Royal-Athena Galleries: Volume XXII - 2011

Art of the Ancient World
Greek, Etruscan, Roman, Byzantine, Eg yptian, & Near Eastern Antiquities
Volume XXII - 2011
royal-athena galleries
new york london
No. 89 - Art of the Ancient World - Vol. XXII - January 2011
We are pleased to issue this catalog Every object purchased by our galleries
celebrating our 69th anniversary of dealing in has been legally acquired. If imported by us into
classical numismatics and our 57th year of deal- the United States, we have done so in
ing in ancient art. It illustrates in full color 205 compliance with all federal regulations and have
selected antiquities priced from $1,250 to over given full consideration to all international
$3,000,000. treaties governing objects of cultural
This publication is one of a continuing series importance. Antiquities priced at $10,000 or
primarily illustrating new acquisitions featured more are now checked and registered with the
in our New York galleries, where over two Art Loss Registry in London.
thousand fine works of art are on permanent All of our objects are clearly labeled with
display. All of the antiquities in this catalog are complete descriptions and prices. Condition
displayed at our New York gallery, the largest reports on all the objects are available upon
and most extensive collection of the ancient request. We encourage browsing and are happy
arts ever exhibited for sale. to assist and advise both the amateur and the
In addition to the many masterworks serious collector. We urge our prospective clients
of ancient art, there is a wide variety of fine to ‘shop around’, for we are proud of our quality,
items on display priced from $100 to $1,000 expertise, and competitive pricing.
and up, including Greek and Roman coins, Old Appointments may be arranged outside of
Master prints and drawings, and antique regular gallery hours for clients desiring privacy.
Egyptian prints and photographs, perfect for Updated price lists for our catalogs are available
the beginning collector or for that very upon request. For terms and conditions of sale
special gift. A few of the pieces illustrated may see the inside back cover.
not be available since they were sold while the
catalog was in preparation, but a number of COVER PHOTOS:
other newly acquired objects will be on display Roman marble Aphrodite holding a scallop
in our New York gallery and on our website: shell. 2nd Century AD. 55 in. (140 cm.) No. 22
www.royalathena.com, updated weekly. Back cover:
Roman marble deep bust of Eros stringing his
bow. H. 15 3/8 in. (39 cm.) No. 11
We unconditionally guarantee the
Text and catalog design by
authenticity of every work of art Jerome M. Eisenberg, Ph.D.,
sold by Royal-Athena Galleries. and F. Williamson Price
©2010 Jerome M. Eisenberg, Inc. Photographs by Brent M. Ridge and
Composed and printed in the United States of America. Ramon Perez
We will be exhibiting at
BAAF Basel, The Basel Ancient Art Fair, Basel, Switzerland, November 4-10, 2010
TEFAF, The European Fine Arts Fair, Maastricht, The Netherlands, March 18-27, 2011
The New York Spring Show, New York, New York, April 24-May 4, 2011
BAAF Brussels, The Brussels Ancient Art Fair, Brussels, Belgium, June 8-12, 2011
BAAF Basel, The Basel Ancient Art Fair, Basel, Switzerland, November 3-9, 2011
(Check our website to confirm the dates)
royal-athena galleries Jerome M. Eisenberg, Ph.D.

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

New York, NY 10022 VISIT OUR WEBSITE, 14 Old Bond Street
Tel.: (212) 355-2034 updated weekly with London W1S 4PP UK
Fax.: (212) 688-0412 our latest acquisitions: By appointment
ancientart@aol.com www.royalathena.com Tel.: (44) 780-225-8000
Monday-Saturday, 10 - 6 Fax.: (44) 18-8334-4772
Art of the Ancient World
Greek, Etruscan, Roman, Byzantine, Eg yptian, & Near Eastern Antiquities
Table of Contents
CLASSICAL ART
Greek Marble Sculptures 2 Classical Gold Jewelry 70
Roman Marble Sculptures 5 Ancient Silver 71
Ancient Stone Sculptures 18
Greek Bronze Sculptures 20 EGYPTIAN ART
Etruscan Bronze Sculptures 21 Egyptian Stone Sculptures and Reliefs 72
Roman Bronze Sculptures 22 Egyptian Stone Vessels 76
Ancient Bronze Animals 30 Egyptian Bronze Sculptures 78
Classical Bronze Vessels 31 Egyptian Faience 85
Ancient Arms and Armor 32 Egyptian Wood and Terracottas 87
Varia 35
Neolithic Terracottas 37 NEAR EASTERN ART 90
Greek, Etruscan, and Roman Terracottas 38
Early Greek Vases 43 COLLECTING ANCIENT ART 94
Attic Black-figure Vases 45
Attic Red-figure Vases 53 ROYAL-ATHENA GALLERIES 94
South Italian Vases 58 Expertise and Ethics 95
Etruscan Vases 66 Royal-Athena Galleries Catalogs Inside back cover
Ancient Glass 68
Photo above: Attic black-figure hydria by the Swing Painter (detail of shoulder).
Ca. 535-530 BC. H. 18 1/4 in. (46.4 cm.), No. 110.
1
Introduction
As we enter our 56th year of dealing in ancient art we are pleased to present in our
89th publication an outstanding selection of antiquities assembled primarily from old collec-
tions in the United States and Europe. A large number of these objects were originally pur-
chased from us over the past several decades and we are delighted to offer them again to a new
generation of enthusiasts.
We are especially proud to offer in this catalog a selection of 24 fine ancient vases
from the collection of Patricia Kluge, all acquired from Royal-Athena between 1984 and 1995.
The complete collection of 45 vases from her collection has been published in our new catalog
‘One Thousand Years of Ancient Greek Vases II’ illustrating 193 select Greek, Etruscan, and
South Italian vases from our current inventory.
We have devoted over half a century to selling carefully attributed works of art with
particular attention to their provenance. This diligence has resulted in an astonishingly low per-
centage of claims against legal ownership – less than 0.0006% or one out of every 2000 objects!
In view of the increasing legislation being passed in several countries to restrict the trade in ille-
gally exported antiquities (which we applaud), we may assure our clients that we continue to
proudly conduct a very ethical business and take all of the proper steps to insure that our inven-
tory is free of any possible claims.
Jerome M. Eisenberg, Ph. D.
Greek Marble Sculptures
1
GREEK MARBLE HEAD OF A KORE
She wears a diadem that begins at the back of
the head and runs to the forehead in three flat,
overlapping double ears of grain. Under the
diadem the slightly wavy hair is combed back-
wards; a corkscrew curl on either side of the
neck and a small curl in front of the right ear.
She has an oval face with an almost pointed
chin. Broad eyelids frame the almond-shaped
eyes. A blossom was originally located in the
centre of the diadem above the forehead.
Athens, ca. 460-440 BC.
H. 8 1/2 in. (21.5 cm.)
Ex Swiss private collection; D. Cahn, Basel.
The planar treatment of the forehead and
cheeks with the special emphasis placed on the
eyebrows and lids, as well as the compact chin
are similar to the head of an athlete in Boston,
inv. no. 51.1404. Cf. C. Vermeule, Sculpture
in Stone, Boston, 1976, p. 26, no. 32. These
stylistic features suggest a date for the head
between the pediment figures of the temple of
Zeus in Olympia and those of the Parthenon.
Cf. the head of a goddess from the East pedi-
ment of the Parthenon, Agora Museum,
Athens, inv. no. S 2094.
2
2 HELLENISTIC MARBLE BEARDED
MALE HEAD, possibly of a Hellenistic
ruler or victorious athlete, turned to the
left, his close-cropped hair brushed
forward and bound with a laurel wreath.
2nd-1st Century BC. H. 8 in. (20.2 cm.)
Ex collection of M. Desmoulies, Avignon,
France, acquired in 1960.
3 HELLENISTIC MARBLE HEAD OF

