLACK-FIGURE ONE-HANDLED KANTHAROS BY THE MICALIPAINTER A plastic head, a dancing nude male and dolphins on the handle; on the body, a sphinx and animals. Ca. 530 BC. H. 14 1/4 in. (36.2 cm.) Ex Swiss private collection; Patricia Kluge collection, Charlottesville, Virginia, acquiredfrom Royal-Athena in 1991. Published: Münzenund Medaillen, Kunst Werke der Antike, 1983,no. 12; N. Spivey, The Micali Painter and HisFollowers, Oxford, 1987; J. Eisenberg, Art ofthe Ancient World, vol. V, part I, 1988, no. 47.The Micali Painter was one of the most talentedof the late 6th century Etruscan vase painters.This type of vase is also often referred to as akyathos.

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ETRUSCAN RED-FIGURE STAM-NOS BY THE THE VOLTERRACAERETAN PAINTER A wingedArtemis (the Etruscan Artumes) in abiga drawn by stags, a hare in front.Reverse: A seated female holding alarge basket. Caere, ca. 350-325 BC. H. 13 5/8 in. (35 cm.)Ex Patricia Kluge collection,Charlottesville, Virginia, acquired fromRoyal-Athena in 1991. Published: J.Eisenberg, Art of the Ancient World, vol. VI, part II, 1991, no. 78.

Cf. M. Del Chiaro, Etruscan Red-Figured Vase Painting at Caere,Berkeley, 1974, 29-33. An unusuallyfine work by this artist, especially theelaborate detail of the biga.

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139 ROMAN SIDONIAN MANGANESE PURPLEMOLD-BLOWN GLASS BARREL VASE with tendril frieze around the waist; ribbing at theshoulder and lower body; highly iridescent. 1st Century AD. H. 2 5/8 in. (6.7 cm.) Ex collectionof Gershon Bineth (d. 1973), Jerusalem; Ricklis collec-tion, New York, acquired in the early 1970s.

140 ROMAN AMBER MOLD-BLOWN GLASS DATEFLASK with silvery iridescence. Mid-1st-early 2nd Century AD. H. 3 in. (7.6 cm.) Ex collection of Gershon Bineth (d. 1973), Jerusalem;Ricklis collection, New York, acquired in the early 1970s.

141 ROMAN AUBERGINE MOLD-BLOWN GLASS NARROW-NECKED FLASK the globular body withfaint ribbing; with some iridescence. 3rd Century AD. H. 4 1/2 in. (11.4 cm.) Ex collection of Gershon Bineth (d. 1973), Jerusalem;Ricklis collection, New York, acquired in the early 1970s.

142 ROMAN PALE GREEN GLASS FOOTED COSMETIC TUBE with diagonal fluting and twoapplied handles; with heavy silvery iridescence. 4th-5th Century AD. H. 5 7/8 in. (14.9 cm.) Ex col-lection of Gershon Bineth (d. 1973), Jerusalem; Rickliscollection, New York, acquired in the early 1970s.

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ISLAMIC GLASS DOUBLE UNGUENTARIUM ON THE BACK OF A DROMEDARY fashioned as asingle piece, the unguentaria with applied trailings and a single handle; with some iridescence. 7th-8th Century AD. H. 4 in. (10.2 cm.) Ex collection of Gershon Bineth (d. 1973), Jerusalem; Rickliscollection, New York, acquired in the early 1970s.

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146 ISLAMIC DEEP GREEN GLASS BOTTLE with ten large applied whorls; some iridescence. 7th-8th Century AD. H. 3 1/2 in. (9 cm.) Ex collection of Gershon Bineth (d. 1973),Jerusalem; Ricklis collection, New York, acquired inthe early 1970s.

ROMAN PALE BLUE-GREEN GLASS VASE with three ribbon handles applied to the neck and shoulder.Around the globular body is an applied band of trailing above a zig-zag; some iridescence. 4th Century AD. H. 3 5/8 in. (8.6 cm.) Ex collection of Gershon Bineth (d. 1973), Jerusalem; Ricklis collection, New York, acquired in the early 1970s.

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143 ROMAN PALE GREEN GLASS BEAKER-FORM LAMP (CARCHESIUM) with applied blue dot motifs;some iridescence. 4th-5th Century AD. H. 2 3/4 in. (7 cm.) Ex collection of Gershon Bineth (d. 1973),Jerusalem; Ricklis collection, New York, acquired in the early 1970s.

