AAW2005 catalog - Royal-Athena Galleries

Art of the Ancient World
Greek, Etruscan, Roman, Egyptian, & Near Eastern Antiquities
Celebrating our
66th Anniversary
new york london
Volume XIX - 2008
royal-athena galleries

No. 85 - Art of the Ancient World - Vol. XIX - January 2008
We are pleased to issue this catalog
celebrating our 66th anniversary of dealing in
classical numismatics and our 54th year of dealing
in ancient art. It illustrates in full color 240
selected antiquities priced from $1,500 to over
$2,000,000.
This publication is one of a continuing series
primarily illustrating new acquisitions featured
in our New York and London galleries, where
over two thousand fine works of art are on
permanent display. All of the antiquities in this
catalog are displayed at our New York gallery,
the largest and most extensive collection of
the ancient arts ever exhibited for sale.
In addition to the many masterworks
of ancient art, there is a wide variety of fine
items on display priced from $100 to $1,000
and up, including Greek and Roman coins, Old
Master prints and drawings, and antique
Egyptian prints and photographs, perfect for
the beginning collector or for that very
special gift. A few of the pieces illustrated may
not be available since they were sold while the
catalog was in preparation, but a number of
other newly acquired objects will be on display
in our New York gallery and on our website:
www.royalathena.com, updated weekly.
We unconditionally guarantee the
authenticity of every work of art
sold by Royal-Athena Galleries.
©2007 Jerome M. Eisenberg, Inc.
Composed and printed in the United States of America.
royal-athena galleries
established 1942
Every object purchased by our galleries
has been legally acquired. If imported by us into
the United States, we have done so in
compliance with all federal regulations and have
given full consideration to all international
treaties governing objects of cultural
importance. Antiquities priced at $10,000 or
more are now checked and registered with the
Art Loss Registry in London.
All of our objects are clearly labeled with
complete descriptions and prices. Condition
reports on all the objects are available upon
request. We encourage browsing and are happy
to assist and advise both the amateur and the
serious collector. We urge our prospective clients
to ‘shop around’, for we are proud of our quality,
expertise, and competitive pricing.
Appointments may be arranged outside of
regular gallery hours for clients desiring privacy.
Updated price lists for our catalogs are available
upon request. For terms and conditions of sale
see the inside back cover.
COVER PHOTOS
Attic red-figure column krater by
the Suessula Painter. Ca. 420-390 BC.
H. 17 1/4 in. (44 cm.); p. 59, no. 128.
Back cover:
Large Roman bronze Men
Ca. 2nd Century AD
Total H. 16 1/8 in. (41 cm); p. 28, no. 55.
Text and catalog design by
Jerome M. Eisenberg, Ph.D.,
and F. Williamson Price
Photographs by Brent M. Ridge
We will be exhibiting at
Palm Beach! Fine Art & Antique Fair, Palm Beach, February 1-10, 2008
TEFAF, The European Fine Arts Fair, Maastricht, The Netherlands, March 7-16, 2008
BAAF Brussels, The Brussels Ancient Art Fair, Brussels, Belgium, June 5-10, 2008
BAAF Basel, The Basel Ancient Art Fair, Basel, Switzerland, November 7-12, 2008
(Check our website to confirm the dates)
153 East 57th Street
New York, NY 10022
Tel.: (212) 355-2034
Fax.: (212) 688-0412
ancientart@aol.com
Monday-Saturday, 10 - 6
VISIT OUR WEBSITE,
updated weekly with
our latest acquisitions:
www.royalathena.com
Jerome M. Eisenberg, Ph.D.
Director
Royal-Athena at Seaby
14 Old Bond Street
London W1S 4PP UK
Tel.: (44) 207-495-2590
Fax.: (44) 207-491-1595
Monday-Friday, 10 - 5
CLASSICAL ART
Greek Marble Sculptures 2
Roman Marble Sculptures 5
Roman Mosaics 20
Greek Bronze Sculptures 23
Etruscan Bronze Sculptures 24
Roman Bronze Sculptures, etc. 25
Images of Warfare, Helmets, and Arms 39
Ancient Bronze Vases 42
Greek Terracottas 43
Etruscan and Roman Terracottas 44
Early Greek Vases 46
Attic Black-figure Vases 49
Attic Red-figure Vases 53
South Italian Vases 60
Etruscan and Roman Vases 63
Roman Glass 65
Classical Gold & Silver Objects 66
Classical Gold Jewelry 69
1
Art of the Ancient World
Greek, Etruscan, Roman, Byzantine, Egyptian, & Near Eastern Antiquities
Table of Contents
BYZANTINE AND MEDIEVAL ART 70
NEOLITHIC ART 71
BRONZE & IRON AGE ART 73
EGYPTIAN ART
Egyptian Stone Sculptures and Reliefs 75
Egyptian Bronze Sculptures 82
Egyptian Wood 85
Egyptian Terracotta 87
Egyptian Faience 87
Egyptian Ushabtis 88
Egyptian Gold & Silver 89
Egyptian Varia 90
NEAR EASTERN ART 91
COLLECTING ANCIENT ART 94
ROYAL-ATHENA GALLERIES 94
Expertise and Ethics 95
Royal-Athena Galleries Catalogs Inside back cover
Photos above: Roman marble statue of Aphrodite. 1st-2nd Century AD. H. 55 in. (140 cm); p. 6, no. 10.
Roman marble head of Odysseus. 1st-early 2nd Century AD. Total H. 19 1/2 in. (49.5 cm.); p. 10, no. 17.

1 GREEK MARBLE HEAD OF A YOUNG WOMAN OR MAENAD
wearing a fillet across her brow, her hair wrapped in a sphendome; ears
pierced. Asia Minor, 4th-3rd Century BC. H. 5 1/8 in. (13 cm.)
Ex Mavrogodato family collection (1870-1948), Istanbul and Therapia
(Tarabya), Turkey.
2 HELLENISTIC MARBLE HEAD OF ALEXANDER THE GREAT, his very long curly hair centrally parted with
an anastole; with a rounded face and a serious expression. The head has a small hole with traces of metal remaining,
indicating that he once had a diadem or wreath attached. Ca. 2nd Century BC. H. 6 3/4 in. (17.2 cm.)
3
Greek Marble
Sculptures
HELLENISTIC MARBLE CYBELE, ENTHRONED The Great Mother Goddess holds a patera in her right hand,
a tympanon at her left. She wears a polos on her head, a belted chiton, and a himation. A lion reclines on her lap.
3rd-2nd Century BC. H. 5 in. (12.7 cm.) Ex Maurice Nahman collection, Paris, ca. 1953.
2 3
4
LIFE-SIZE HELLENISTIC MARBLE HALF
STATUE OF A GODDESS, PROBABLY
PERSEPHONE OR DEMETER, wearing a
chiton, her himation over her head (capite
velato). Asia Minor, ca. 325-250 BC.
H. 35 3/8 in. (90 cm.)
Ex Gregoire Couturier collection, Delémont,
Switzerland, acquired before 1960.9Persephone
was the daughter of Zeus and Demeter, goddess
of agriculture.

5
6
7
8
HELLENISTIC MARBLE HEAD OF AN ATHLETE, his head turned to the right; from a relief.
2nd-1st Century BC. H. 4 1/2 in. (11.5 cm.) Ex Jean-Marie Talleux Collection, Grand Fort Philippe, France.
Published: J. Eisenberg, Art of the Ancient World, vol. IX, 1997, no. 11.
HELLENISTIC MARBLE HEAD OF A GODDESS, PROBABLY ISIS, wearing a fillet. 3rd-2nd Century BC.
H. 3 1/2 in. (9 cm.) Ex old French ambassadorial collection. Isis was the protectress and patroness of women and
the model of conjugal love and motherhood.
HELLENISTIC MARBLE HEAD OF APHRODITE (VENUS), goddess of erotic love.
1st Century BC. H. 4 1/2 n. (11.4 cm.) Ex French collection
HELLENISTIC MARBLE HEAD OF APHRODITE ANADYOMENE from a statue depicting her wringing her
hair as she emerges from the sea. 3rd-2nd Century BC. H. 4 1/8 in. (10.5 cm.)
Ex French collection, acquired ca. 1970.
4
9
Roman Marble
Sculptures
ROMAN MARBLE NUDE
AMPHITRITE RIDING A
HIPPOCAMP She is seated upon a
himation which billows up behind
her like a wave. 1st-2nd Century AD.
H. 15 1/4 in. (39 cm.);
L. 22 1/2 in. (57.5 cm.)
Acquired in Italy in the later 18th
century by the Duke of Arenberg,
Brussels; ex collection of Prof. Michel
de la Brassine, Lüttich, Belgium; M.B.
collection, Westlake Village, California.
Published: Münzen und Medaillen,
Basel, XII, 1961, no. 28; J. Eisenberg,
Art of the Ancient World, vol. XV,
2004, no. 28.
18th Century restorations, probably by
the workshop of Bartolomeo Cavaceppi,
include the head of the hippocamp, its
tail fin, and its forelegs. Amphitrite was
one of the sea nymphs known as
Nereids. She was the daughter of
Nereus and Doris and wife of Poseidon.
5

10
ROMAN MARBLE NUDE
APHRODITE (VENUS),
wearing a diadem; a swag of drapery
falling behind and onto the tree
trunk support.
1st-2nd Century AD.
H. 55 in. (140 cm.)
Ex French private collection; John Kluge
collection, Charlottesville, Virginia.
Published: J. Eisenberg,
Art of the Ancient World, vol. IV,
1985, no. 238 . Antique restorations.
6
11
ROMAN OVER LIFE-SIZE
MARBLE STATUE OF AN
EMPRESS AS DEMETER,
wearing a chiton and a himation
draped about her shoulders, and a
diadem upon her head.
The physiognomy and coiffure are
very much like those of Domitia, the
wife of emperor Domitian, of whom
this is most probably a likeness.
Ca. AD 80-96
H. 75 in. (190 cm.)
Ex Collection of HSH the Prince
of Liechtenstein; Dino Fabbri,
Milan-Paris; John Kluge collection,
Charlottesville, Virginia.
The surface of the garments was
reworked in the 19th century.
Published: J. Eisenberg, Ancient
Roman Marble Sculpture, 1983, p.
4; Art of the Ancient World, vol IV,
1984, no. 258; Art of the Ancient
World, vol IX, 1997, no. 4.
Cf. the portrait of Domitia in V.
Poulsen, Les portraits romains,
Glyptotheque Ny Carlsberg,
Copenhagen, 1974, vol. 2, no. 13.
Domitia Longina, born ca. AD 53,
was the youngest daughter of a
Roman General and Consul,
Gnaeus Domitius Corbulo.
Before AD 70, she married Lucius
Aelius Plautius Lamia Aelianus,
but Domitian, according to
Suetonius, became infatuated with
her and forced her to divorce and
then married her.
In AD 81, upon the death of his
brother Titus, Domitian became
Emperor and Domitia was granted
the title of Augusta.
Always referring to herself as the
emperor’s wife even decades after
Domitian’s death, she remained an
important personality in Rome
until her death sometime before
AD 126 when a temple was
dedicated to her in Gabii.
7

12
13
14
ROMAN MARBLE DEEP BUST OF A
TRITONESS being grasped from above by the hair by a
giant. From a large group sculpture.
Ca. 2nd Century AD. H. 14 1/8 in. (36 cm.)
The tritoness was a sea creature with the head of a
woman, her torso ending in two fish tails.
ROMAN MARBLE STATUE OF PIETAS
SACRIFICING, at her right is a columnar altar with
flames. In her left hand is a small incense box. She wears
a tall polos over her long flowing hair. A chiton is belted
at her waist and a himation is wrapped about her body.
1st-2nd Century AD. H. 26 3/8 in. (67 cm.)
Ex German private collection since the mid-1970s.
Pietas was the personification of piety and religious
devotion.
ROMAN MARBLE HEAD OF A YOUTH
carved from Thasian marble, with thick, wavy hair.
1st Century AD. H. 10 5/8 in. (27 cm.)
Ex Van der Burgh collection, the Netherlands.
Cf. J. Herrmann, Thasos and the Ancient Marble
Trade: Evidence from American Museums, Getty
Museum, 1990, pp. 87-90, fig. 27.
8
15 ROMAN MARBLE HEAD OF ALEXANDER
THE GREAT, his expression upward and to his
left. His luxuriant hair of tosselled locks and the
open mouth give an impression of pathos.
2nd Century AD.
H. 11 1/4 in. (28.5 cm.)
Ex English private collection since 1980.
Cf. a similar head from Pergamon in the
Archaeological Museum in Istanbul, inv. no.
1138.
16
99
ROMAN MARBLE HEAD OF ALEXANDER
THE GREAT wearing a fillet; a hole in the top
for the insertion of an attribute.
2nd Century AD. H. 3 1/2 in. (9 cm.)

17
ROMAN MARBLE HEAD OF
ODYSSEUS (ULYSSES), bearded and
wearing an ornately decorated pilos helmet.
This relief decoration starts at the top with
a rosette, then a corona of rays, a frieze of
rosettes, a frieze of erotes, and a frieze of
palmettes and lotus blossoms.
Late 1st-early 2nd Century AD.
Total H. 19 1/2 in. (49.5 cm.)
Ex collection of Lord Bristol, acquired
in the 18th century; Elderay collection,
ca. 1920.
The significant 18th Century additions
include the nose, the rear left part of the
face, part of the helmet, the bust, and the
base. They were probably done by
Bartolomeo Cavaceppi (1716-1799)
or his studio.
Odysseus was the Greek king of Ithaca
and a hero of the Trojan war. He figures
prominently in Homer’s Illiad, and the tenyear
adventurous return home from that
war to his faithful wife Penelope is the
subject of Homer’s epic, the Odyssey.
Reknowned for his resourcefulness, Homer
uses the epithet ‘the cunning’ in both
poems.
A magnificent drawing by the celebrated
German artist Johann Heinrich Wilhelm
Tischbein (1751-1829), now in the
Deutsches Literaturarchiv in Marbach,
depicts seven heroes celebrated by Homer in
the Iliad and the Odyssey. These heroes were
drawn after ancient busts that Tischbein saw
during his lengthy stay in Naples at the end
of the 18th century. The bust, which is identified
as Odysseus in a description published
in 1801, is in the center of the composition
shown at right. Tischbein based his painting
of ‘Odysseus and Penelope’ (1802) on this
sculpture, then in the possession of Lord
Bristol, who allowed Tischbein to draw it at
that time. Our thanks to the Deutsches
Literaturarchiv in Marbach for allowing us to
reproduce this drawing.
10
11

18
ROMAN MARBLE HEAD OF ATTIS He wears a Phrygian cap over his filleted curly hair.
Ca. 1st Century AD. H. 12 1/2 in. (32 cm.) Ex collection of Pierre Vérité, Paris, begun in the 1920s;
by descent, the collection of Claude Vérité, his son. Cf. a pilaster relief representing the god Attis, 2nd AD,
from Toul, in the Musée Lorrain, Nancy, France. A life-death-rebirth deity, he was the consort of Cybele
and driver of her lion-drawn chariot.
19 ROMAN MARBLE DEEP BUST OF THE ATHENIAN PHILOSOPHER SOCRATES, 469-399 BC.
Depicted late in life, bearded and balding, wearing only a himation draped loosely over each shoulder.
1st-2nd Century AD. H. 24 in. (61 cm.) Ex old French collection.
20 ROMAN MARBLE BUST OF A BEARDED PHILOSOPHER, his head crowned with vine leaves.
Ca. 2nd Century AD. H. 18 in. (45.7 cm.) Ex Sir Francis Sacheverell Darwin, Sydnope Hall, Two Dales,
Matlock, Derbyshire, England, acquired in the early 19th century. F. S. Darwin authored a book: Travels in Spain
and the East: 1808-1810, last published by Cambridge University Press in 1927.
12
21 ROMAN MARBLE HEAD OF A YOUTH, POSSIBLY AN EARLY DEPICTION OF NERO being crowned
emperor by his mother, Agrippina the younger, her fingers visible behind his right ear, or a victorious athlete being
crowned. Mid-1st Century AD. H. 8 3/4 in. (22.2 cm.) Ex French collection; private collection, Woodland
Hills, California.
22 ROMAN MARBLE HEAD OF AGRIPPINA, THE ELDER, WIFE OF GERMANICUS, and mother of
Caligula; daughter of Agrippa and Augustus’ daughter Julia. Born in Greece in 14 BC, she married Germanicus in
AD 5; he died in AD 19. In AD 26 the emperor Tiberius refused to allow her to leave Rome, had her arrested, and
then exiled her to the island of Pandotoria, where she was starved to death in AD 33.
Ca. AD 20-40. H. 5 1/2 in. (14 cm.) Ex German collection.
13