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148 ETRUSCAN GOLD FILIGREE EARRINGS Openwork ribbons filled with wire bands, bosses, scrolls. Probably from Vetulonia,Ca. 700-675 BC. Dia. 1 9/16 in. (4 cm.) Ex Thane Collection, England; W.D. collection, Jericho,New York. Published: J. Eisenberg, Art of the AncientWorld, vol. VIII, 1995, no. 131; vol. XIV, 2003, no. 128. For a similar pair of bracelets, see: A. Maggiani,et al., Treasures from Tuscany - The Etruscan Legacy, 2004, p. 40, no. 44.

149 LATE HELLENISTIC GOLD BUCKLE designed as two circular medallions one with the face of the godBes, the other of a lion; original bronze attachments. 1st Century BC - early 1st Century AD.Ex W.N. collection, Wiesbaden, Germany. Published: J. Eisenberg, Art of the Ancient World, vol. XVII, 1996, no. 140. Cf. the lion heads in F.H. Marshall, Catalogue of the Jewellery - Greek,Etruscan, and Roman, British Museum, 1968, pl. XXXVII.

147 SIXTEEN HELLENISTIC GOLD LAUREL LEAFHAIR ORNAMENTS, each devised as three joinedleaves, mounted in a modern circlet. Ca. 2nd-1st Century BC.Ls. 1 7/8 in. (4.8 cm.) - 1 3/8 in. (3.5 cm.)Ex private French collection. The dried aromatic leafof the laurel or bay (Laurus nobilis), used as a sea-soning in cooking to which the Greeks and Romansattributed magical properties, has long been a symbolof honor, celebration, and triumph.

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ROMAN SILVER APPLIQUE BUST OF MERCURY, bare-chested and wearing a petasos. 2nd-3rd Century AD. H. 2 1/8 in. (5.5 cm.) Ex private collection, Los Angeles, California.

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ROMAN GOLD FINGER RING SET WITH A CYLINDRICAL EMERALD BEAD on a gold pin with-in a crenelated, rectangular bezel, the shank with open scroll work at the shoulder to secure the bezel. Ca. 3rd Century AD. Ring size, 3 1/2; Diam. 0.57 in. (14.5 mm.) Ex private French collection. Published: J. Eisenberg, Art of the Ancient World, vol. XVIII, 1997, no. 176.

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ROMAN GOLD FINGER RING WITH A RED CARNELIAN INTAGLIO OF A THEATER MASK in profile, facing left. 1st Century AD. Ring size, 1 1/2; Diam. 1/2 in. (1.3 cm.) Ex private French collection.

AAnncciieenntt SSiillvveerr

OSTROGOTHIC SILVER BUCKLE WITH A RELIEF OF A LION The Crimea, 6th Century AD. L. 4 3/8 in. (11.3 cm.) Ex S.A. collection, Germany.

SOUTH ARABIAN GOLD MEDALLION with a Yemenite inscrip-tion; a goat above and a lion below. 1st Century AD. Very rare. D. 3/4 in. (1.9 cm.) Ex French collection.

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155 PAIR OF EGYPTIAN OLD KINGDOM LIMESTONE SUNK RELIEFS FOR NYANHKNESUT Each is carved with a representation of this dignitary with the hieroglyphs for his name above. He strides,wearing the simple kilt with a triangular apron knotted at the waist which was fashionable at the time.The relief at right shows him with the distinctive sash of a cult priest wrapped around his right shoulder,chest, and back, In his right hand Nyankhnesut holds a horizontal object, most likely the end of a sekhem-sceptre, the front of which is not shown, however. He is wearing a shoulder-length wig covering his earsand sports a short square beard. In the relief at left, he is beardless and wears a well detailed helmet-likewig of tiered curls. He holds in his right hand a flail. With his left hand he clutches a gold collar fromwhich hangs a large pendant of Hathor. Early VIth Dynasty, ca. 2323-2291 BC. H. 24 1/4 in. (61.5 cm.) x 10 7/8 in. (27.5 cm.); H. 25 in. (63.5 cm.) x 9 3/4 in. (24.8 cm.)

Ex collection of Dr. Jacob Hirsch, 1920s; English private collection, 1930s-1950s; K.J. Hewett, London,1960s-1970s; Andrew Hess, Wilton Crescent, London; French collection dispersed at the Drouot, Paris, in2010.

EEggyyppttiiaann SSttoonnee SSccuullppttuurreess && RReelliieeffss

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For a similar pair of reliefs from this tomb, see: C.A.R. Andrews and J. van Dijk, Objects for Eternity,Egyptian Antiquities from the W. Arnold Meijer Collection, Mainz, 2006, pp. 38-41, no. 1.24, illus. Some60 reliefs from this tomb are now in public and private collections.

The decoration of the two reliefs is simple: each has a standing figure of the tomb owner facing inwards; abovehim are four hieroglyphs spelling his name, Nyankhnesut. As is so often the case with high officials of the OldKingdom, many of the titles enumerated in the tomb link him with the court and with the king personally 'confidant of the king in his every place'; some of them may be honorific rather than real titles. On the otherhand, Nyankhnesut bore several priestly titles, and this may have been his chief occupation in life. Thus he was'chief lector priest', 'sem priest', 'overseer of the secrets of heaven', and 'greatest of seers in Heliopolis', i.e. highpriest of the sun god Re.

The tomb appears to have been discovered around 1917 and was said to be already in ruins at that time (L.M.Berman, Catalogue of Egyptian Art, The Cleveland Museum of Art, Cleveland and New York, 1999, p.135). The exact location of the tomb within the necropolis remained unknown until January 2000, when itwas rediscovered by the inspectors of the Saqqara office of the Supreme Council of Antiquities close to thenorth-west corner of the enclosure of Sekhemkhet (A. Leahy and I. Mathieson, "The Tomb of Nyankhnesut(Re)discovered," Journal of Egyptian Archaeology, vol. 87, 2001, pp. 33-42, pls. IV-V, and K. Mahmoud,"Preliminary Report on the Tomb of Nyankhnesut at Saqqara: 1st Season of Excavation”, Göttinger Miszellen,vol. 186, 2002, pp. 75-88). It is a fairly large mastaba measuring some 20 meters from the entrance to therear wall of the innermost chamber; there are five rooms and a long corridor. (...)

156 EGYPTIAN AMARNA PERIOD SANDSTONE SUNK RELIEF: SERVANT GIVINGHOMAGE From Karnak, XVIIIth Dynasty, reign of Akhenaten, ca. 1350-1334 BC. H. 7 1/4 in. (18.5 cm.) W. 7 in. (18 cm.) Ex Jean-Marie Talleux Collection, Grand Fort Philippe, France; V. S. collection, Fort Lauderdale, Florida, 2000-2010. Published: J. Eisenberg, Art of the Ancient World, vol. IX, 1997, no. 168.

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EGYPTIAN REDDISH BROWN STONEENTHRONED OSIRIS Mummiform, wearingan Atef-crown and holding a crook and flailcrossed over his chest. XXVIth Dynasty, 664-525 BC. H. 6 1/2 in. (16.5 cm.) Ex Bandy collection, Rochester, Michigan.Exhibited: Kresge Art Gallery, Michigan StateUniversity, 1985-2002.

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EGYPTIAN LIMESTONE OFFERTORYSTELE FOR SEKHMET AND NEFERTUMBeneath the winged disc of Horus Behedet,Sekhmet, the lion-headed goddess of war wearingthe Double Crown stands at left behindNefertum, god of perfumes. Before them stands apriest holding an incense burner and a libationvase. XXII-XXIIIrd Dynasty, 945–730 BC.H. 15 1/2 in. (39.6 cm.); W. 15 3/4 in. (40 cm.)Ex old French collection.

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161EGYPTIAN LIMESTONE DEEP BUST OF BES, the dwarf god of children, games, andlaughter, with a modius on his head. The eyes aredeeply carved and recessed beneath the heavy, fur-rowed brow and he wears a lion head necklace.Ptolemaic Period, 305-30 BC. H. 9 in. (22.9 cm.) Ex collection of HermioneSpeier, Assistant Librarian of the Vatican, 1940s-50s, thence by descent.

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EGYPTIAN NEW KINGDOM LIMESTONEUSHABTI FOR NEFERTITI, the mistress ofthe house, mummiform, with a single column ofhieroglyphic text. Late XVIII-early XIXth Dynasty, ca. 1400-1250 BC. H. 5 1/4 in. (13.56 cm.) Ex Canadian private collection assembledbetween 1960 and 1970.

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EGYPTIAN LIMESTONE SCULPTOR’SMODEL RELIEF OF A YOUNG GOD ORPRINCE wearing the Red Crown fronted by auraeus and bearing the sidelock of youth. Ptolemaic Period, 305-30 BC.H. 5 1/4 in. (13.5 cm.); W. 4 3/8 in. (11.3 cm.) Ex French collection.