24
ROMAN MARBLE HEAD OF THE SPINARIO (‘THORN-PULLER’) after a Hellenistic prototype of the 2nd
century BC. 1st-2nd Century AD. H. 6 1/4 in. (15.9 cm.) Ex French private collection, acquired ca. 1970.
For a bronze herm bust of the same type see: J. Eisenberg, Gods and Mortals II: Bronzes of the Ancient World,
2004, no. 55. See also similar heads in the Antikenmuseum, Basel, and the Allard Pierson Museum, Amsterdam.
23
ROMAN MARBLE PORTRAIT HEAD
OF MENANDER, ca. 342-293 BC,
the comic playwright. He has short hair
falling in curls at his forehead, deep-set
eyes, and strong, angular jaw.
Reputedly from Ostia.
Later 1st Century AD.
H. 9 3/4 in. (25 cm.)
Ex Jovy Collection, Cologne.
Published: W. R. Megow, Antiken aus
Rheinischem Privatbesitz, Rheinisches
Landesmuseum, Bonn, 1973, no. 359,
pl. 164. Lacking the back of the head;
possibly from a relief.
Menander was one of the founders of the
so-called New Comedy. His first play was
‘Ogre,’ written in 321 BC, and over the next
20 years he wrote 100 additional comedies.
Though not greatly appreciated in his lifetime,
his reputation grew throughout the
early Roman Imperial period. Plutarch
wrote of him, Plautus and Terence imitated
him, and Ovid thought him “worthy of
immortality.”
14
25
ROMAN OVER LIFE-SIZE MARBLE HEAD OF
THE EMPEROR DOMITIAN (AD 81-96.)
Sensitively carved of Greek marble with large open
eyes, over-hanging upper lip, small lower lip, and
delicate curls. Lacking ears, which were inserted
separately.
Greece or Asia Minor, later 1st Century.
H. 15 3/4 in. (40 cm.) Very fine style.
Ex old European collection, 19th century or earlier;
J.B. collection, Switzerland, acquired in the 1970s.
Titus Flavius Domitianus was a member of the
Flavian Dynasty, being the son of Vespasian by his
wife Domitilla, and brother of Titus, whom he
succeeded on 14 October, AD 81, at the age of 30.
Born in Rome, as a child he studied rhetoric and
literature, publishing some of his writings on law
and administration. In his biography Suetonius
describes him as a learned and educated adolescent,
with elegant conversation. Unlike his brother,
Titus, who was much older, Domitian did not join
his father's campaigns in the African provinces and
Judaea. As emperor he proved to be a poor administrator,
lackluster military commander, and a
notorious womanizer.
15

16
26 ROMAN MARBLE HEAD OF A WOMAN,
possibly a portrait of Marcia Otacilia Severa,
wife of Philip I, or a contemporary.
Ca. AD 245-250. H. 10 5/8 in. (27 cm.)
Ex old collection of M. de W., France.
Severa was a member of the ancient gens
Otacilius who were people of consular and
senatorial rank. Severa’s father was Otacilius
Severus, who served as Roman Governor of
Macedonia and Moesia. In AD 234 she
married Marcus Julius Philippus who became
emperor, as Philip I, in AD 244. He had
great respect for the Roman Senate and
bestowed Severa with the honorific title of
Augusta.
27 ROMAN MARBLE HEAD OF A BEARDED
MAN wearing a fillet, knotted in front;
from a relief. Ca. 3rd Century AD.
H. 10 3/4 in. (27.3 cm.) Ex collection of
Sir Francis Sacheverell Darwin, Sydnope Hall,
Two Dales, Matlock, Derbyshire, England,
acquired in the early 19th century.
F.S. Darwin authored a book: Travels in Spain
and the East : 1808-1810, last published by
Cambridge University Press in 1927.
28
ROMAN MARBLE HEAD OF THE
EMPEROR HADRIAN (AD 117-138)
Earlier 2nd Century AD.
H. 14 1/8 in. (36 cm.)
Cf. Glories of the Past, Ancient Art
from the Shelby White and Leon Levy
collection, Metropolitan Museum of Art,
New York, 1990, p. 211, no. 152; K. de
Kersauson, Catalogue des portraits
romains, vol. II, Musée du Louvre, Paris,
1996, p. 117 - 131, nos. 48 - 54.
Ex French collection.
Hadrian was a man of extraordinary
talents; certainly one of the most gifted
emperors that Rome ever produced. He
became a fine public speaker, and was a
student of philosophy and other subjects,
who could hold his own with the luminaries
in their fields. He wrote both an autobiography
and poetry but it was through
his passion for architecture that he left his
greatest mark. Hadrian was probably the
most traveled emperor spending so little
time in Italy, compared with abroad, that
his governmental policies at home play a
lesser role in consideration of his entire
principate.
17

29 ROMAN MARBLE HEAD OF ATHENA
(MINERVA), the virgin goddess of wisdom,
of war, and of the arts and crafts, wearing
a helmet of Attic type, the high crest supported
by two winged lions.
1st-2nd Century AD.
H. 5 5/8 in. (14.5 cm.)
Ex Belgian private collection, acquired
ca.1950; French private collection.
30
ROMAN MARBLE HEAD OF FLORA,
goddess of flowers and the season of spring.
2nd Century AD.
H. 11 1/4 in. (28.6 cm.)
Ex private collection, Amityville, New York.
Her festival, the Floralia, was held in April
or early May and symbolized the renewal of
the cycle of life, marked with dancing,
drinking, and flowers. Her Greek equivalent
was Chloris. Flora was married to
Favonius, the wind god.
18
31 ROMAN MARBLE MONOPODIUM (TABLE LEG) OF A ROARING PANTHER emerging from a
palmette. 2nd Century AD. H. 15 7/8 in. (32.7 cm.) Ex American collection; English collection.
32
33
19
ROMAN MARBLE STELE OF A WOMAN RECLINING UPON A COUCH (kline). Her hair is set in
tiers of tight curls in the style of Julia Titi, daughter of the Emperor Titus. She wears a long chiton, and in
her left hand she holds a wreath. Inscribed in Greek: Leontos' (wife) age 33, farewell.
Ca. AD 80-100. H. 15 3/4 in. (40 cm.) Ex Swiss collection, acquired in 1980.
ROMAN MARBLE RELIEF OF HERAKLES STEALING THE CATTLE OF GERYON, one of his twelve
Labors. The nude hero brandishing a club is flanked by two bulls. Ca. AD 270. L. 38 1/2 in. (93 cm.);
H. 33 7/8 in. (83 cm) Ex Lepine collection, 19th century; M. M. collection, Paris, acquired in 1975.

34
35
ROMAN MARBLE CINERARIUM COVER, the corners carved with
palmettes, the central triangular pediment with a relief of Eros riding
a hippocamp. 1st-2nd Century AD. H. 5 7/8 in (15 cm);
W. 12 1/2 in. (32 cm); D. 11 7/8 in. ( 30 cm.) Ex French collection.
Roman Mosaics
ROMAN ROUND MOSAIC DEPICTING THE HEAD OF DIONYSOS (BACCHUS) within a floral
tondo. 2nd-3rd Century AD. D. 26 in. (66 cm.) Ex collection of Henri Boucher (1847-1927), France,
Minister of Commerce from 1886-98.
36
37
20 21
ROMAN MOSAIC PANEL CENTERING THE HEAD OF DIONYSOS (BACCHUS) god of wine and
vegetation. 2nd-3rd Century AD. L. 47 1/2 in (120.7 cm.); H. 18 1/4 in (46.4 cm.)
Ex H.W. collection, New York
ROMAN MOSAIC: ZEUS AS AN EAGLE ABOUT TO ABDUCT GANYMEDE
The eagle, with spread wings, grasps the nearly nude Trojan prince, who holds the god’s spear, from off a
rocky outcrop. North Africa, 2nd Century AD.
H. and W. 31 1/8 in. (79 cm.) Ex English private collection, acquired in the 1960s.

38 GREEK GEOMETRIC BRONZE COLT
Olympia, ca. 750 BC. L. 2 3/4 in. (7.2 cm.)
Ex Eric de Kolb collection, New York; acquired 1984.
Cf. W.-D. Heilmeyer, Olympische Forschungen XII,
1972, pl. 42, no. 346.
Greek Bronze
Sculptures
39 GREEK BRONZE CRESCENTIC FORM APPLIQUE with griffin head termini, the summit of
the arch surmounted by a handle-shaped scroll flanked by birds of prey with incised feather detail;
one griffin head restored. Late 7th Century BC. W. 4 in. (10cm.)
Ex German private collection assembled in the 1980s.
40
HELLENISTIC BRONZE HEAD OINOCHOE with a trefoil mouth, depicting a young woman, hair
swept back, and wearing a chain diadem; eyes originally inlaid. Found near Beirut, Lebanon (ancient
Berytus, Phoenicia). 1st Century BC - 1st Century AD. H. 4 7/16 in. (11.3 cm.)
Published: J. Eisenberg, Art of the Ancient World, vol. IV (1985), p. 105, no. 298.
41 HELLENISTIC BRONZE HERAKLES, NUDE, WRESTLING THE NEMEAN LION,
the animal’s forepaws grappling the hero about the waist, its head firmly gripped under his left arm.
Probably from Alexandria, early 2nd Century BC. H. 4 in. (10.2 cm.) Published: J. Eisenberg, Art of
the Ancient World, vol. IX, 1997, no. 43.
22
42
HELLENISTIC BRONZE NUDE
HERAKLES. The hero, weary after
completing his Labors, is depicted
leaning against a support.
Ca. 1st Century BC.
H. 6 7/8 in. (17.6 cm.)
Ex French collection.
After the original by Lysippos in
the 4th Century BC.
The support is a modern addition.
43
HELLENISTIC BRONZE ROUNDEL
OF A GODDESS, PROBABLY
ARTEMIS (DIANA), goddess of the
hunt. The laureate head, in high relief,
turning to the right, the chiton clad bust
bears a baldric diagonally across
her chest.
North Africa, 2nd-1st Century BC.
H. 5 in. (12.7 cm.)
23

45
Etruscan
Bronze
Sculptures
44
ETRUSCAN BRONZE
RECUMBENT RAM
Probably from a tripod.
6th Century BC.
L. 3 1/8 in. (8 cm.)
Ex English antiquarian.
UMBRIAN BRONZE KORE (TURAN) Hands to her sides, wearing a chiton and a conical cap with wavy
hair flowing over her back. Early to mid-6th Century BC. H. 3 1/2 in. (8.8 cm.) Rare type. Olive green
patina. Ex collection of Dr. David Landau, Newton, Massachusetts; acquired in Boston, January 1992.
Published: J. Eisenberg, Art of the Ancient World, vol. VIII, 1995, no. 30.
46 UMBRIAN BRONZE KORE (TURAN) wearing a conical headdress, left hand on hip, right hand outstretched;
long loose garment incised with dots. Ca. 500 BC. H. 3 1/8 in. (7.9 cm.) Ex English collection;
J. S. collection, Shelby, Michigan. Exhibited: Picker Art Gallery, Colgate University, 1986-2003; George
Mason University, 2003-2007. Published: J. Eisenberg, Gods & Mortals, 1989, p. 10, no. 25.
47 ETRUSCAN BRONZE SPHINX SEATED ON HER HINDQUARTERS probably a vessel foot; both left
paws are restored. Very fine style. Ca. 4th Century BC. H. 3 in. (7.6 cm.) Ex P. Richardson collection,
Waterford, Michigan. Exhibited: Ball State University Art Museum, 1996-99.
24
48 ETRUSCAN BRONZE CISTA HANDLE OF TWO NUDE YOUTHS, PROBABLY THE
DIOSCUROI, standing frontally, each with one arm on the other’s shoulder. Possibly from Palestrina.
Late 5th Century BC. H. 3 3/8 in. (8.7 cm.)
Ex French collection.
Roman Bronze Sculptures
49 ROMAN BRONZE PEDIMENT FROM A
LARARIUM with a pyramidal crown above
a dentil cornice. Atop the apex is a figure of a draped youth wearing a fillet, above each corner, an eagle.
Right eagle restored. 1st-2nd Century AD. W. 17 in. (43 cm.); H. 11 3/8 in. (29 cm.) Ex Georgiades
family collection, London, formed in the 1970s. Published: J. Eisenberg, Art of the Ancient World, vol.
XII, 2001, no. 80. The lares were the personification of the spirit of the household and images of them along
with those of the master and mistress of the house would be displayed beneath this pediment for veneration.
25

50
51 ROMAN BRONZE MARS ULTOR,
wearing a helmet and full armor, his raised left
hand once held a spear. In fine style.
Based upon the statue in the Temple of Mars
Ultor in the Roman Forum.
1st-2nd Century AD. H. 3 1/2 in. (9 cm.)
Ex German collection.
52
ROMAN BRONZE ARES (MARS), god of war,
wearing full armor and holding a shield and
spear. 2nd-3rd Century AD.
H. 2 3/4 in. (7 cm.) Ex French collection.
ROMAN BRONZE NUDE HERMES
(MERCURY), messenger of the gods, patron of
travelers, athletes, and merchants, wearing a
winged petasos, a chlamys on his shoulder, and
holding a money purse. Hermes was not only the
messenger of the gods but also the god of business
and commerce.
Anatolia, 2nd Century AD.
H. 3 in. (7.6 cm.)
Ex J. F. collection, Loveland, Ohio, acquired
from Royal-Athena in 1986. Exhibited: Ohio
State University, 1986-90; Picker Art Gallery,
Colgate University, 1990-2007.
53
26 27
ROMAN BRONZE NUDE ZEUS (JUPITER),
HOLDING A THUNDERBOLT; in his left hand
he once held a scepter. A himation is draped over
his left shoulder and he stands with his weight on
his right leg; after the original Greek sculpture by
Myron, ca. 450 BC.
1st Century AD H. 4 3/8 in. (11 cm.)
According to the 1st century BC Greek geographer
Strabo (XIV, 637), the original was part of a
group depicting Athena recommending to Zeus
that the hero Herakles be allowed entry to
Olympus. The original was set up on the island
of Samos but was removed by Marc Antony;
Augustus later returned the Athena and Herakles
but set up the Zeus on the Capitoline. While there
is a large-size marble copy of the returned pair in
the Munich Glyptothek, only small copies of the
Zeus remain with the exception of a torso from the
Marcellus theater in Rome.
See: B. Vierneisel-Schlörb, Glyptothek Munich.
Catalog of the Sculptures 2, 1979.
54 ROMAN BRONZE STANDING NUDE ZEUS,
his right leg advancing, and his right arm outstretched
to support an eagle. His raised left hand
once clenched a spear or thunderbolt; on ancient
bronze spindle base.
1st Century AD. H. 6 7/8 in. (17.5 cm.)
Superb olive green patina. Ex European collection
acquired in the 1970s. This work is based on a
Greek original ca. 420 BC.