EEggyyppttiiaann SSttoonnee VVeesssseellss

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EGYPTIAN OLD KINGDOM SPECKLED BLACK AND WHITEGRANITE CUP with flaring sides and an inward-curving rim beveled on the inside. IVth-VIth Dynasty, ca. 2613-2160 BC. Diam. 6 1/4 in. (16 cm.)Ex French collection.

EGYPTIAN NEW KINGDOM BANDED ALABASTER COSMETICVASE with globular body, broad lipand slight flaring at the base.XVIIIth-XIXth Dynasty, ca. 1540-1190 BC. H. 3 1/2 in. (8.9 cm.) Ex American private collection, dispersedin 1990. Published: J. Eisenberg, Art ofthe Ancient World, vol. X, 1999, no.236.

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EGYPTIAN OLD KINGDOM BANDED ALABASTER BOWL of deep rounded form with flat base and an inward-curving rim beveled on the inside. IVth-VIth Dynasty, ca. 2613-2160 BC. Diam. 8 3/8 in. (21.3 cm.) Ex French private collection.

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Like most pharaohs, Ramesses had five names.The two cartouches set forth the throne name orpraenomen: User-maatre-setepenre, meaning“Strong in Right is Re, Chosen of Re.” The cartouche at the right sets forth his nomen:Ramesis Meriamon, meaning “Born of Re,beloved of Amon.” Above these are the epithets Lord of the TwoLands (sedge: Lower Egypt and bee: UpperEgypt) and Son of the Sun God. Below: “May he live forever.”

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EGYPTIAN NEW KINGDOMLARGE ALABASTER AMPHORAwith a polychrome encaustic lotusband and double cartouche ofRamesses II, ca. 1279 - 1213 BC. H. 16 in. (40.5 cm.) Extremely rare and choice. Ex N. Z. collection, Geneva;Patricia Kluge collection,Charlottesville, Virginia, acquiredfrom Royal-Athena in 1990.

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This was probably one of the severallarge bronze statues found in the Templeof Amun at Karnak in the early 19thCentury. This is one of the two largestexamples; the other is heavily restored.It is the only one in private hands; theothers are in museums in Athens, Berlin,Leiden, London, and Paris. The Louvreacquired theirs in 1829. Ex S.O.S. col-lection, Basel, Switzerland, acquired inthe late 1950s; J.A.L. collection,Chesterfield, Virginia.

Doubtless, one of the most important Egyptian works of art to appear on the art market in a generation!

166HIGHLY IMPORTANTLARGE EGYPTIAN BRONZESTATUE OF A PRIESTESS OFAMUN with inlaid stone eyesand separately cast short wig oftiny layered locks of hair. Herattached arms are outstretched,probably to hold two sistra(musical rattles). She retains heroriginal gold necklace andremains of gold leaf on her wig.XXIInd Dynasty, 945-715 BC. H. 37 in. (94 cm) including herrestored feet and ankles.

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IMPORTANT LARGE EGYPTIANBRONZE KNEELING PHARAOHwearing the nemes, an usekh neck-lace, and the shendyt-kilt; he isholding his right hand on his chestand his left forearm in an uprightposition. The attitude is the henupose, a traditional gesture expressingjubilation. Very rare. XXVIth Dynasty 664-525 BC. H. 11 3/4 in. (29.8 cm)Ex Hélène Servais collection,Brussels, acquired in 1935.

Only four other kings in this pose are knownto us. Three are listed by Josephson; see: J.A.Josephson, Egyptian Royal Sculpture of theLate Period, 400-246 BC, Mainz, 1997,pp. 33-39, pl. 12; one in Paris (exHoffmann collection), bronze, H. 6 1/8 in.(15.5 cm); one in the British Museum (BM11496, bronze, no measurement); and theone in his own collection (ex de Béhaguecollection, now in the Metropolitan Museumof Art), wood. H. 8 1/4 in. (21 cm). Cf. M. Hill, Royal Bronze Statuary fromAncient Egypt, Leiden, 2004. The fourth,a 9 3/8 in. (23.8 cm.) bronze dated to theXXVth Dynasty, from the collection of RogerFernand Galliano, is now in a private col-lection.

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EGYPTIAN BRONZE KNEELING PHARAOH, the royal figurewith his arms bent at the elbows and projecting forward in an offer-tory position. He wears a tripartite wig fronted with a uraeus and aroyal shendyk-kilt; details incised. XXVIth Dynasty, 664-525 BC. H. 5 3/4 in (14.6 cm.)Ex Swiss collection prior to 1970; Joop Bollen collection, SouthDakota.

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EGYPTIAN BRONZE PTAH, patron of artists and craftsmen,wears a close-fitting cap, broad collar, and sed-cloak, and holdsbefore him the was-scepter; inscription on base. Late Dynastic Period, 715-332 BC. H. 6 1/2 in. (16.5 cm.)Ex English private collection.

168 ROMANO-EGYPTIAN LARGE BRONZE SERAPIS wearing a chiton, wrapped in an himation; a modius on his head. He standswith his weight on his left leg, his right knee bent as if striding; hisright arm is outstretched. 1st Century BC/AD. H. 13 1/2 in. (34.3 cm.) Ex English collection; L.B. collection,New York, acquired from Royal-Athena Galleries in 1985; J.A. col-lection, Almadoro, Portugal.

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EGYPTIAN BRONZE USHABTI OFTHE PHARAOH PSUSENNES I,mummiform, holding a hoe in eachhand, a seed sack between his shoulders,wearing a tripartite wig; a cartouchewith the pharaoh's nomen incised below. XXIst Dynasty, reign of Psusennes I, 1040-992 BC. H. 2 15/16 in. (7.4 cm.) Ex Frank J. and Victoria K. Fertitta collection, Las Vegas; Los Angeles CountyArt Museum, acquired in 1980.

173 EGYPTIAN LARGE BRONZE SITULA with a procession of deities; above, a frieze with barques, figures, baboons, and jackals; open lotus blossom around base; a band of faint hieroglyphic inscriptionbelow the lip. Ptolemaic Period, 305-20 BC. H. 10 in. (25.5 cm.)Ex German collection. With a metallurgical analysis by Dr. Gerhard Lehrberger, University of Munich.

ROMANO-EGYPTIAN BRONZE FITTING OF BES AND BESIT standing back to back, their feet restingon swans perched above a pair ofcouchant lions on an integral rectangularbase. 1st-2nd Century AD. H. 2 3/4 in. (7 cm.) Ex collection ofHenry Wallis R. W. S. (1830-1916), thePre-Raphaelite painter, thence by descent.

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174EGYPTIAN TURQUOISE FAIENCE STRIDINGIBIS-HEADED THOTH wearing a pleated kilt,broad collar, and striated tripartite wig.XXVIth Dynasty, 664-525 BC.H 5 3/8 in. (13.5 cm.) Ex American private collection acquired from Jean-Loup Depras, Paris, in 1983. Exceptionally fine style.

EEggyyppttiiaann FFaaiieennccee

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EGYPTIAN GREEN FAIENCE AMULET OFNEFERTUM, GOD OF FRAGRANCES, wearing lotus headdress with menat pendants, surmounted byplumes. Late Dynastic Period, 715-332 BC. H. 4 3/4 in. (12.1 cm.) Ex collection of Col. Arbuthnot, acquired in Port Said or Alexandria between 1930 and 1947; acquired inLondon by the J.S. collection, Lyndhurst, NY, in 1988.

EGYPTIAN TURQUOISE FAIENCE AMULETICSEAL OF PATAIKOS, standing on crocodiles, flankedby deities topped by Neb Re; scarab on head, triad onbelly; behind: striding figure of Men-kheper-Re Shu. Ptolemaic Period, 305-30 BC. H. 1 1/2 in.(3.8 cm.) Ex English collection dispersed in 1993. Published: J. Eisenberg, Egyptian Art inMiniature: Amulets and Scarabs, 1994, no. 14.

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177 EGYPTIAN TURQUOISE FAIENCE USHABTI FOR NESIPERNOUB, Divine Father of Amun, Scribe of Mut, mummiforn holding hoes; details and two columns of hieroglyphic text in black. XXIst Dynasty, 1069-945 BC. H. 5 3/4 in. (14.5 cm.) Ex collection of Dr. John S. Winnie, Georgia.Published: L. Aubert, Les statuettes funéraires de le Deuxième Cachette, Paris, 1998, p. 76.

178 EGYPTIAN GREEN FAIENCE USHABTI mummiform and holding hoes and a seed basket. With twelveincised registers of hieroglyphic text setting forth his name and title as well as the ushabti spell from Chapter VIof the Book of the Dead. XXVIth Dynasty, 664-525 BC. H. 8 1/4 in. (21 cm) Ex French collection.

179 EGYPTIAN TURQUOISE FAIENCE USHABTI Uninscribed. Ptolemaic Period, 305-30 BC.H. 3 5/8 in. (8.6 cm.) Ex French collection.