Sculptural depictions of this deity are
extremely rare. For a cruder version see a
similar statue in the Rijksmuseum, Leiden,
Netherlands, published in J. Godwin,
Mystery Religions in the Ancient World.
Men was worshipped as far back as the 3rd
millenium BC. One of the Men cult's most
important centers was the ancient city of
Antiocheia. The temple there can be dated
to the 4th century BC.
55
LARGE ROMAN BRONZE MEN, THE
ANCIENT MOON GOD OF ANATOLIA;
lacking the lunar crescent tips on his shoulders.
His right arm is raised to support a spear, his
extended left hand holding a pine cone, and
his foot resting upon the severed head of a bull,
with an eagle, separately cast, at his feet; all
resting upon the original bronze pedestal base.
He wears a Phrygian cap, an ankle-length,
long-sleeved garment tied at the waist, and a
long cloak; his eyes are inlaid with silver.
A superb sculpture.
Ca. 2nd Century AD.
H. of figure 10 1/4 in. (26 cm.);
with stand 16 1/8 in. (41 cm.)
Ex J.-P. A. collection, Brussels.
The spear is a later replacement.
28
29

56
57
30
ROMAN LARGE BRONZE FITTING
APPLIQUE: ATALANTA AND MELEAGER
during the hunt for the Caledonian boar. She is
depicted nude, holding a spear, and standing by her
horse. At the right is Meleager, nude but for a
chlamys, also holding a spear. The metaphor
alluded to here is fated love. The pair are flanked
by the griffins of Nemesis. Small rivet holes for
attachment remain.
3rd Century AD. L. 11 3/8 in. (29 cm.)
A very rare mythological subject, especially in
bronze. Atalanta was a hunting companion of
Artemis (Diana). Meleager, son of Oeneus, King of
Calydon, was one of the fabled Argonauts; it was he
who killed the Calydonian boar.
GALLO-ROMAN BRONZE ROSMERTA OR
MAIA, consort of Esus/Hermes, the goddess standing
and holding a phiale filled with fruit in her right
hand, and wearing a long chiton with overfold,
and himation, her eyes with recessed pupils and
remains of silver overlay, her wavy hair parted in
the center, bound in a diadem, tied in a chignon,
and surmounted by wings and a stephane.
A very rare deity. Ca. 2nd Century AD.
H. 6 1/16 in. (15.5 cm.)
For two related bronze figures of a goddess, each
with wings emerging from her hair, a very rare feature
on representations of female deities, see Musée
Bargoin, Clermont-Ferrand, inv. no. 57-54-1 (S.
Boucher, "Quelques figurines de bronze: Rosmerta,
parèdre de Mercure, et autres divinités gauloises,”
Alba Regia, vol. 21, 1984, p. 35, no. 1, pl. 17.1;
G. Bauchhenss, ‘Rosmerta,’ LIMC, vol. VII, p. 647,
no. 27); Musée Rolin, ‘Autun’, inv. no. 333 V 91 (P.
Lebel and S. Boucher, Musée Rolin, Bronzes figurés
antiques, Paris, 1975, p. 61, no. 89; S. Boucher,
op.cit., pl. 17.2, idem; Récherches sur les bronzes
figurés de Gaule pré-romaine et romaine, Rome,
1976, p. 162; Bauchhenss, op. cit., p. 647, no. 28).
58 ROMAN BRONZE ATHENA PROMACHOS,
in archaistic style, striding and wielding a missing
spear in her right hand, a shield formerly held in her
left hand, and wearing a long chiton, a himation
draped over her right shoulder and across the aegis,
and a Corinthian helmet with fragmentary crest, her
hair falling in two tresses over the front of the shoulders
and in a long plait down the back.
1st Century AD. H. 4 11/16 in. (12 cm.)
Ex American private collection, acquired prior to 1980.
59 ROMAN BRONZE ATHENA (MINERVA),
GODDESS OF WISDOM wearing her aegis with
gorgoneion and a mantle over a long peplos, and high
crested helmet; her right hand originally held a spear
and, perhaps, an owl in the left hand. 1st-2nd
Century AD. H. 5 3/4 in. (14.7 cm.) Ex J. F. collection,
Loveland, Ohio. Published: J. Eisenberg, Art of
the Ancient World, vol. IV, 1985, p. 102, no. 285.
Exhibited: Ohio State University 1985-90; Picker Art
Gallery, Colgate University, 1990-07. For a nearly
identical example see H. Walters, Catalogue of the
Bronzes in the British Museum, 1899, pl. 29, no.
1042.
60
31
ROMAN BRONZE STATUETTE OF TYCHE-
FORTUNA, goddess of fortune and destiny, wearing a
diadem with a tall polos, and holding a cornucopia;
her right hand once held a rudder.
1st-2nd Century AD. H. 4 1/4 in. (10.8 cm.) Ex J.
F. collection, Loveland, Ohio, acquired from Royal-
Athena in 1987. Exhibited: Miami University Art
Museum, 1988-1995; Ball State University Art
Museum, 1995-2005; George Mason University Art
Museum, 2005-2007.

61 ROMAN BRONZE DEEP BUST OF A PANISKOS, a young version of Pan, the god of fertility and sexual
power, with long curly hair, a top knot, and wearing a faun skin across his body. In his left arm he holds a
lagobolan, a throwing club for hunting, and in his right hand he holds a garland.
2nd Century AD. H. 5 7/8 in. (15 cm.) Ex collection of Dr. A. L. Austria, acquired at the Dorotheum,
Vienna, June 6, 2000. Probably from a lectica, a type of portable bed. The lectica became an increasingly
popular mode of transportation for the wealthy classes during the late Republic, becoming more elaborate
during the Empire.
62 ROMAN BRONZE BALSAMARIUM IN THE FORM OF A BLACK LANTERNARIUS
or lantern-bearer, seated in a pensive attitude on a high molded base with his right hand on his knee
and his left hand against his chin, his garment draped around his lower body, a lantern by his left foot,
a fragmentary loop on each shoulder for the attachment of the now missing handle.
Ca. 2nd Century AD. H. 4 5/16 in. (10 cm.)
Ex collection of Susette Khayat, New York; Dr. Robert Waelder (1900-1967).
Lanternarius balsamaria with negroid features are scarce; for an example in the Bibliothèque Nationale,
see E. Babelon and A. Blanchet, Catalogue des bronzes antiques de la bibliothèque nationale, Paris, 1895,
p. 442, no. 1014.
32
63 ROMAN BRONZE STEELYARD WEIGHT
OF A DIADEMED FEMALE BUST,
probably an idealized portrait of Antonia
Minor, daughter of Mark Anthony, a veil on
the back of her head and falling to her shoulders.
Her right shoulder is bare and the bust
is covered by a sensuously draped chiton.
Ca. AD 30-50. H. 6 7/8 in. (10 cm.)
Ex Austrian private collection.
Cf. W. Megow, Cameos from Augustus to
Alexander Severus,1987, pl. 7 D 13 - D 18.
Antonia was one of the most prominent
Roman women, celebrated for her virtue and
beauty. She was the youngest daughter of
Octavia Minor and Mark Antony. She was
also the favorite niece of her mother’s youngest
brother, the emperor Augustus.
Cf. The Ludovisi Juno, considered to be a
portrait of Antonia Minor, in K.Dahmen,
Investigations in Form and Function of
Small Portraits of the Roman Emperial
Period, 2001, nos. 77 and 78.
65 ROMAN BRONZE APPLIQUE BUST OF
ATHENA (MINERVA) The goddess wears
a breastplate with an elaborate aegis, and
a helmet with three plumes and an eagle. The
mouth, eyes, and nostrils are pierced.
Presumably from an equine parade mask.
2nd Century AD. H. 7 7/8 in. (20 cm.)
Ex private German collection, acquired in the
mid-1970s. Cf. J.Garbsch, Römische
Praderüstungen, 1978 - 1979, pl. 42.
33
64 GALLO- ROMAN SILVER-COVERED BRONZE
APPLIQUE BUST OF APOLLO, his long locks falling
over his shoulders and chest, and tied in a bow atop his
head. A fully modelled bust in very fine style, covered
in part with a thick silver sheet. 2nd Century AD.
H. 4 1/4 in. (11 cm.) Said to have been found in
Normandy, the metal is most probably potin, an alloy
of copper, tin, and lead that was most often used by the
Gallic tribes. Ex J.S. collection, Paris.

66
ROMAN BRONZE
BALSAMARIUM PORTRAIT OF
ANTINOUS,COMPANION OF
THE EMPEROR HADRIAN
The legendary face is depicted
surrounded with masses of tiered
curls, the expression modelled with
alert eyes and incised pupils.
From an unusually large and fine
vessel. Ca. AD 130-140.
H. 4 3/4 in. (12.1 cm.)
Ex German collection.
67
PAIR OF ROMAN BRONZE
HALF FIGURES OF
ANTINOUS, with thick curly
hair, each holding a scallop-shell
tray. Ca. AD 130-140.
H. 4 7/8 in. (12.5 cm.)
Probably from a lectica, a
portable bed. Very rare.
Cf. a similar pair of bronzes in
the Hermitage, nos. V866 and
V867.
34
68
ROMAN BRONZE
BALSAMARIUM:
NUDE PORTRAIT BUST
OF ANTINOUS,
COMPANION OF HADRIAN,
with masses of finely worked, thick
locks surrounding his youthful face.
His neck is scored to receive an
inlaid necklace. The handle
terminates in duck heads.
Very fine style.
Excellent dark green patina.
Ca. AD 130-140.
H. 4 5/8 in. (11.8 cm.)
Ex Austrian private collection.
Antinous was born in the town of
Bithynion-Claudiopolis, in the
Greek province of Bithynia on the
northwest coast of Asia Minor
around AD 110. Little is known
as to how Antinous came to be in
the house of Hadrian. It is thought
that he was taken to Rome as a
page and perhaps entered into the
imperial paedagogium, a boarding
school for pages.
He is first mentioned as the emperor’s
favorite during their trip to
Greece in AD 128. He was
accounted beautiful by all who
saw him, and was said to have
great intelligence and a sharp wit,
as well as being a skillful hunter
and athlete.
35

69 ROMAN BRONZE JANIFORM HERM OF HERMES (MERCURY). One side depicts the young god
with feathered wings emerging from thick wavy hair; the other depicts Artemis (Diana) wearing a rayed
crown, a quiver emerging from her right shoulder; from a candelabrum. 2nd -3rd Century AD.
H. 3 3 /8 in. (8.6 cm.) Ex Sid Port collection acquired in the 1970s; private collection, New York.
Cf. A candelabrum with a double herm fitting in J. Ward-Perkins and A. Claridge, Pompeii AD 79,
Boston, 1978, p. 160, no. 112a.
70 ROMAN BRONZE YOUNG BOY AS A GLADIATOR. 1st-2nd Century AD. H. 2 5/8 in. (6.7 cm.)
A rare subject. Fine reddish brown patina . Ex French collection; J. F. collection, Loveland, Ohio, acquired
from Royal-Athena in 1989. Exhibited: Ohio State University Art Museum, 1985-1990; Picker Art
Gallery, Colgate University, 1991-2007.
71 ROMAN BRONZE THRAEX GLADIATOR wearing a typical tall helmet with a griffin crest.
2nd-4th Century AD. H. 2 1/4 in. (5.7 cm.) Ex collection of Axel Guttman (1944-2001), Berlin.
36
72
ROMAN LARGE BRONZE PROWLING LION robustly scupted, with finely worked, thick mane, lively
panting expression, large paws, and a long tail. Probably a decorative element from a carriage;
on an integrally cast, irregular plinth. Fine green patina. 2nd Century AD. L. 8 1/4 in. (21 cm.)
Ex European private collection since the 1980s.
73 ROMAN LIFE-SIZE BRONZE RIGHT FOOT probably from a statue of Aphrodite, with slightly raised
heel, the angle turned inward. There is an ancient rectangular repair on the last and another very small
one on the the big toe. Extremely fine style. Asia Minor, 1st Century BC/AD. L. 9 in. (22.9 cm.)
Ex European collection; S.Z. collection, Bronx, New York, acquired from Royal-Athena in 1969.
37

74
ROMAN BRONZE INCENSE OR LAMP
STAND, architectural in form, each side
modelled as a naiskos with male busts and
bull heads within arches; surmounted by
four eagles.
2nd-3rd Century AD.
H. 4 in. (10 cm.)
75
ROMAN BRONZE PROTOME OF
PEGASUS, probably once attached to the
handle of a lamp.
2nd Century BC/AD.
H. 3 1/8 in (8 cm..); L. 2 in. (5 cm.).
Ex French collection. Cf. M. Comstock et
C. Vermeule, Greek, Etruscan, and Roman
Bronzes in the Museum of Fine Arts,
Boston, 1971, p. 349, no. 489.
76
ROMAN BRONZE OIL LAMP
with a handle in the form of the head
and neck of a griffin; with original lid.
Ca. 3rd Century AD. L. 7 3/4 in. (19.7 cm)
Ex English collection; K. F. collection, Garden
City, Michigan, acquired from Royal-Athena in
1987. Exhibited: Picker Art Gallery, Colgate
University, 1996-2003; George Mason
University, 2003-2007.
38
77
CORINTHIAN BRONZE
HELMET with almond-shaped eye
cut-outs, spoon-shaped nose-guard,
a sweeping skirt, and riveted edges.
2nd half of the 7th Century BC.
H. 9 1/2 in. (24 cm.)
Ex private collection, Cologne,
Germany, acquired ca. 1990;
American collection.
Cf. a similar in the Museo
Nazionale del Melfese in H. Pflug,
Antike Helme, Mainz, 1988,
p. 86, pl. 24-25.
78
ETRUSCAN BRONZE HELMET
OF MONTEFORTINO TYPE
Of domed form, the rim is turned
out and further peaked at the rear
and riveted at the center with two
hinged loops preserved on the interior.
The crown is topped by a knob
finial with a central depression, the
separately-made cheekpieces
attached by means of hinges riveted
to each side and secured by a long
pin with a disk-shaped terminal;
each cheek-piece with a scalloped
outline and floral decoration at the
center with a hook at the lower end
for attachment of the chin-strap.
Attractive mottled blue and green
patina.
4th-3rd Century BC.
H. 11 3/4 in. (29.8 cm.)
including cheekpieces.
Ex Kurt Deppert, Frankfurt,
1970s; collection of Florian Walch,
Germany. For a similar example,
from the Axel Guttmann collection,
see p. 57, pl. 7, in M.
Junkelmann, Römische Helme:
Sammlung Axel Guttmann, 2000.
For another similar in the Los
Angeles County Museum of Art
from the William Randolph Hearst
collection, see D. Mitten and S.
Doeringer, Master Bronzes from
the Classical World, 1968, p. 224,
no. 227. The helmet bears a combat
dent on the left side.
39
Ancient Helmets
& Weapons