180 EGYPTIAN TURQUOISE FAIENCE MODEL OFFERING TRAY formed as a rectangular tray supportingtwo rows of five cups, each with a tall foot flaring to form a shallow bowl. XXVIth-XXXth Dynasty, ca. 664-343 BC. L. 3 7/8 in. (9.8 cm.) Ex Austrian collection. Cf: G. Scott, Temple, Tomb & Dwelling, EgyptianAntiquities from the Harer Family Trust Collection, 1992, no. 129, pp. 180-182.

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182 EGYPTIAN NEW KINGDOM POLYCHROME WOODUSHABTI, mummiform and holding hoes; a column of hieroglyphictext on the front; extensive original pigment remaining. XIXth Dynasty, ca. 1293-1185 BC. H. 7 3/4 in. (19.7 cm.) Ex M.B. collection, Woodland Hills, California.

183 EGYPTIAN POLYCHROME WOOD FALCON with black detailson red and yellow grounds. XXVth-XXXth Dynasty, 712-332 BC.L. 8 in. (20.3 cm.) Ex H. W. collection, New York, acquired inLondon in 1993.

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EGYPTIAN UPPER SECTION OFAN ANTHROPOMORPHIC WOODCOFFIN LID The face is framed by avoluminous tripartite wig. The eyes andeyebrows were once inlaid with bronzeand stone, parts of which are preserved. Late Dynastic Period, 664-342 BC.H. 37 3/8 in. (95 cm.)Ex Belgian collection. Cf. S. Ikram andA. Dodson, The Mummy in AncientEgypt, London, 1998, pp. 236-241.

EEggyyppttiiaann WWoooodd&& TTeerrrraaccoottttaass

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184 EGYPTIAN WOOD HAND FROM A SARCOPHAGUS The elegant, elongated fingers extended butrelaxed and the nails clearly described; the upper side with yellowish brown gypsum sizing, the undersideunpainted.. XXII-XXVIth Dynasty, 100-525 BC. L. 8 in. (20.5 cm.) Ex German collection.

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187 ROMANO-EGYPTIAN TERRACOTTAHARPOKRATES RIDING A HORSE, wearing aDouble Crown and holding his right forefinger to hismouth. 1st Century BC/AD. H. 6 1/2 in. (16.4 cm.)Ex French collection.

188 ROMANO-EGYPTIAN TERRACOTTA RECLINING SILENOS1st Century BC/AD. H. 3 7/8 in. (10 cm.)Ex French collection.

186 EGYPTIAN STEATITE OPENWORK PLAQUE with Horus enthroned on one side and the cartouche ofTuthmosis III on the other. Late Period, 664-332 BC. 24 x 30 mm. Acquired in London, December 1993.

EGYPTIAN WOOD CAT, embodiment of Bastet, patroness of joy and women, seated on her haunches inthe traditional attitude with alert ears. Late Period, 715-30 BC. H. 3 in. (7.8 cm.) Ex French collection.

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ROMANO-EGYPTIAN TERRACOTTA FLUTEPLAYER, the youth wrapped in a himation, at hisfeet an amphora, a jar, and a bouquet of flowers; atympanum on his shoulder. Traces of polychromyremaining. 1st Century BC/AD. H. 6 5/8 in. (17cm.) Ex French collection dispersed at the Drouot,Paris, in 2004.

189ROMANO-EGYPTIAN TERRACOTTA GROUPWITH HARPOKRATES wrapped in a himationand wearing a rolled fillet with sidelock, finger tomouth, standing to the right of a boy holding a jug.1st Century BC/AD. H. 9 1/2 in. (24.2 cm.)Ex collection Jean-André Périchon-Bey (1860-1929),Rodah, Egypt, and Paris; acquired before 1903. A very rare unpublished type.

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ROMANO-EGYPTIAN TERRACOTTA NUDEBAUBO SEATED ATOP A BOAR The goddess ofribald jocularity is nude, legs spread, a vase atop herhead with a long veil hanging down one side. Tracesof pink and white polychromy remaining. A rare type. Roman Perod, ca. 1st Century AD. L. 4 7/8 in (12.4 cm.) Ex French collection.

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NNeeaarr EEaasstteerrnn AAnnttiiqquuiittiieess

193 ANATOLIAN MARBLE KUSURA-BEYCESULTAN TYPE IDOL of flattened form with round body, ves-tigial arms, short neck, and ovoid head. Bronze Age II-III, ca. 2700-2000 BC. H. 3 1/2 in. (9 cm.) ExLondon market, 2000. Cf. Exhibition catalogue Art of the Cyclades, Karlsruhe, 1976, p. 388, no. 520.