Send for our
Ancient Arms, Armor,
and Images of Warfare
catalog, 48 pp. - $5
It illustrates 21
additional helmets!
79
ETRUSCAN BRONZE NEGAU
HELMET OF THE VETULONIA
TYPE with a high domed body
surmounted by a median ridge. An
unusual feature is the softly rounded
edge of the brim. It has holes for the
attachment of a chin strap on each
side. Two incised workshop or ownership
marks can be made out on the
forward face of the brim.
5th Century BC. H. 7 in. (18.5 cm.)
Ex collection of Axel Guttmann
(1944-2001), Berlin.
80 GREEK BRONZE HELMET CHEEK PIECE bearing a relief scene of a cuirass-clad warrior wielding a
shield and standing over a well-muscled, nude warrior futilely trying to fend off his attacker with a rounded
shield, possibly a representation of Achilles slaying Hector. Ca. 425-375 BC.
H. 6 1/2 in. (16.5 cm.) Ex private collection, New York. Cf. Cheek piece in the Antikenmuseum, Berlin
with a depiction of Odysseus, published in Pflug, Antiken Helme, Mainz, 1988, p.146, pl. 13.
81 MACEDONIAN BRONZE HELMET OF PILOS TYPE, conical with a narrow flange around the rim with
holes for attachment; an indistinct owner’s name inscribed in dots.
5th-4th Century BC. H. 7 1/2 in. (19 cm); diam. 8 1/4 in. (21 cm.) Ex collection of Axel Guttmann
(1944-2001) Berlin. Cf. H. Pflug, Antike Helme, Mainz, 1988, p. 174.
40
82 ROMAN BRONZE MILITARY DIPLOMA OF M. SOLLIUS GRACILIS, constituted 22 August 139
under the emperor Antoninus Pius and the suffect consuls L. Minicius Natalis (Quadronius Verus) and L.
Claudius Proculus, for the Praetorian Fleet of Ravenna. The recipient veteran was from the tribe of the
Scordisci, with the Roman name M. Sollius Gracilis. His fathers name is Zura, a name known from Moesia
Inferior in the lower Danube area. The Scordisci were a Celtic tribe living in lower Pannonia - Illyria
between the Sava, Drava, and Danube rivers.
Copied and checked from the bronze tablet fixed to the
wall at Rome behind the temple of the deified Augustus
at the shrine of Minerva. The outside face of the reverse
tablet lists the names of seven witnesses. The whole
comprises two rectangular tablets, each pierced twice for
binding. Ca. AD 139.
H. 5 1/2 in. (14.2 cm.) x 4 5/8 in. (11.8 cm.)
Ex European collection. Repaired, but complete.
Soon to be published in Zeitschrift für Papyrologie und
Epigraphik: "New Diplomas for the Italian Fleets", by
Werner Eck and Andreas Pangerl. These diplomas are
actually copies of original bronze documents that were
kept in an archive in Rome. The copies were distributed
to a serviceman upon his retirement as proof of his
honorable service and newly acquired citizenship.
41

83 EUROPEAN BRONZE AGE SWORD, a slender blade with a rounded mid rib on both sides, a riveted grip
piece with a flat oval disk pommel, and with remnants of engraved grooved and incised spirals.
Bavaria, Germany, ca. 1100 BC. L. 20 7/8 in. (53 cm.) Published: A. Hänsel, Die funde der
Bronzezeit aus Bayern, Berlin, 1997, p. 37, fig. 13.
84 CELTIC IRON SWORD BLADE with tapered tang, still in the scabbard. The iron scabbard has three
ridges on the obverse side and a decorated chape. There is a rectangular suspension bracket on the reverse side
of the locket. La Téne Period, ca. 400-350 BC. L. 27 1/8 in. (69 cm) Ex German private collection.
85 LARGE EUROPEAN BRONZE AGE KNIFE On the blade are two parallel scratch lines, each paired with
a dotted line. 12th-10th Century BC. L. 11 7/8 in. (30 cm.)
86 ROMAN BRONZE OLPE WITH RELIEF HANDLE terminating in a relief of the head of a youth in a
Phrygian bonnet. 2nd-3rd Century AD. H. 6 1/8 in. (15.5 cm.) Ex French collection; E. B. and K.B.
collection, Orion, Michigan. Exhibited: Picker Art Gallery, Colgate University, 1996-2003; George Mason
University, 2003-2007. Published: J. Eisenberg, Art of the Ancient World, 1985, p. 110, no. 326.
87 ETRUSCAN BRONZE TREFOIL OINOCHOE, the base of the handle with an applique of a winged
siren. Ca. 6th Century BC. H. 8 1/4 in. (21 cm.) Said to have been found near Rheims. With an old
label, “No. 104. VIe siècle av. J.-C., Oenochoé de bronze trouvée près de Reims (Marne) travail
étrusque.”
88
42 43
GREEK TERRACOTTA RELIEF FRAGMENT OF THETIS
riding a ketos and carrying the sword and helmet of Achilles; a Greek Terracottas
frieze above. Ca. 4th Century BC. L. 3 in. (7.5 cm.)
Cf. R. A. Higgins, Greek Terracottas, London, 1967,
pp. xxxvi and 104, pl. 47B-C. Ex British private collection, acquired in Paris in the late 1980s.
89 ARCHAIC GREEK TERRACOTTA PROTOME OF A GODDESS, probably Persephone; traces of white
slip remaining. Thessaly, 6th-early 5th Century BC. H. 4 5/8 in. (12 cm.) Ex von Driesum collection.
90 ARCHAIC GREEK TERRACOTTA HEAD OF A GODDESS
Ca. 6th Century BC. H. 8 in. (20.3 cm.) Ex Phelps collection, La Jolla, California, acquired from
Royal-Athena Galleries in 1982.

91 GREEK TERRACOTTA PROTOME: OF A GODDESS,
veiled, holding a fan in her upraised right hand; some original
paint remaining. Tarentum, later 4th Century BC.
H. 7 7/8 in. (21 cm.) Cf. G. Laviosa, ‘Le antefisse
fittili di Taranto’, Archeologia Classica 6, 1954, pl. 73.
92 HELLENISTIC POLYCHROME TERRACOTTA
PHLYAX AND MAENAD, the actor dressed as a satyr
cavorting with a maenad. Canosa, 3rd Century BC.
H. 7 1/4 in. (18.5 cm.) Ex Nina Borowski, Paris; estate
of a prominent French collector. Published in
Architectural Digest, December 1982.
93
94
HELLENISTIC TERRACOTTA LADY OF FASHION
wrapped in a himation, capite velato, and covering
her mouth and chin. She stands with her weight on
her left foot, her left hand resting on her hip; traces
of the white slip remaining.
Asia Minor, 3rd Century BC. H. 8 5/8 in. (22 cm.)
GREEK TERRACOTTA HAND HOLDING A PYXIS
from a votive statue, with remnants of the crimson slip.
Ca. 4th Century BC. L. 5 in. (12.5 cm.)
Ex English private collection acquired between 1968-78.
44
95
ETRUSCAN POLYCHROME TERRACOTTA
CINERARIUM depicting the battle between Eteocles
and Polynices to succeed their father, Oedipus, as king
of Thebes; inscribed with the name of the owner.
The combatant pair are flanked by two figures.
Chiusi, mid-2nd Century BC.
H. 11 in. (28 cm.); L. 17 3/4 in. ( 45 cm.);
D. 8 1/4 in. (21 cm.) Ex private Swedish collection.
Cf. A. Maggiani et al, Treasures from
Tuscany - The Etruscan Legacy, p. 136,
no. 229, for a similar cinerarium depicting
Eteocles and Polynices battling; see: G.Q.
Giglioli, l’Arte Etrusca, Milan 1935, pl.
CCCCX, 1 and 2; Ines Jucker et al, Italy
of the Etruscans,The Israel Museum,
Mainz 1991, p. 270, fig. 354 .
45
Etruscan & Roman
Terracottas
97
ROMAN POTTERY RAMP-TOWER
(TURRICULA) FOR A GAME OF DICE
on which the dice were thrown down the
steps. A trapezoid-shaped object with a
stamped decoration of circles and a lion
protome. The upper side is provided with
steps. A rare object. 4th -5th Century AD.
L. 5 1/8 in. (13.1 cm.)
Cf. M. Fittà, Games and Toys in
Antiquity, 1997, p. 110 fig. 201-203.
Ex Munich art market, 1990.
98
ROMAN TERRACOTTA TILE depicting
in low relief heads of Apollo between plunging
dolphins. 1st-2nd Century AD.
L. 12 1/2 in. (32 cm.)
96 ETRUSCAN TERRACOTTA VOTIVE HEAD
OF A YOUTH Ca. 3rd Century BC.
H. 9 1/4 in. (23.5 cm.)
Ex French collection.

101
Early
Greek Vases
99
MYCENAEAN LARGE
POTTERY STIRRUP JAR
decorated in black slip with
banding, chevrons, and at
the shoulder a frieze of
tracery.
Ca. 13th Century BC.
H. 8 5/8 in. (22.5 cm.)
Ex French collection.
100
MYCENAEAN POTTERY
THREE-HANDLED
PIRIFORM JAR
Late Helladic IIIA2,
ca. 1400 BC.
H. 8 in. (20.5 cm.)
Ex Dr. Appelboom,
collection,the Netherlands,
acquired in 1970.
Cf. E. Furumark, The
Chronology of Mycenaean
Pottery, early IIIA2, p. 341,
pls. 4-5.
MYCENAEAN POTTERY STIRRUP JAR
with overall banding and strokes on the
shoulder in brownish-orange slip.
Ca. 1400 BC. H. 4 1/8 in. (10.5 cm.)
Ex Austrian collection.
102
ATTIC GEOMETRIC LARGE POTTERY
OLPE, the entire surface decorated in black
slip with banding, rows of Greek key designs,
and stylized water birds.
Earlier 8th Century BC.
H. 16 1/2 in. (41.8 cm.) Ex French collection.
103
GREEK GEOMETRIC POTTERY
TREFOIL OINOCHOE, the body of
spherical silhouette with banding formed of
three lines; the trefoil lip, shoulder, and foot
with a broad band; the cylindrical neck with
a waterbird between vertical wavy lines,
bordered by triple-line bands.
Possibly East Greek. 8th Century BC.
H. 11 in. (27.9 cm.) Ex collection of Dr. W.
E., Staufen, Germany, acquired in 1973.
104
46 47
CORINTHIAN POTTERY AMPHORA
decorated with a central register of lotus
buds, palmettes, three panthers, and a stag;
rosettes in the field. Early 6th Century BC.
H. 6 7/8 in. (17.5 cm.) Ex Dr. Elie
Borowski collection, Basel, Switzerland.
Published: J. Eisenberg, Art of the Ancient
World, vol. XII, 2001, no. 165.

105 EUBOEAN BLACK-FIGURE PLATE CENTERING A COCKEREL, with grooved lip, a ridge defining
the floor on the exterior, and a ring-base. The rim is pierced for suspension. The decoration, which makes
lavish use of crimson and white, shows a strutting cockerel with, above him, a palmette and, to the right,
a spiral supporting a lotus flower on a long stem. Rare. Ca. 600-550 BC. D. 5. 3/4 in. (14.6 cm)
106 GREEK FIKELLURA POTTERY TREFOIL OINOCHOE, with registers of geometric designs Rhodes,
6th Century BC. H. 7 1/2 in. (19 cm.) Fikellura is named after the modern name of ancient Kamiros,
Rhodes. Scarce. Ex French collection.
107 GREEK POTTERY ARYBALLOS IN THE FORM OF A
SANDALLED LEG Rhodes, ca. 600-575 BC.
H 7 7/8 in. (20 cm.) Ex French collection. Cf. similar in the Royal
Ontario Museum, published: J. Ducat, Les vases plastiques rhodiens,
archaïques in terre cuite, Paris, 1966, p. 135, group A 2, no. 1.
Rare and in choice condition.
108 BOEOTIAN TERRACOTTA ASKOS IN THE FORM OF A SIREN
with a spout projecting from one wing, the neck moulded as a female
head wearing a low polos, and a double ridged handle.
5th Century BC. H. 5 1/4 in. (13 cm.) Ex Swedish collection.
48
Attic
Black-figure Vases
109
ATTIC LARGE BLACK-FIGURE
TYRRHENIAN AMPHORA BY
THE CASTELLANI PAINTER
Theseus is shown pursuing four
centaurs, his sword drawn and
grasping the nearest one by the wrist.
The others are fleeing and one prepares
to cast a rock. The leading
centaur holds a branch. Reverse:
Two hoplites are shown in combat at
the center. To their right three
bearded men, two carrying spears
and one a circlet, watch the contest.
On the left, two more hoplites are
fighting, one down on his knees.
Two of the shields have tripod devices
and one a bucranium (ox skull).
Ca. 560-550 BC.
H. 17.9 in. (45.5 cm)
Ex. Conradty collection, Nuremburg,
Germany.
49

110 ATTIC BLACK-FIGURE PANEL AMPHORA BY A CONTEMPORARY OF LYDOS Probably a
departure scene, depicting a warrior wearing a Corinthian helmet and holding a round shield facing left,
flanked by two bearded men. They are flanked by two other men, one bearded. The four wear long striped
garments. The reverse is similiar except that the inner pair are semi-nude youths. Ca. 565-535 BC.
H. 10 5/8 in. (27.2 cm.) Ex collection of Albert Pilot (1922- 2002), France, acquired circa 1940.
111 ATTIC BLACK-FIGURE PANEL AMPHORA RECALLING THE PRINCETON PAINTER. Both sides
depict a footrace. On one side three muscular, nude youths run to the right with arms raised. On the reverse
two youths race. Above either panel is a band of zig-zags. Earlier 6th Century BC.
H. 11 1/8 in. (28.5 cm.) Ex 19th century German collection, thence by descent.
50
112 ATTIC BLACK-FIGURE LIDDED NECK AMPHORA. Herakles, at left, attacks the three-bodied
Geryon. Eurytion, who having guarded Geryon’s cattle, is mortally wounded and sinks to the ground.
Reverse: A warrior arms himself, while a female holds his spears and shield; two hoplites flanking.
Ca. 510 BC. H. 16 1/2 in. (42 cm.) Ex 19th century collction; collection of G. Miltner, Bregenz,
Austria. Published: H. Jobst, ‘Eine spätschwarzfigurige Halsamphore in Wiener Privatbesitz,’ in
Festschrift für Hedwig Kenner, 1985, pp. 191-194, no. 19.
112a
51
ATTIC BLACK-FIGURE HYDRIA
A goddess mounts a quadriga with
three attendants; below, a stag
flanked by two lions. In the predella
on the shoulder are two nude boxers
flanked by attendants.
Ca. 550-525 BC.
H. 19 3/4 in. (50 cm.)
Our collection of ancient
vases, numbering over 300
museum quality examples, is
arguably the finest and most
comprehensive available for
sale anywhere. For an
overview, consult our recent
catalogs, visit the New York
gallery, or go to
www.royalathena.com.

113 ATTIC BLACK-FIGURE EYE CUP. A Gorgon running to right; a mounted warrior riding right, a bird in
flight above; a leaping winged dolphin below each handle. Ca. 530-520 BC. H. 5 1/4 in. (13.2 cm); D.
11 1/4 in. (28.4 cm.) Published: A. Pollino, Guerriers et Cavaliers dans le Monde Grec, 1988, pp. 182-
183; J. Jordan, Attic Black-figured Eye-Cups, Ann Arbor, 1989, no. C198; P. Heesen, The J. L. Theodor
Collection of Attic Black-figure Vases, Amsterdam, 1996, no. 48.
114 ATTIC BLACK-FIGURE OLPE BY THE MICHIGAN PAINTER A youth, holding spears, stands beside
a horse, flanked by two Scythian archers. Ca. 510 BC. H. 7 7/8 in. (20 cm.)
Ex collection of Dr. J. L., Bay City, Texas, acquired from Royal-Athena Galleries in 1988.
115 ATTIC BLACK-FIGURE TREFOIL OINOCHOE BY THE ATHENA PAINTER The bearded Dionysos
stands between dancing maenads; grapevines in the field. Ca. 500-480 BC. H. 7 in. (17.8 cm.) Intact.
Ex collection of Dr. F. P., New York; Dr. J. L., Bay City, Texas, acquired from Royal-Athena Galleries in
1990.
116
117
ATTIC BLACK-FIGURE WHITE GROUND LEKYTHOS NEAR THE HAIMON PAINTER
Herakles and Apollo scuffle over the Delphic tripod, Athena, at right, watching.
Ca. 490 BC. H. 7 1/8 in. (18.3 cm.) Ex French collcetion.
ATTIC BLACK-FIGURE WHITE GROUND LEKYTHOS BY THE DIOSPHOS PAINTER
Athena, Iolas, and Herakles wrestling with the Nemean lion. Ca. 490 BC. H. 8 in. (20.5 cm.)
Ex European private collection, acquired in the 1970s.
52
119
Attic Red-figure Vases
118 ATTIC RED-FIGURE LEKYTHOS FROM THE
WORKSHOP OF BRYGOS A bearded man
wearing a fillet, and a bordered himation.
He leans upon a knotty staff, his right hand resting
upon his waist. In his left hand he holds a lyre.
Ca. 490-480 BC. H. 10 1/2 in. (26.7 cm.)
Ex Swiss collection.
53
ATTIC RED-FIGURE NOLAN AMPHORA
NEAR THE OIONOKLES PAINTER,
A young hunter moves to the right, holding two
spears, a petasos tied with a red cord slung behind
his shoulder; a short himation clasped at the opposite
shoulder. Reverse: Bearded male wrapped in a himation
and holding a staff. Very fine style.
Ca. 470-460 BC. H. 13 5/8 in. (34.6 cm.)
Ex American private collection.

120
ATTIC RED-FIGURE HYDRIA
IN THE MANNER OF THE
KLEOPHON PAINTER
To the left, a woman in a richly
pleated chiton sits on a klismos; to
the right, stands another woman.
On the floor between them is a
kalathos above which hovers a large
Eros holding a basket and a small
chest. Ca. 430 BC.
H. 11 1/8 in. (33.5 cm.)
Ex Spink & Sons, William Randolph
Hearst, San Simeon, California, sold
at Parke-Bernet Galleries, New York,
1-6 April 1963, lot 91.
Published: J. Beazley, Attic Red-figure
Vase-painters, 1963, p. 115.
121
ATTIC RED-FIGURE COLUMN
KRATER BY THE PAINTER OF
THE LOUVRE CENTAUROMACHY
The capture of Helen. Theseus carrying
a spear, a large round shield with a
serpent blazon, and wearing a crested
helmet runs toward Helen, at left.
Another draped female, possibly
Clytemnestra, flees to right toward a
bearded figure, probably Tyndareus.
Reverse: Three draped youths.
Ca. 470-460 BC.
H. 17 in. (43.2 cm.)
Ex French collection, acquired in 1971.
54
55
122
ATTIC RED-FIGURE NOLAN AMPHORA BY THE
BERLIN PAINTER Athena strides to the right holding a
helmet in her left hand and a spear in her right.
Reverse: A female with open arms gazes backward while
striding right. Ca. 470 BC. H. 13 3/4 in. (35 cm.)
Published: J. Beazley, Attic Red-Figure Vase-Painters,
202.77, 1963; J. Boardman, Athenian Red-figure Vases,
pl.160, 1775. Ex M. Studer collection, Lugano,
Switzerland; private collection, Ascona, Switzerland,
acquired from Royal-Athena in 2001.

123
ATTIC RED-FIGURE COLUMN
KRATER Standing by her front
door, a draped female with her left
foot crossed over her right, gazes to
right with her right arm extended in
a beckoning gesture; kale painted on
the stoop. Reverse: A draped youth,
striding to right, his arm extended.
Ca. 470-460 BC.
H. 17 3/8 in. (44.2 cm.)
Ex collection of J. R. de Bourgogne,
Paris, France, acquired in 1970.
124
ATTIC RED-FIGURE COLUMN
KRATER BY THE EUPOLIS
PAINTER A helmeted Amazon
wearing a high crested helmet, and an
oriental style tunic and leggings, holds
an axe, a spear, and a large apronned
shield with a scorpion device. Reverse:
A draped youth striding and holding a
torch. Ca. 470-460 BC.
H. 15 1/4 in. (38.7 cm.) Published:
J. Eisenberg, Art of the Ancient
World, vol. XII, 2001, no. 218.
56
125
ATTIC RED-FIGURE COLUMN
KRATER BY THE AGRIGENTO
PAINTER Three youths with wreaths
at a komos (procession after a
carousal). The first carries a barbiton
(lyre) and turns towards his singing
companions. The central figure holds
a staff; the last one holds an amphora
and swings a torch. Reverse: Three
draped youths. Ca. 460-450 BC.
H. 14 1/2 in. (36.7 cm. )
Ex C. R. collection, Nordrhein-
Westfehlen, Germany. The komos was
a part of the symposium and a popular
motif for wine vessels.
For the painter see Corpus Vasorum
Antiquorum, München 2, 2005, 14f.
pls. 70-72.
126
ATTIC RED-FIGURE BELL
KRATER BY THE CHRISTIE
PAINTER A komos procession led by
a draped female playing a flute followed
by two nude youths, the frst
holding a barbiton. Reverse: Three
draped youths. Ca. 450-440 BC.
H 10 3/4 in. (27.3 cm.)
Ex French collection, acquired in
1971.
57

127
ATTIC RED-FIGURE COLUMN
KRATER BY THE PAINTER OF
THE LOUVRE CENTAUROMACHY
Dionysos, holding a thyrsos and a
kantharos, looks to the left at a
maenad playing a lyre; to the right a
nude satyr grasps a maenad. Reverse:
Three draped youths. Around the lip
are black-figure bulls and felines.
Ca. 450 BC. H. 14 1/8 in. (36 cm.)
Ex collection of J.-M. R., Dijon,
France, acquired in 1970.
Cf. J. Beazley, Attic Red-figure Vasepainters,
pp. 1088-89 for other column
kraters with satyrs and maenads by this
painter.
58 59
128
ATTIC RED-FIGURE COLUMN KRATER BY THE SUESSULA PAINTER Quadriga driven by a female
wearing a decorated Phrygian cap and ornate costume, an equally ornately attired bearded male stands in the
car with her. In front, about to be run down, is an ornately attired youth or female holding a hand axe.
Reverse: Three draped youths. Ca. 420-390 BC. H. 17 1/4 in. (44 cm.) Ex collection of J.-M. R., Dijon,
France, acquired in 1970. (Cover photo) Cf. the column krater, Naples 146740, in J. Beazley, Attic Red-figure
Vase-painters 1345.9; Notizie degli Scavi 1935, pl. 15.4; also: New York 44.11.12, in J. Beazley, Attic
Red-figure Vase-painters 1344.3; Lexicon Iconographicum Mythologiae Classicae, I, pl. 485, no. 329.

129
APULIAN RED-FIGURE PLATE BY THE DARIUS PAINTER Tondo: The battle between Athena and
Pallas. Athena wears a belted chiton and plumed helmet, holding the Argolic shield on her left side with the
head of Medusa, and her golden staff, her right arm outstretched brandishing a flaming torch. The winged
giant Pallas is depicted with an animal skin over his left shoulder, his legs encased in two pouches with
snakes emerging on either side. A rare and unusual depiction. Ca. 320 BC Diam. 11 in. (27.9 cm.)
Ex private Swiss collection, prior to 1975. Published: C. Aellen, A. Cambitoglou, and J. Chamay, Le
Peintre de Darius, 1986, p. 234.
130 APULIAN RED-FIGURE RECTANGULAR FISHPLATE FROM THE HIPPOCAMP GROUP
A mullet, two-banded bream, striped bream, and a star-gazer (uranoscopus scaber) are positioned
around a cental depression. Ca. 340-320 BC. 7 1/2 in. (19.1 cm.) x 8 1/8 in. (20.6 cm.)
Non-circular fishplates are very rare.
60
131
South Italian Vases
APULIAN RED-FIGURE HYDRIA BY THE
BALTIMORE PAINTER Within an Ionic
naiskos, a woman seated on a stool, wearing a
chiton and a red himation, holds the hem
in her right hand. Before her stands another
draped female holding a fan in her left hand.
The naiskos is framed by four female offering
bearers. Ca. 330-320 BC.
H. 22 1/4 in. (56.5 cm.)
Ex F. D. collection, New York.
Published: K. Schauenburg, "Zu Grabvasen
des Baltimoremalers," in Jahrbuch des
Deutschen Archaeologischen Institute, 105,
1990, p. 69, pls. 5-8; A.Trendall
and A. Cambitoglou, Second Supplement to
The Red-Figured Vases of Apulia, part II,
London, 1992, no. 27/52e, pl. LXXIV,2; J.
Eisenberg, Art of the Ancient World, 1997,
no. 118.
132
LARGE CANOSAN POTTERY VOLUTE
KRATER, the body decorated with opposed
equestrian warriors in combat, the horses with
their forelegs raised, the naked riders with
their cloaks flapping behind them, holding
spears. Reverse: In profile the head of female
her hair dressed with a kekryphalos.
Ca. 3rd Century BC. H. 20 1/2 in. (52 cm.)
Ex private Belgian collection, inherited in
the 1950s; probably acquired between 1920-
1940.
61

133 APULIAN RED-FIGURE PELIKE BY THE
HOPPIN PAINTER A standing nude male,
wearing a diadem and holding a cloak, is
addressed by a seated, draped female holding
a mirror. Reverse: Two youths.
Ca. 380-360 BC. H. 11 7/8 in. (30.2 cm.)
Ex J. M. collection, Emblem, Belgium, acquired
from J. Billen in the 1980s. Published: A.
Trendall and A. Cambitoglou, Red-figured
Vases of Apulia. Suppl. 2, 1992, ch. 5, no. 46b.
134
135
APULIAN RED-FIGURE TREFOIL
OINOCHOE BY THE SNUB NOSE
PAINTER A nude youth is seated upon drapery
and is holding a patera and a grape cluster.
Ca. 370 BC. H. 7 1/4 in. (18.6 cm.)
Ex Belgian private collection, acquired in the
1980s.
LUCANIAN RED-FIGURE PELIKE BY THE
AMYKOS PAINTER A nude youth holding a
staff is chased by a draped female holding a mirror.
Reverse: Two youths.
Ca. 420-400 BC.
H. 10 3/4 in. (27.2 cm.) Ex Belgian
private collection, acquired in the 1980s.
Published: A.Trendall, Red-figured Vases of
Lucania, Campania, & Sicily, Suppl. 2, 1973,
no. 263a.
136 ETRUSCAN IMPASTO VOTIVE IN
THE FORM OF A KILN OR OVEN
with a tapering cubic bottom section with
two sides incised with zig-zags and the other
sides with a cut-out square in the midst.
This is topped with a tapering cylindrical
neck with everted lip.
Latium, 9th-8th Century BC.
H. 6 1/8 in. (15.6 cm.) Ex English
collection; acquired in 1983. Very rare.
137 ETRUSCAN POTTERY TREFOIL
OINOCHOE: PANKRATIASTS
The combatant at right, having fallen, looks
back at the victor. Both are nude, their
hands and wrists bound with meilichai.
Ca. 5th Century BC.
H. 8 7/8 in. (22.5 cm.)
Ex H. H. collection, Zurich,
Switzerland1973.
138
62 63
Etruscan & Roman Vases
ETRUSCO-CORINTHIAN POTTERY
PIRIFORM ARYBALLOS in the manner of
the Castellani Painter, with a frieze of two
running dogs. Ca. 620-580 BC.
H. 3 3/4 in. (9.5 cm.) Ex Tollmann
collection, Cologne, acquired in the 1970s.
Published: J. Szilágyi, Ceramica Etruscocorinzia
Figurata II, 1998, p. 706, no. 13;
pl. 261c.

139
140
HELLENISTIC POTTERY HEMISPHERICAL BOWL OF THE MEGARIAN CLASS with fine molded
designs in relief of an Amazonomachy, a Centauromachy, and a Greek warrior fighting against a Persian.
The Megarian bowls were patterned after contemporary metal bowls. Rare subjects for this pottery.
South Italy, earlier 4th Century BC. H. 5 1/2 in. (14 cm.) Ex Austrian private collection.
ROMAN TERRA SIGILLATA BOWL DEPICTING ULYSSES AND THE SIRENS With appliques of
Ulysses bound to his ship’s mast and leaping dolphins. Circe told the hero, who desperately wanted to hear
the sirens’ song, to be bound to the mast, after ordering his men to block their ears with wax. Very rare.
Eastern Mediterranean, 3rd-4th Century AD. H. 5 1/2 in. (14 cm.) Ex English private collection.
141 ROMAN POTTERY LAMP: DISCUS WITH HERMES (MERCURY) RIDING A RAM He holds a
caduceus and a ring-shaped object; on the bottom is a workshop signature in the form of three branches.
Loeschcke VIII type, with a heart-shaped spout. 1st-2nd Century AD. L. 4 1/2 in. (11.4 cm.)
Unusually fine style. Ex English private collection.
142 ROMAN GREEN GLAZED POTTERY LAMP of Loeschcke IX type, the handle surmounted by an eagle;
conical ribbed foot. Figurative glazed lamps are rare, especially in this well preserved condition.
3rd-4th Century AD. L. 4 5/8 in. (12 cm.); H. 4 1/2 in. (11.5 cm.) Ex German private collection.
143 ROMAN YELLOW GLASS BARREL BEAKER of irregular
cylindrical profile, rounded at the base with wheel-cut bands Roman Glass
around the body.. Eastern Mediterranean. 1st Century AD.
H. 4 1/8 in. (10.5 cm.) Ex J.Camper collection, Pennington, New Jersey.
144 ROMAN AUBERGINE GLASS TWIN-HANDLED BOTTLE with a splayed foot, slender body with
indented sides, cylindrical neck, everted, rounded rim, and applied handles; some iridescence.
2nd-3rd Century AD. H. 4 1/8 in. (10.5 cm.)
145 SIDONIAN MOLD-BLOWN PURPLE GLASS AMPHORA with globular body blown into a two-part
mold, decorated with a central band of scrolls between gadrooning with two small heavily weathered glass
handles. Ca. 1st Century AD. H. 2 3/8 in. (6.2 cm.) Collection of Dr. Carle Kempe (1884-1967),
Ekolsund, Sweden.
146
64 65
ROMAN IRIDESCENT GREEN GLASS HONEYCOMB PATTERN JAR Cylindrical, with rounded
base, and rolled lip. Eastern Mediterranean, 4th Century AD. H. 3 1/2 in. (8.9 cm.)
Ex collection of Julius Carlebach (1909-1964), New York; thence by descent.
147 ROMAN TRANSLUCENT OLIVE GREEN CUT GLASS BOWL with three rows of staggered elongated
hexagons around the body; slight narrowing toward the neck; narrow horizontal edge to the rim..
Ca. 4th-5thCentury AD. H. 1 7/8 in. (4.7 cm.); Diam. 2 1/2 in. (6.4 cm.)