192 STYLIZED STEATOPYGOUS FEMALE IDOL with schematic arms extended, the head suggested by atriconic hairstyle; with traces of copper oxide. Very rare. Probably from Crete, early 1st Millennium BC.H. 2 3/4 in. (7.1 cm.) Ex French collection.

194 YORTAN CULTURE BLACK POTTERY LIDDED JAR with ovoid body, cylindrical neck and white-filled zig-zag designs. It has a ring foot and four lug handles. W. Anatolia, Troy I, 3500-2600 BC. H. 4 in. (10.2 cm.) Ex Clemens Holzmeister (1887-1983) collection, acquired between 1927 and 1954.Cf. T. Kamil, Yortan Cemetery in the Early Bronze Age of Western Anatolia, 1982, pl. 4.6.

195 NEOLITHIC POTTERY SEATED STEATOPYGOUS FEMALE, her arms supporting her breasts. Tel Halaf, Al Hasakah governate, Syria Ca. 4500 BC. H. 1 7/8 in. (5 cm.) Ex Dutch market.

196 URARTIAN BRONZE BULL PROTOME Deeply cut eyes and a collar of triangular section once inlaid.Fine green and red patina. Armenia, 7th century BC. H. 2 3/4 in. (7 cm.) Ex French collection.Published: J. Eisenberg, Art of the Ancient World, vol. X, 1999, no. 253. Cf. J. Eisenberg, Art of theAncient World, vol. IV, 1985, p. 155, no. 502.

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PHOENICIAN BRONZE HELMET The bullet-shaped domed body is hammered from a single sheetof bronze. Some identical helmets were recovered in the eighties from a wreck lying in Israeli coastalwaters. Earlier 1st Millennium BC. H. 8 in. (20 cm.) Ex collection of Axel Guttmann (1944-2001),Berlin, acquired in Tel Aviv 1996. A rare, heavyweight helmet from the eastern Mediterranean.Cf. a similar helmet in J. Eisenberg, Art of the Ancient World, vol. XXI, 2010, no. 246.

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CAUCASIAN LATE BRONZE AGE CAST AND FORGED BRONZE DAGGER, the blade with acentral ridge and reinforced point, the pierced handle cast separately over the tang and riveted, the gripwith remnants of bone inlays. Ca. 1000 BC. L. 9 5/8 in. (24.4 cm.) Ex Dr. K.-L. collection, Berlin,1960s.

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198 PHOENICIAN BRONZE CHALCOPHONE The musical instrument is composed of eleven coiledwire tubes and twin sounding bars, each bar with fifteen attachment holes and terminal spiral res-onators; four separate fragmentary attachment wires. 8th-6th Century BC. W. 7 1/8 in. (18.3 cm.) Ex French collection. Cp. a similar example in J. Eisenberg, Art of the Ancient World, vol. XX, 2009,no. 208. The tubes would have been joined to the sounding bars by wooden pegs which the coiled wiretubes would have been wound around. It is thought that the chalcophone may have chimed like a modern xylophone. Examples have been found in South Italian and Phoenician contexts dating from the8th-6th Century B.C. Similar instruments in later form appear on Apulian red-figure pottery.

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200 PHOENICIAN TERRACOTTA GODDESSstanding on an integral plinth, wearing a highcrown with a wreath, her himation drawn overher head as a veil, the pleats of her chiton visi-ble below, her right arm held to her breasts, herleft by her side.5th-4th Century BC. H. 20 1/2 in. (52.1 cm.)Ex German private collection since the 1970s.

201 WESTERN ASIATIC BRONZE BELTEDMALE ADORANT, his arms raised; over-sized hands with fingers outstretched. The Steppes, 8th-6th Century BC. H. 3 in. (7.5 cm.) Ex collection of Dr.Wassilijew; Levkovic collection. Cf. B.E.Markovin, “Bronze ‘Amulets’ From the CaucasusMountains and their Adorants”, in EurasianAntiquities, Moscow, 1999; Archäologie derSowjetunion vom Altertum bis zum Mittelalter,vol.: Bronzezeit Mittelasiens und desKaukasus, Nauka, 1992, fig. 50.

202 WESTERN ASIATIC BRONZE NUDE MALEADORANT, his over-sized hands with fingersoutstretched held in front of his stomach. The Steppes, 8th-6th Century BC. H. 2 3/4 in. (7 cm.) Ex collection of Dr. Wassilijew; Levkovic collection. See references above.

203 INDUS VALLEY CALCITE IDOL A thin slab figure of stylized form, triangular head with lightly incisedfacial features and dotted hairline, short, wing-like arms, baluster form body, and feet with incised toes. Mehrgar Culture, ca. 2500-2000 BC. H. 3 1/2 in. (8.9 cm.) Ex private Bangkok collection; private NewYork collection. A rare type.

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204 SOUTHWEST CASPIAN BRONZE RAM with pendantloop on its back. Ca. 8th Century BC.H. 2 3/8 in. (6 cm.); L. 3 1/4 in. (8.2 cm.)Ex English private collection, deaccessioned in 1988 .

PARTHIAN BRONZE INCENSE-BURNERwith a panther resting his forepaws on a roundcup with two legs. 1st Century AD. L. 8 1/2 in. (21.6 cm.) Ex N.H. collection,Shelby, Michigan, acquired from Royal-Athena in1990. Exhibited: Picker Art Gallery, ColgateUniversity, Hamilton, New York, 1990-2009.

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205 LURISTAN BRONZE STANDARD FINIAL OF TWOCONFRONTED FELINES, 8th-7th Century BC. H. 5 5/8 in. (14.3 cm.) Ex English private collection; R.R. collection, Clinton, Michigan, acquired from Royal-Athena in 1984. Exhibited Picker Art Gallery, ColgateUniversity, 1985-2007. Cf. O. Muscarella, Bronze andIron: Ancient Near Eastern Artifacts in the MetropolitanMuseum of Art, New York, 1988, p. 145, figs. 221-224.

206 AXUMITE TERRACOTTA FEMALE HEAD with longnarrow face, pursed lips, elongated nose; her bulbous eyeswith upward gaze; with hair drawn back and indicatedwith three incised 'herringbone' plaits. 3rd Century AD. H. 2 5/8 in. (6.7 cm.) Ex French private collection.Axum was an important trading nation in northeasternAfrica beginning in the 4th century BC, rising to its heightin the 2nd-3rd Century AD, specializing in goods fromIndia and the Roman Empire.

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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 - over 40 years ago! - andmost recently 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 240 overseastrips, purchasing over forty thousand antiquities formany tens 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 some 56 years, and numismatics for 68 years.His many publications on ancient art and numismat-ics span over 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. He chaired aconference in London on the Phaistos Disk in 2008.

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, andan Honorary Fellow of the Egyptian Museum inBarcelona, 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 at

the 1998 International Congress of Classical Arch-aeologists. He gave an address by invitation on theinternational 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 theantiquities market and the collecting of antiquitieson National Public Radio in the US and in 2006 onNational Public 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. He was inter-viewed in depth for his expertise on Greek televi-sion in 2008 and on Artfinding in 2009.

Ancient CoinsWe carry a fine stock of select Greek silver and

bronze coins from $100, and Roman silver andbronze coins from $75. We began our business as‘Royal Coin Company’ in January 1942, 69 yearsago, and Dr Eisenberg, cofounder of the firm, hasspecialized in ancient coins, as sole proprietor, since1952.

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 andKonrad Schauenburg, and to the several others whoprefer 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-chieffrom 1990 to 2009. It features the most extensive and timely

coverage by any magazine of worldwide excavations, auctions 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. editorial@minervamagazine.com 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 1200 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)• Art of the Ancient World (Vol. XIX, 2008, illustratesin full color 222 objects, 96 pages, $5)• Art of the Ancient World (Vol. XX, 2009, illustrates infull color 217 objects, 96 pages, $5)• Art of the Ancient World (Vol. XXI, 2010, illustratesin full color 252 objects, 96 pages, $5)• 1000 Years of Ancient Greek Vases, 2010, illustrates infull color 195 vases, 96 pages, $5)• All 11 of the above catalogs (total list price $50), with price lists: $40. (Add $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 • 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)

New YorkRichard M. Novakovich Assistant Director &

ManagerBetty W. Eisenberg ComptrollerSuzanne George Office Manager

London (Seaby Antiquities)Anthony Law AdministratorPeter Clayton Consultant

royal-athena galleriesestablished 1942

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

Brent M. Ridge PhotographerRamon Perez PhotographerAndrew England WebmasterAlina Bessarabova Conservator

• Art of the Ancient World (Vol. XIII, 2002) illus-trates in full color 203 objects. (80 pages, $5)• 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 10 of the above catalogs, 1985 through 2003

(total list price $65), only $50. (Add $50 for over-seas 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, otherwise, the cur-rent price list is valid through 2011. 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 87/8%). 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