148 EARLY IRON AGE GOLD BRACELET consisting of an oval plate incised with an edging band of
apotropaic eyes surrounding a central eye. 8th-7th Century BC. W. 3 in. (7.5 cm.); wt. 18.9 gr.
Ex German collection.
149
Classical Gold Objects
ROMAN GOLD AMULETIC TABLET INSCRIBED IN GREEK With such sheets on which
wishes and curses were incised the owners tried to repulse evil or to influence the future.
1st Century AD. L. 1 3/8 in. (3.5 cm.) Ex German private collection.
Cf. M. Reuter and M. Scholz, Alles Geritzt: Botschaffen aus der Antike, Munich, 2005.
150 ROMAN LARGE GOLD AMULETIC TABLET INSCRIBED IN GREEK
5th Century AD. L 3 1/2 in. (9.1 cm ); wt. 7.12 gr. Ex Munich dealer, acquired in the 1990s.
Cf. Roy Kotansky, Greek Magical Amulets: The Inscribed Gold, Silver, Copper, and Bronze
Lamellae, Part I: Published Texts of Known Provenance, Papyrologica Coloniensia 22/1, Opladen,
Westdeutscher Verlag, 1994. Small loss repaired.
151 LATE ROMAN GILT SILVER RETICULATED
BELT FITTING Multiple cross design in roundel
surmounted by two stylized duck heads.
Earlier 5th Century AD. L . 1 3/4 in. (4.6 cm )
Ex German collection.
66
152 HELLENISTIC GOLD RING WITH LION HEAD
TERMINI 4th-3rd Century BC. Size 6; wt. 6 gr.
Ex German dealer, acquired in the 1990s.
153
154
156
HELLENISTIC GOLD FINGER RING WITH A
CARNELIAN INTAGLIO OF HERMES in profile wearing
petasos; caduceus in the field. 1st Century BC.
Size 5; wt. 2.9 gr. Ex American private collection.
Published: S. Dere, To Dress in Gold, New York, 2004, no. 146.
GREEK GOLD FINGER RING: A SEATED GODDESS
WITHIN AN OVAL DOUBLE BEZEL probably Hera,
holding a scepter. The shank and bezel formed from twisted
golden wire which terminates in palmettes.
4th Century BC. Size 8; wt. 12.9 gr.
155 ROMAN GOLD FINGER RING WITH A CARNELIAN
INTAGLIO OF TYCHE FORTUNA standing, holding a
cornucopia and staff. 1st-3rd Century AD. Size 7 1/2;
wt 9.1 gr. Ex American private collection.
67
HELLENISTIC GOLD WREATH OF STYLIZED LAUREL LEAVES fastend to a gold band by applied
flowers; a gorgoneion at either end of the band. In the centre of the wreath an embossed figure rises from a
chalice of leaves. 3rd Century BC. L. 12 in. (30.5 cm. ) Ex collection of Dr. Heinz Hoek, Basel,
Switzerland, 1960-1970. Cf. Marshall, 1911, p. 266, no. 2299, pl. L.

157 HELLENISTIC REPOUSSÉ SILVER ROUNDEL OF ARTEMIS ASTRATEIA, the sky goddess,
with bull horns on her forehead; probably the central boss from a hair net. 3rd-2nd Century BC.
Dia. 2 5/8 in. (6.9 cm ) Cf. H. Hoffmann and P. Davidson, Greek Gold - Jewelry from the Age
of Alexander, The Brooklyn Museum, 1965, p. 107, no. 94. Extremely fine style.
158
Classical
Silver Objects
ROMAN SILVER WEDDING RING Centering two clasped hands within an oval (dextrarum iunctio).
2nd-3rd Century AD. Ring size 6 1/2; Ex German collection.
159 ROMAN SILVER FIGURINE OF A BULL standing on a self-contained rectangular silver base.
1st-2nd Century AD. L. 1 in. (2.5 cm.) Ex Monnier collection, Paris; J. F. collection, Loveland, Ohio,
acquired from Royal-Athena in 1996. Exhibited: Ball State University Art Museum, 1997-2005;
George Mason University Art Museum, 2005-2007.
160 MEROVINGIAN STAMPED SHEET SILVER FIBULA with a cross, and inscription: ANDEBERTVS
F W DEO EI; bronze backing. 7th Century AD. Diam. 1 1/4 in. (3.4 cm ) Pin lacking.
Ex English private collection, acquired in the 1990s; Ex Frank Sternberg, Zurich. Rare.
For a similar representation of Christ see Merowingerzeit, Die Altertümer im Museum für Vor- und
Frühgeschichte, Staatliche Museen zu Berlin, 1995, p. 112, pl. 102.
68
69
161 ROMAN SILVER GOBLET with flaring mouth and slender silhouette, with a central band
of repoussée floral decoration on the waisted body; the base with concave edged tongues above
the knopped pedestal stem and conical foot. An elegant example of Roman silverwork.
4th Century AD. H. 7 1/4 in. (18.5 cm)
Ex private English collection, acquired in the 1970s.

162 PAIR OF BYZANTINE GOLD CRESCENT EARRINGS
with stamped openwork decoration of two birds flanking
a cross within a circle.
6th - 7th Century AD. Ht. 1 3/4 in. (4.5 cm.);
wt. 9.1 gr. Ex Munich dealer, acquired in the 1990s.
163 EARLY BYZANTINE BRONZE LAMP ON A STAND
The head of a woman is on top of the handle; the pricket
stick stand has three chubby feet.
6th Century AD. Total H. 16 7/8 in. (43 cm.)
164 BYZANTINE BRONZE CRUCIFIX RELIQUARY
(ENKOLPION) Obverse: Christ; reverse: Maria Orans.
On each of the cross arms: a bust of one of the four evangelists.
Choice. 10th-12th Century AD. H. 3 1/2 in. (10.3 cm.)
Ex English privste collection, acquired in the 1990s.
165 LATE BYZANTINE BRONZE ANCHOR CROSS
Each transcept surmounted by a latin cross; a cross springing
from both sides of the base, curving up and inward to form
the anchor. A cross is engraved in the center. The arms also
engraved with lotus buds and symbols including IC XC.
12-14th Century AD. H. 5 in. (12.9 cm.).
Byzantine Art
166 NEOLITHIC POTTERY GROUP: MOTHER NURSING CHILD ON A BED The mother lies on her
right side, knees raised, and cradles the suckling infant in her arms. The bed is styled as a table-like object
with four legs and overall incisions; the head end with three projections. A unique early representation of a
nursing mother. Vinca Culture, Balkan area, 5th Millennium BC. L. 3 in. (7.6 cm.); H. 2 1/2 in (6.4 cm.)
167
168
169
70 71
Neolithic Art
NEOLITHIC POTTERY IDOL, cruciform, with incised almond-shaped eyes, raised nasal ridge, and
pointed nose; both ears are pierced. The body is incised with lines indicating, perhaps, clothing; partial
inlays remain. Intact. Vinca Culture, Balkan area, 5th Millennium BC. H. 3 3/8 in. (8.6 cm.)
NEOLITHIC LARGE BLACK POTTERY HEAD FROM AN IDOL of sharply delineated outline,
deeply incised eyes, raised nasal ridge, and long pointed nose; the arching back of the concave head with
five perforations. Choice. Vinca Culture, Balkan area, 5th Millennium BC. H. 2 3/4 in. (7 cm.)
NEOLITHIC POTTERY ANIMAL HEAD, fox-like, with raised, elongated, almond-shaped eyes surrounded
by incised lines, an exaggerated chin line ending in a pointed snout, and two thick cylindrical
horns or ears at the top of the head that have incised cross-bands. A diamond is incised into the brow.
A rare type. Vinca Culture, Balkan area, 5th Millennium BC. H. 2 7/8 in. (7.3 cm.)

170
PAIR OF LARGE MIDDLE BRONZE AGE ARM PROTECTION
SPIRALS OF SALGOTARJAN TYPE, named after the treasure findings at
Svedlar in eastern Slovakia. Extensive decorative incision work and rich
olive-green patina. 15th-13th Century BC.
Diam. of spiral 6 1/4 in. (16 cm.); total length 10 1/4 in. (26 cm.) Cf.
M. Novotna, The Axes and Hatchets in Slovakia, 1970, pl. 56, 13.14.
Ex German collection. Intact and exceptionally well preserved.
Bronze Age
& Iron Age
Art
171
PAIR OF LARGE LATE
BRONZE AGE ARM
SPIRALS with superb
rich green patina and
decorated endings of the
type found in central
and southeastern Europe.
Similar examples were
found in the Blödesheim
hoard in Germany and
the Pétervására hoard in
Hungary.
11th-10th Century BC.
L. 8 1/4 in. (21 cm)
and 7 1/2 in. (19 cm.)
Ex German collection.
Intact and unusually
well preserved with an
exceptional green patina.
72
172
HALSTATT BRONZE SPIRAL ARMBAND slightly ridged on the outside; the ends rolled. Said to have
been found in Austria. 13th-12th Century BC. L. 7 1/4 in. (18.5 cm) Ex German private collection.
173 EARLY IRON AGE BRONZE PECTORAL consisting of two spectacle fibulae joined by seven chains.
Hallstatt, 8th-7th Century BC. H 13 3/4 in. (35 cm.) Ex English private collection, acquired in the 1990s.
174 SARDINIAN BRONZE HARP PLAYER 7th-6th Century BC. H. 2 1/8 in. (5.5 cm.) A rare type.
Ex collection of Dr. Charles T. Seltman (1886-1957), Cambridge, England; Dr. G.F. Reber, Lausanne,
Switzerland, acquired in 1927. Cf. J. Thimme, Kunst und Kultur Sardiniens vom Neolithikum bis zum
Ende der Nuraghenzeit, 1980, p. 388, no. 122.
175 CELTIC BRONZE APPLIQUE cast as a convex, open-work disk with an outer band of s-scrolls and an
inner band of c-scrolls around a cluster of seven spheres; four attachment loops evenly spaced around the rim.
3rd-2nd Century BC. Diam. 2 3/4 in. (7 cm.) Ex German private collection.
73

176
Egyptian Stone
Sculptures &
Reliefs
EGYPTIAN OLD KINGDOM LIMESTONE STATUE OF A BAKER kneeling, kneading bread.
Integrally carved with a long rectangular base. Extensive remains of polychromy.
VIth Dynasty, ca. 2345-2181 BC. H. 8 1/2” in. (21.5 cm.); L. 11 5/8 in.(29.5 cm.)
Ex old French collection, Beaulieu sur Mer; M. B. collection Westlake Village, California.
Published: J Eisenberg, Art of the Ancient World, vol. X, 1999, no. 177. A extremely fine example of
Old Kingdom sculpture, in an unusually fine statue of preservation with much of its original color; forearms
and part of upper arms restored Cf. a similar servant figure in W. Seipel, Gott, Mensch, Pharao,
Vienna, 1992, p. 140, no. 35.
74 75
177 EGYPTIAN NEW KINGDOM SANDSTONE RELIEF: MALE FIGURE IN ADORATION
L. 16 1/2 in. (42 cm.) From Karnak, XVIIIth Dynasty, reign of Akhenaten, ca. 1350-1334 BC.
Ex Jean-Marie Talleux Collection, Grand Fort Philippe, France; H.W. collection, New York, acquired from
Royal-Athena Galleries in 1998.
178 EGYPTIAN NEW KINGDOM QUARTZITE HEAD OF AN OFFICIAL, wearing a smooth wig with
tabs at temples. XIXth Dynasty, ca. 1292-1190 BC. H. 4 1/8 in. (10.5 cm.)
Ex H.W. collection, New York, acquired from Royal-Athena Galleries in 1992.
179 EGYPTIAN LATE NEW KINGDOM SMALL LIMESTONE DEEP BUST, PROBABLY OF A SCRIBE,
wearing a tiered wig with remains of black paint.
XXth Dynasty, ca. 1185-1070 BC. H. 2 7/8 in. (7.4 cm.) Ex private American collection.

Senenmut supervised the
quarrying, transport, and
erection of twin obelisks,
at the time the tallest in
the world, at the entrance
to the Temple of Karnak.
His masterpiece, however,
was Hatshepsut’s mortuary
temple complex at Deir
el-Bahri.
Senenmut was of low birth,
born in the provincial town
of Iuny to literate parents,
Ramose and Hatnofer.
More is known about
Senemut than many other
non-royal Egyptians
because the joint tomb of
his parents was discovered
and preserved, the construction
of which Senenmut
supervised himself.
Although it is not known where he
is buried, Senenmut had two
tombs constructed for him, one
(TT71) in the Tombs of the
Nobles, and another near the temple
at Deir el-Bahri, near
Hatshepsut's mortuary temple.
They were both heavily vandalized
in the reign of Thutmose III,
perhaps during the latter's campaign
to eradicate all traces of
Hatshepsut's memory.
Intriguingly, this second tomb was
found to have a hidden passageway
that leads directly under and
into her mortuary temple as if he
planned to be near her forever.
76
180
IMPORTANT EGYPTIAN NEW KINGDOM ORANGE-BROWN QUARTZITE PORTRAIT HEAD OF
SENENMUT XVIIIth Dynasty, reign of Hatshepsut, ca. 1479-1458 BC. H. 21 cm. (8 1/4 in.)
Ex collection of Georges Picard (d. 1946), France; Comtesse de B., France.
Although not inscribed, this accomplished portrait of Hatshepsut’s High Steward and architect may be assigned on
a stylistic basis to the second half of her reign. Its stylistic characteristics include the soft modeling of the fleshy
face, proportionately narrow, almond-shaped eyes, and horizontally arranged lips. The ears are large and purposefully
protrude from the undulating, striated wig. The figure has a false beard, part of which is visible beneath the
incised line that marks the lower chin.
Magic and symbolism play important roles in ancient Egyptian sculpture. It is for this reason that this portrait is
sculpted in quartzite, a material which is associated with solar deities and was specifically selected to impart
characteristics of those deities to the aristocrat. Foremost among those qualities is the stone’s warm tones suggesting
the solar deities’ potential for resurrection. The seemingly disproportionately large ears are likewise intentional
and suggest that the aristocrat was a good listener. Not only could he hear the commands of his pharaoh, but he
could, as the ancient Egyptian proverbs state, listen to the complaints of a petitioner until he had finished his presentation.
77

181
EGYPTIAN ALABASTER LID FROM A
CANOPIC JAR depicting the head of Imsety,
the Son of Horus who protected the liver; traces
of polychrome remaining. Section of lip lacking.
Later Dynastic Period, 712-342 BC.
H. 5 in. (12.7 cm.)
Ex H.W. collection, New York.
182
EGYPTIAN LARGE GREEN GREYWACKE
OSIRIS, mummiform, wearing the atef-crown
and holding the crook and flail.
XXVIth Dynasty, 664-525 BC.
H. 18 1/2 in. (47 cm.)
Ex collection of Pierre Vérité, Paris, begun in
the 1920s; by descent, the collection of Claude
Vérité, his son. Greywacke is a type of chloritic
schist characterized by its hardness, dark color,
and angular grains of quartz and feldspar set in
a compact, fine matrix.
78
183
79
EGYPTIAN NEW KINGDOM LIMESTONE RELIEF OF SAI-EM-PETREF The supervisor of goldsmiths
in the mortuary temple of Seti I at Abydos is depicted kneeling in prayer, which is written above: Hail to thee
Re, Harakhti, Atum, Lord of Heliopolis...” To the right are two columns of text to the “Lord of Denderah
and of Sokaris.” XIXth Dynasty, ca. 1313-1185 BC. H. 23 5/8 in. (60 cm.); W. 14 1/2 in. (37 cm.)
Ex collection of Prof. Dr. Friedrich Wilhelm Freiherr Von Bissing (1873-1956), The Hague; collection of Dr.
H.C. Jelgersma, Oegstgeest; by descent to M. Jelgersma, the Netherlands. From a series of five reliefs from the
tomb of Sai-Em-Petref, exhibited in the Museum at Carnegielaan 12, The Hague. Another relief from this
group is in the Gemeente-Museum, The Hague, and a third is in the Van Leer collection in Amsterdam.
Published:. H.P. Blok, Fünf Grabeliefs aus dem Neuen Reich, AcOr 10, 1931, 81-94. Also: W.B.Van
Wijngaarden, Annual Report no. 6 of the Near-Eastern and Egyptian Society, 1939, pl. 264.

184 EGYPTIAN LIMESTONE RELIEF OF A PHARAOH depicted facing to right, wearing
a crown fronted by a uraeus, and a broad beaded collar.
XXXth Dynasty-Early Ptolemaic, ca. 350-250 BC. H. 18 1/4 in. (46.4 cm.); w. 14 1/2 in. (36.8 cm.)
Ex Helena Rubenstein collection, sold at Parke-Bernet Galleries, New York, 1966; S.Z. collection,
Bronx, New York; Christies, New York, January 25, 1979, lot 205; reacquired by S.Z., Bronx, New
York.
80
185 EGYPTIAN BRONZE OSIRIS, mummiform, holding the crook and flail across his chest and wearing the
atef-crown. Late Dynastic Period, 664-343 BC. H. 6 5/8 in. (17 cm.) Ex French collection.
186 EGYPTIAN BRONZE NUDE HARPOKRATES striding, finger to mouth, wearing the Double Crown of
Upper and Lower Egypt. Fine reddish-brown patina. Ptolemaic Period, 305-30 BC. H. 7 in. (17.7 cm)
Ex French collection; J. F. collection, Loveland, Ohio. Published: J. Eisenberg, Art of the Ancient World,
vol. IV, 1985, no. 448. Exhibited: Ohio State University Art Museum, 1986-90; Picker Art Gallery,
Colgate University, 1990-2007.
187
EGYPTIAN BRONZE SCEPTER FINIAL OF AN ENTHRONED GODDESS wearing a uraei circlet.
Late Dynastic Period, 664-343 BC. H. 4 3/4 in. (12 cm.) Ex French collection.
188 EGYPTIAN BRONZE ENTHRONED HARPOKRATES-AMUN with his hands palm down by his thighs.
He wears the Red Crown with plumes and sundisk fronted by a uraeus; with the side lock of youth. Rare.
Late Period, 715-30 BC. H. 4 7/8 in. (12.5 cm.) Ex old Swedish private collection, acquired in the
1920s.
81
189
EGYPTIAN
BRONZE CAT seated
in the traditional pose
with alert ears and its
tail wrapped around
its forepaws. Late
Period, 712-30 BC.
H. 3 1/8 in. (8 cm.)
Ex collection of M.
Michel Guy, Minister
of Culture of the
French Republic,
1974-1976. Bears
an old collection label
with the no. 22.
Egyptian
Bronze
Sculptures

190
IMPORTANT EGYPTIAN
MONUMENTAL BRONZE
SEATED CAT in the traditional
attitude with alert ears.
XXIth-XXIInd Dynasty, 1080-715 BC.
H. 24 in. (61 cm.)
Ex collection of a French antiquarian; an
important American private collection,
acquired from Royal-Athena Galleries in
1990.
Superbly modelled.
The largest known Egyptian bronze cat!
82

191
IMPORTANT EGYPTIAN VERY LARGE
BRONZE SEATED CAT
realistically modelled with an alert expression.
XXVth-XXVIth Dynasty, 750-525 BC.
H. 14 1/2 in. (37 cm.)
Ex Ernest Ascher collection, Paris, acquired
in the early 1980s; an important American
private collection, acquired from Royal-
Athena Galleries in 1992.
One of the largest naturalistic Egyptian cats
known.
The cat represented Bastet, the goddess of joy,
festivity, grace, and fertility; patroness of
women and a goddess of maternity. It was
later associated with Isis, protectoress of
women and model of conjugal love and
motherhood.
For more on cats in ancient Egyptian see: N.
and B. Langton, The Cat in Ancient Egypt,
1940; L. Delvaux-E. Warmenbol (Ed.) Les
divins chats d'Egypte, 1991.
84 85

193
Visit our newly
expanded website
updated continuously
with our latest
acquisitions:
www.royalathena.com
Egyptian Wood
192
EGYPTIAN LARGE
WOOD MASK FROM
AN ANTHROPOID
SARCOPHAGUS
Ptolemaic Period, 305-30 BC.
H. 33 1/2 in. (85 cm.)
Ex collection of Pierre Vérité,
Paris, begun in the 1920s; by
descent, the collection of
Claude Vérité, his son.
EGYPTIAN NEW KINGDOM PAINTED CARTONNAGE FRAGMENT: Bust of Isis facing right,
wearing a sheath, tripartite wig, and her hierolglyphic on her head; 3 partial columns of text; minor
restorations. XVIIIth-XIXth Dynasty, 1550-1293 BC. H. 5 3/16 in. (13 cm.) Ex Neuhauser collection,
acquired between 1952 and 1972; H.W. collection, New York. Fine style.
194 EGYPTIAN FRAGMENT FROM A WOOD SARCOPHAGUS, the jackal-headed Anubis and Isis
attending a mummy on a lion-bier, canopic jars below. Above is a representation of the sky goddess Nut,
kneeling, her wings outspread. Ptolemaic Period, 305-30 BC. H. 15 3/4 in. (40 cm.;
W. 13 3/8 in. (34 cm.) Ex Bela Hein collection, Paris.
86
195
LARGE EGYPTIAN WOODEN CAT seated on
its hindquarters, with an alert expression, the ears
pricked, the details of the face incised, and carved
on an integral plinth. Ptolemaic Period 305-30 BC.
H. 11 in. (28 cm.) Ex French private collection.
Egyptian Faience Amulets
196 EGYPTIAN GREENISH-BLUE FAIENCE AMULET OF MEHYT, the lion-headed goddess of Abydos,
striding, wearing a feathered crown with cow’s horns and solar disk. Late Period, 712-30 BC.
H. 2 3/8 in.(6 cm.) Rare. The type is mentioned in C. Andrews, Amulets,1994, p. 34.
197
EGYPTIAN BLUE FAIENCE AMULET OF A STRIDING BABOON with a long tail; a suspension loop
on back. Late Dynastic Period, 712-343 BC. H. 2 1/2 in. (6.4 cm.) Ex English collection.
198 EGYPTIAN GREEN FAIENCE AMULET OF A SEATED CAT, hair indicated by small incised lines.
XXVIth Dynasty, 664-525 BC. H. 1 7/8 in. (4.7 cm.) Ex French private collection; J.F. collection,
Loveland, Ohio. Published: J. Eisenberg, The Age of Cleopatra, 1988, p. 24, no. 117.
Exhibited: Picker Art Gallery, Colgate University, 1990-2007.
87

199
200
201
Egyptian Ushabtis
EGYPTIAN NEW KINGDOM POLYCHROME WOOD REIS USHABTI wearing a tiered Ramesside
wig, the traditional kilt, and holding a whip and a ba-bird. XIXth Dynasty, ca 1293-1185 BC.
H. 8 in. (20.5 cm.) Rare in wood. Cf. Louvre exhibition catalogue, Shaouabtis, des travailleurs pour
l'éternité, Bibliographie nationale française, Paris, 2003, p. 30.
EGYPTIAN BLUE FAIENCE REIS (OVERSEER) USHABTI FOR DJEHUTI, First God's Father of Amun,
the Osiris Djehuti. With fisted hands held at the waist, wearing the short kilt and triangular apron of daily
life, the details in black glaze, including the striated wig, facial features; single column of hieroglyphs.
XXIth Dynasty, 1070-945 BC. H. 3 3/4 in. (9.5 cm.) Ex collection of Archie Case, acquired in the 1970s.
EGYPTIAN BRONZE USHABTI OF THE GENERAL OUN-DJEBAU-EN-DJED mummiform, holding a
crook and flail. XXIst Dynasty, r. of Psusennes I, 1039-991 BC. H. 4 in. (10 cm.) Cf. J-F. Aubert,
Statuettes égyptiennes, Paris,1974, pl. 37, nos. 85-88; H. Schneider, Shabtis, Leiden, 1977, pp. 152-3.
202 EGYPTIAN LIMESTONE USHABTI. Late Period, 664-342 BC. H. 7 in. (17.8 cm.)
Ex P.A. (1908-2004) collection, a UN diplomat, New York, acquired in Cairo in 1970; thence by descent.
203
EGYPTIAN TURQUOISE
FAIENCE USHABTI wearing a
cobalt blue wig characteristic of
the Qaou el Kebir necropolis near
Abydos.
Early Ptolemaic, 3rd Century BC.
H. 4 3/4 in. (12.1 cm.)
Ex old French collection;
Brudy collection;
H.W. collection, New York.
Cf. J-F. Aubert, Statuettes égyptiennes:
Ouchebtis, Chaoubtis,
Paris,1974, pp. 266-267.
88
204
Egyptian Gold & Silver
EGYPTIAN SILVER GILT NEKHBET,
THE VULTURE GODDESS OF UPPER EGYPT,
protectress of the king and goddess of childbirth, striding
with her right arm held to her side and her fragmentary
left arm formerly extended, and wearing a long
close-fitting robe, a tripartite wig with uraeus in front,
and the atef-crown. Very rare.
Late Period 715-30 BC. H. 4 9/16 in. (12 cm.)
Ex collection of Edward Roger Pratt (1789-1863),
Ryston Hall, Norfolk, 1937. For a related example in
bronze see G. Röder, Ägyptische Bronzefiguren,
p. 225, 277a, fig. 269 (Berlin, inv. no. 2447).
Edward Roger Pratt spent three years on a Grand Tour
around the Mediterranean, including Egypt, from
Christmas 1833 to May 1834. His journal, much of it
written in French, gives an account of the ancient sites
he visited, along with annotated maps and some tart
observations on the manner in which his fellow
Europeans treated the monuments and tombs. It is possible
he acquired some of his Egyptian works of art on
this tour, but at least one object in his collection came
from the Giovanni d'Athanasi sale at Sotheby's, London,
March 13th, 1837. Two New Kingdom steles from the
Pratt collection were sold at Sotheby's, New York,
December 17th, 1998, nos. 24 and 26, the latter now
in the Los Angeles County Museum of Art.
205 EGYPTIAN DOUBLE-SIDED GOLD AMULETIC HATHOR HEAD PLAQUE of rectangular form, the
gold sheet decorated in repoussé on each side with the head of Hathor, her hair tucked behind cow ears, and
dressed with bands and curling tips, with a row of uraei surmounting her hair.
New Kingdom - Third Intermediate Period, ca. 1320-656 BC. H. 1 1/4in. (3.2 cm.)
206 EGYPTIAN OVAL SHEET GOLD HOLLOW-BACKED ATTACHMENT OF A BES HEAD chased and
repousséd on both sides in a rectangular recess, pierced around the border for attachment; probably from a
necklace. Late Period - Ptolemaic, after 500 BC. H. 1 3/4in. (4.5cm.)
Ex English collection. Protector of women and children, Bes also dispelled bad dreams.
89

207 EGYPTIAN PREDYNASTIC OVOID SQUAT JAR with pierced lug handles on shoulder, and decorated with
groups of spirals made with brownish paint. Naqada II, 3650–3300 BC. H. 6 1/2 in. (16.5 cm);
W. 8 3/4 in. Ex English collection; H.W. collection, New York. Cf. a nearly identical example in the Museum
of Fine Arts, Boston from Mesaid (Mesa'eed), tomb 58, no. 3, M/58/3, 1910.
208 EGYPTIAN PRE-DYNASTIC BLACK-TOP POT. Naqada II, ca. 3600-3200 BC. H. 7 in. (17.8 cm.)
Ex Bela Hein collection, Paris.
209 EGYPTIAN OLD KINDGOM WALL PAINTING FROM THE TOMB OF ABA at Dier el Gebrawi,
depicting his son Khua, wearing a bag wig, broad collar, and white kilt moving to the right, his right arm
raised before him making an offering. Minor restoration. Ex collection of Dr. Benson Harer, Seattle,
Washington. See: N. de G. Davies, The Rock Tombs of Deir el Gebrawi I: Tomb of Aba and Smaller
Tombs of the Southern Group, Archaeological Survey of Egypt 11, London 1902, pl. XVII.
Cf. J. Romano and G. Robbins, ‘A Painted Fragment from the Tomb of D c w at Deir el Gebrawi,’ Journal of
the American Research Center In Egypt, vol. XXX1, 1994, pp. 21-32.
210
EGYPTIAN GRAIN MUMMY WITH A SHEET GOLD MASK.
Late Dynastic, ca 712-342 BC. H 6 1/8 in. (15.6 cm.) Ex French collection;
H.W. collection, New York. Grains of barley were sprouted in Nile mud and
then wrapped in linen bandages into a miniature mummy, which was then
placed into the tomb as a symbol of the regeneration after death.
Egyptian Varia
90
Near Eastern Antiquities
211 ANATOLIAN SMALL POTTERY IDOL in violin form, with incised cross-hatchings and details.
Mid-3rd Millennium BC. H. 2 3/8 in. (6.1 cm.) Ex German private collection.
Cf. E. Rehm, Kykladen und Alter Orient, Badisches Landesmuseum, Karlsruhe, 1997, nos. 24-27.
212 URARTIAN BRONZE IDOL of flattened sheet metal with a schematic design, the face outlined by a dotted
row, the eyebrows, eye, and nose in slightly raised relief; a bird on the forehead. 7th Century BC.
H. 6 in. ( 15.3 cm.) Very rare. Ex D. K. collection, Berlin, acquired in 1985.
Cf. G. Zahlhaas, Idols-- Early Images of God and Offering, Munich exhibition, 1985, p. 53, no. 16.
213 SYRIAN MINIATURE ARAGONITE FERTILITY IDOL of a seated nude female with oval face;
eyes and mouth incised. Tell Bouqras, 6th-5th Millennium BC. H. 1 3/8 in. (3.5 cm.) Rare.
Ex French collection.
214 AKKADIAN HEMATITE CYLINDER SEAL, Inscribed with a priest, his hands clasped and wearing a
long robe and round cap, standing beside a staff topped by a star. He is approached by two worshipers each
with a raised right arm. Between them is a lion with a thick mane who walks upright holding a staff.
Ca. 2334-2279 BC. 22 x 12 mm. Ex collection of S. M. Rowe, Jr., acquired from Dikran Kelekian in
1972.
215 ACHAEMENID VARIEGATED TAUPE MARBLE CYLINDER SEAL inscribed with a king holding the
forelegs of two rampant goats, a tree between. Ca. 540-400 BC. 27 x 12 mm. Ex Mrs. William H. Moore
collection, no. 51; Leonard Gorelick collection. Published: M. Noveck, The Mark of Ancient Man:
Ancient Near Eastern Stamp Seals and Cylinder Seals: The Gorelick Collection, Brooklyn Museum,
1975, no. 48.
91

216
PAIR OF SCYTHIAN GILT BRONZE PLAQUES
of shaped rectangular outline, depicting a bull being
harnessed by a man from behind.
The Steppes, 3rd-2nd Century BC. Ws. 1 7/8 in. (4.7 cm.)
Ex private French collection.
217 SCYTHIAN BRONZE HORSE TRAPPINGS Each is cast in the form of a griffin with a down-curving
beak, their crests forming loops along the tops and backs of their heads, with quadruped bodies, the hoofed
legs folded under; perforated vertically twice along the bodies for attachment, the back sides concave.
Mid-5th Century BC. Larger: 4 in. (10.2 cm.) long. Ex private collection, acquired in the 1970s.
For the form, see a horse trapping of a bird of prey in I. Piotrovsky, Scythian Art, 1987, no. 86.
218 WESTERN ASIATIC BRONZE HORSEMAN 2nd-early 1st Millennium BC. H. 4 1/8 in. (10.5 cm.)
Ex Thierry collection, France; John Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena
galleries in the early 1980s; J. F. collection, Loveland, Ohio. Exhibited: Picker Art Gallery, Colgate
University, 1991-2007.
219 WESTERN ASIATIC BRONZE AND MARBLE MACE HEAD, the spherical marble head with overall
raised elipses and surmounted by conjoined horse protomes. A very rare type.
Later 2nd - early 1st Millennium BC. H. 4 3/4 in. (12 cm.)
92
220 ACHAEMENID LARGE BRONZE CARINATED PHIALE, probably found in the area of Nihavand,
Iran, 6th Century BC. Diam. 11 1/4 in. (28.6 cm.) Ex S. R. collection, Cincinnati, acquired from the
Kelekian Gallery in 1973. Shallow bowls of this form, used for drinking wine, were made from various
materials, including metal, glass, and ceramic. Restored.
221 IRANIAN BRONZE KOHL VESSEL IN THE FORM OF A GODDESS wearing a long skirt, her hands
cupping her breasts, and her long hair dressed into a turban-like coiffure with a thick braid down her back.
10th-8th Century BC. H. 4 3/4 in. (12.1 cm.) Published: J. Eisenberg, Art of the Ancient World, vol.
XII, 2002, no. 200.
222 SUMERIAN BRONZE PICK-AXE WITH TWO
WRESTLERS atop the handle, perhaps a representation
of the hero Gilgamesh wrestling the wild Enkidu.
Late 3rd Millennium BC. L. 4 in. (10.2 cm.)
Ex collection of R. Bareylle, Paris, acquired before
1958. Possibly unique.
93

Why Collect Ancient Art?
There are several reasons for collecting fine works
of ancient art:
• The excitement of owning a beautiful work of art
that has survived for perhaps some 2,000 years or
more.
• The decoration of one's home or office with unique
objects whose beauty and desirability have withstood
the test of time.
• The creative satisfaction, enjoyment, and pride
in forming a truly fine collection.
• The probable appreciation in value.
How to Collect Ancient Art
Sylvia Porter lists ten sound rules as a guide in art
collecting:
1. Study the field which interests you as much as
possible.
2. Buy cautiously at first.
3. Make sure that your work of art has quality.
4. Deal with a top gallery or art dealer. “Some dealers
and major galleries will guarantee the authenticity
of the art works they sell, so check this point as
well." (Not only have we been guaranteeing our
ancient art for over fifty years, but to the best of our
knowledge our two-day auction sale conducted by
Parke-Bernet Galleries (now Sotheby's) in 1964 was
the first auction sale by several years in which every
piece was guaranteed - but by us!)
5. Have an understanding with your dealer or gallery
about trading up - so he’ll repurchase or resell your
works as you have more money to invest in high quality
art. (We normally allow full credit for the exchange
or upgrading of objects purchased from us.)
6. Do not buy art works just because they are a current
rage.
7. Ask the advice of museum directors or curators
whenever possible.
8. Decide upon your investing limit before you buy.
If you fall in love with a more expensive object try to
arrange for a time payment. (We certainly encourage
this and offer flexible time payments!)
9. Spread your financial risks by buying a variety of
art unless you are an expert in a particular field.
10. “Buy the best examples you can afford in any
category.”
We would add two other important rules:
11. Ask for the provenance of any potential acquisitions.
12. Do not buy objects that have been significantly
restored. Beware of overly restored faces in
both vase painting and sculpture.
Ancient Art as an lnvestment
Historically, ancient art investments have yielded
excellent long-term capital appreciation, usually 8%
to 10% annually. Any investment in tangibles, especially
works of art, should be projected for at least
five to ten vears. Normally one should not hold more
than 10% of their investment portfolio in art.
Collecting fine art is a pleasurable way of hedging
against inflation because the investor can enjoy
his objects of art, rather than depositing them in a
vault or holding receipts. Also, art is not as volatile
as stocks and bonds, the coin, gem, and collectibles
markets, and especially the gold and silver markets.
Sylvia Porter in her New Money Book recommends
classical antiquities as one of the best types of art for
rapid growth. Dr Eisenberg was first quoted on the
investment value of ancient art in the February 9,
1966 issue of Newsday - 40 years ago! - and most
recently in Business Week.
Royal-Athena Galleries
Jerome M. Eisenberg, Ph.D., the founder and
director of Royal-Athena Galleries, is usually at the
New York gallery and visits the London gallery several
times each year. He is available by appointment
for consultation, expertise, and appraisals; or for a
telephone conference. At no obligation he will
arrange a private viewing with guidance on a sophisticated
long term program of collecting and investing
in the fine arts. He also is in attendance at all
the fairs in which we exhibit.
Over the past 50 years we have sold more than 600
works of ancient art to many of the country's leading
museums, including the Metropolitan Museum
of Art, the Boston Museum of Fine Arts, the Sackler
Art Museum at Harvard University, the Yale
University Art Gallery, the Princeton University Art
Museum, the Newark Museum, the Walters Art
Gallery, the Detroit lnstitute of Arts, the Cincinnati
Art Museum, the Minneapolis Institute of Arts, the
Milwaukee Public Museum, the New Orleans
Museum of Art, the Virginia Museum of Fine Arts,
the Los Angeles County Museum of Art, and the J.
Paul Getty Museum, as well as the British Museum,
the Louvre, and a large number of museums in
Canada, Belgium, Germany, Greece, Hungary, the
Netherlands, Spain, Switzerland, Australia, and
Japan. The catalogs of classical marble sculptures
from the Museum of Fine Arts, Boston, and from
the J. Paul Getty Museum illustrate no less than 39
pieces acquired from our galleries. In addition, over
one thousand objects purchased from us have been
donated to many other museums, including the
Freer Gallery of Art, the Sackler Gallery (The
Smithsonian Institution), and the Brooklyn Museum
of Art.
Dr. Eisenberg travels overseas several times annually
to visit collectors, museums, clients, and many
of the nearly 150 private sources, agents, dealers,
and auction houses with whom he is in frequent
contact. Since 1954 he has made over 200 overseas
trips, purchasing over forty thousand antiquities for
tens of millions of dollars.
This aggressive purchasing policy, perhaps without
parallel in the field, enables us to offer an extraordinary
number of choice objects at very reasonable prices. Our
willingness to buy in volume and to purchase our
inventory outright, rather than to take it on consignment,
results in extremely competitive pricing,
often considerably below that of other galleries.
Furthermore, exchanges and purchases are fre-
quently made from many past and present clients
who may be upgrading their collections or liquidating
some of their holdings in order to collect in other
areas. Exchanges or purchases are sometimes carried
out with museums both in the United States and in
Europe for their duplicate accessions or for objects
not in their recent or current fields of specialization.
Expertise and Ethics
Ancient art has been the specialty of our director
for over 50 years, and numismatics for 66 years. His
many publications on ancient art and numismatics
span nearly five decades. The first volume of Art of
the Ancient World by Dr. Eisenberg was published in
1965. Since 1968 Dr. Eisenberg has concentrated on
expertise in the ancient arts, having lectured on this
subject at New York University and presented several
scholarly papers at the annual meetings of the
Archaeological Institute of America, most recently
on the ‘Roman’ Rubens Vase. His wide range of
expertise is further revealed through other recent
papers: on Egyptian bronzes at a Congress of the
International Association of Egyptologists, on
Etruscan bronze forgeries at an International Bronze
Congress, on the ‘Greek’ Boston and Ludovisi
thrones at the Magna Graecia Symposium in Venice,
on Roman bronze forgeries at the 1999 International
Bronze Congress, and on the Portland Vase as a
Renaissance work of art at the 2003 International
Congress of Classical Archaeology.
In 1996 he was a Visiting Professor at the Institute
of Classical Archaeology of the University of Leipzig,
Germany. He was elected a Fellow of the Royal
Numismatic Society in 1952; a member of the
Archaeological Institute of America in 1960 (and a
Life Member in 1988); a Patron of the American
Numismatic Society in 1955 (and a Life Associate in
1998); a Fellow for Life of the Metropolitan
Museum of Art in 1966, and most recently, a
Benefactor of the Museum of Fine Arts, Boston, and
in 2000 an Honorary Fellow of the Egyptian
Museum in Barcelona, Spain.
Dr. Eisenberg has appeared as an Expert in the
Courts of several states and has conducted appraisals
for the U.S. Internal Revenue Service, the U.S.
Treasury Department, the U.S. Customs Service, the
Metropolitan Museum of Art and the J. Paul Getty
Museum, as well as many other prominent institutions.
He was elected a Qualified Appraiser by the
Appraisers Association of America in 1964 and has
recently participated in several episodes of the
Antiques Road Show. He served on the vetting committee
of the European Fine Art Fair at Maastricht
from 1993 to 2001 and was the Chairman and coorganizer
of the New York Antiquarian International
Fine Art Fair held in November 2001.
Dr. Eisenberg has been a leader for several years in
the promotion of the ethical acquisition of antiquities
by museums and collectors and has delivered
papers on this subject at the Archaeology Section of
the U.K. Institute for Conservation in 1993 and at
the 1998 International Congress of Classical Arch-
94 95
aeologists. He gave an address by invitation
on the international trade in antiquities at the
UNIDROIT Convention in Rome in 1993.
He organized two symposia in New York in 1994
on public policy and the movement of antiquities
and in 1998 on the acquisition of antiquities by
museums for the International Association of
Dealers in Ancient Art, of which he is a founding
member and was a member of the executive board
from 1993 to 2002.
In 1999 he presented testimony to the United
States Cultural Properties Committee on the legal
and illegal trade in ancient art in Italy.
In 2003 he was a featured speaker and panel participant
in the U.S. Government Conference on
Stolen Mideast Antiquities in Washington, D.C.
Also in 2003 he featured on the European TV channel
Arte and on BBC Radio’s File on Four in indepth
interviews on the antiquities trade. He appeared
on television on CBS News, Dateline NBC,
PBS Jim Lehrer News Hour, and CBC Television
(Canada), and was interviewed on the BBC and
PBR Radio, and in print in the New York Times,
Wall Street Journal, Boston Globe, Philadelphia
Inquirer, Washington Post, The Times, and a dozen
other publications. In 2004 he was featured on a
Discovery Channel program and on Fox News on
the antiquities trade. Also in 2004 he presented a
paper on ‘The Mesopotamian Antiquities Trade and
the Looting of the Iraq Museum’ to the American
Bar Association.
In 2005 he was interviewed on the antiquities
market and the collecting of antiquities on National
Public Radio in the US and in 2006 on National
Public Television in Athens, Greece.
In 2007 he delivered a paper on ‘Perspectives on
the Antiquities Trade and the Collector: Past,
Present, and Future’ at the symposium ‘The Future
of the Global Past’ at Yale University.
Ancient Coins
We carry a fine stock of select Greek silver coins
from $100, Roman gold coins from $1,000, and
Roman silver and bronze coins from $100. We
began our business as ‘Royal Coin Company’ in
January 1942, 66 years ago, and Dr Eisenberg, cofounder
of the firm, has specialized in ancient
coins, as sole proprietor, since 1952.
Acknowledgements
Dr. Eisenberg wishes to express his gratitude to F.
Williamson Price who has again diligently prepared
and co-authored the catalog, to Brent M. Ridge
who did nearly all of the photography, to the scholars
who attributed and reattributed some of the
sculptures and vases, especially Kees Neeft, Konrad
Schauenburg, and Cornelius C. Vermeule, and to
the several others who prefer to remain anonymous.

Our website has been greatly improved and expanded as may be seen by the partial
page of Attic vases illustrated below. It is now updated weekly with new acquisitions
and features over 1000 antiquities! We invite you to become a regular visitor.
Wanted to Purchase: Fine Antiquities of All Periods
We are prepared to travel world-wide to acquire select works of legally acquired ancient art
for our continually expanding clientele.
We will purchase collections of any size, act as your agent to sell your objects on commission, or
exchange them for other select pieces from our extensive inventory.
Send photographs and full details with your letter or e-mail.
International Association of
Dealers in Ancient Art
Confederation Internationale des
Negociants en Oeuvres d’Art
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.
MINERVA
Minerva, the bi-monthly, international review of ancient art,
archaeology, and numismatics, published in England, was
established by Dr Eisenberg, its publisher and editor-in-chief,
in 1990. It features the most extensive and timely coverage
by any magazine of worldwide excavations and exhibitions
emphasizing Greece, Etruria, the Roman Empire, Egypt,
and the Near East.
The book reviews are concise and objective. It also includes the
most extensive annotated listings of international museum exhibitions,
meetings, and symposia in ancient art and archaeology.
Sample copies: $8 or £4 postpaid.
www.minervamagazine.com
96
Art and
Antique Dealers League
Appraisers Association
of America
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.
Recent Royal-Athena Catalogs:
• Art of the Ancient World (Vol. XV, 2004) illustrates
in full color 190 objects. (72 pages, $5)
• Gods & Mortals: Bronzes of the Ancient World
(2004, 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, illustrates
in 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, illustrates
in full color 233 objects, 96 pages, $5)
• Art of the Ancient World (Vol. XVIII, 2007, illustrates
in full color 259 objects, 96 pages, $5)
• All 7 of the above catalogs (total list price $35),
with price lists: $25.
(Add $32.50 for overseas airmail.)
Other Royal-Athena Catalogs Available
• Art of the Ancient World
(Vol. IV, 1985) illustrates in full color over 600 works of
art. 208 pages, 192 color plates: $15 (add $10 for overseas
airmail)
• The Age of Cleopatra: The Art of Late Dynastic
Graeco-Roman Egypt (1988) illustrates in full color
151 selected works of art. (32 pages, $5)
• Gods & Mortals: Bronzes of the Ancient World
(1989) illustrates in full color 180 objects. (52 pages, $5)
• One Thousand Years of Ancient Greek Vases from
Greece, Etruria, & Southern Italy (1990) illustrates in
full color 186 vases. (48 pages, $5)
• Art of the Ancient World (Vol. VIII, 1995) illustrates
in full color 244 objects. (48 pages, $5)
• Art of the Ancient World (Vol. IX, 1997) illustrates
in full color 264 objects. (64 pages, $5)
• Art of the Ancient World (Vol. X, 1999) illustrates in
full color 264 objects. (64 pages, $5)
• Art of the Ancient World (Vol. XI, 2000) illustrates
in full color 167 objects. (64 pages, $5)
• Art of the Ancient World (Vol. XII, 2001) illustrates
in full color 410 objects; 30 pages of glossaries and
mythologies. (161 pages, $10)
• Art of the Ancient World (Vol. XIII, 2002) illustrates
in full color 203 objects. (80 pages, $5)
royal-athena galleries
established 1942
Jerome M. Eisenberg, Ph.D., Director
New York
Richard M. Novakovich Assistant Director &
Manager
Betty W. Eisenberg Comptroller
Suzanne Strachovsky Office Manager
Brent M. Ridge Photographer
Arkady Roytman Webmaster
Alina Bessarabova Conservator
Amanda Murphy Intern
• Art of the Ancient World (Vol. XIV, 2003) illustrates
in full color 225 objects. (80 pages, $5)
• A number of the objects in the last several catalogs
are still available. Price lists will be included.
• All 13 of the above catalogs (total list price
$70), only $50. (Add $37.50 for overseas airmail.)
Orders for our catalogs may be charged to your credit
card.
Trade lnquiries
We cordially invite inquiries from fellow art dealers,
art consultants, architects, interior designers, and institutional
collectors and investors.
Special Presentations, Condition Reports, and
Color Photographs of Objects
We can supply special presentations with further
information, such as condition reports, and 4 x 6 in.
(10x15 cm.) or 8 x 10 in. (20x25 cm.) color photographs,
often with other views or close-ups, on
any of the objects illustrated in this catalog upon
request. A selection of photographs may also be
viewed at our London gallery or at the various fairs.
Conservation and Mounting Services
A professional conservator, Alina Bessarabova,
working on our premises in New York, does expert
conservation and restoration of ancient art and
antiques. A same-day or a one day service is available
for an additional charge. Small metal and wood
mountings and bases are custom made but due to
insurance restrictions this work is usually limited to
objects purchased from us. We are pleased to accept
trade accounts.
Terms and Conditions of Sale
All items are offered subject to prior sale. All prices
are subject to change without notice, however, the current
price list is valid through 2007. The following credit
cards are honored: American Express,Visa, Mastercard.
A deferred payment plan is also available. New York residents
must add the appropriate sales taxes (currently 8
5/8%). No cash refunds may be made after 10 days of
receipt; however, full credit is allowed on all objects purchased
from our galleries with the exception of a few
consigned items. All shipping and insurance charges will
be billed to the purchaser. Title remains with Royal-
Athena Galleries until payment is made in full.
F. Williamson Price, Associate Director
London (Seaby Antiquities)
Sean Kingsley, Ph.D. Gallery Manager;
Managing Editor,
Minerva
Mark Marrony, Ph.D. Editor, Minerva
Peter Clayton Consulting Editor,
Minerva
Tony Curran Minerva Webmaster
Henriette Johansen Intern

oyal-athena galleries
new york
london