APHRODITE, her head turned to her right,
her wavy hair centrally-parted and swept
back into a chignon at the nape of her neck,
held with a diadem around her head, her
oval face with soft almond-shaped eyes and
full pouting lips.
1st Century BC. H. 5 in. (12.7 cm.)
Ex Belgian private collection, acquired in
1971.
3
4 GREEK MARBLE HEAD OF A GODDESS depicted gazing forward, her expression serene, with almond-shaped
eyes and a small mouth, her wavy hair centrally-parted and drawn back over her ears, the back flat.
3rd-2nd Century BC. H. 5 1/2 in. (14 cm.) Ex private collection, formed in the early 1980s.
5 GREEK MARBLE HEAD OF A YOUNG GIRL, her head turned slightly to her right, wearing a crescentic diadem
in her curly hair, which is gathered above each ear. Ca. 4th Century BC. H. 6 1⁄4 in. (15.9 cm.) Ex Martinos,
Athens, 1930s; F. Vegas, La Vega, Una Casa Colonial (ill.); private French collection; acquired in New York,
December 2003. Likely a child votary, it is related to a
group of marble figures, the so-called Arktoi or "little
bears," at the temple of Artemis at Brauron near Athens.
Cf. M. True and K. Hamma, A Passion for Antiquities,
Ancient Art from the Collection of Barbara and
Lawrence Fleischman, 1994, no. 50, p. 113.
6 HELLENISTIC MARBLE STELE OF ZOA

with a deeply sunken relief of a woman wearing a
himation, standing in the center flanked by two girls,
probably servants. Ca. 125-100 BC.
H. 29 in. (73.5 cm.) Ex B. collection, Switzerland,
acquired 1960-1980. Published: E. Pfuhl-H. Möbius,
Die ostgriechischen Grabreliefs, vol. 1, Mainz,
1977, p. 151, no. 469, pl. 77.
Her himation covers the head and body, leaving only a
small section of the right arm and the richly pleated
undergarment visible. The right hand grasps the hem
of the himation. The girl to the left, shown in profile,
is in a reflective or mourning pose, and looks up to the
deceased from the side. The fingers of her left hand
touch her throat. The pose of Zoa is reminiscent of
that of the so-called Small Herculanian Woman; cf. W.
Fuchs, Die Skulptur der Griechen, 1979, p. 219, no.
237, with illus. The girl to the right holds an open
box or mirror in both hands. A box, a kalathos and a
double comb (?) stand on a ledge in the upper part of
the relief. On the upper frame, an inscription which
translates: Zoa, daughter of Menios, farewell.
4
7 ROMAN MARBLE RECLINING YOUNG FAUN LEANING UPON
Roman Marble A WINE ASKOS He is depicted as a handsome adolescent, nude, lying
upon a draped rock in a languid pose; originally used as a fountain.
Sculptures 1st-2nd Century AD. H. 11 3/8 in. (29 cm.) L. 19 1/4 in. (49 cm.)
Ex collection of Massimo Gargia, Paris; French collection.
5
8 ROMAN MARBLE DOUBLE HERM On one side
is the bearded head of Dionysos and on the other a
maenad; both wearing ivy wreaths.
1st-2nd Century AD. H. 16 in. (40.5 cm.)
Ex private collection, Argentina, acquired in the early
1990s.
9 ROMAN MARBLE NUDE EROS, love’s messenger,
standing with long curls falling to his shoulders.
1st-2nd Century AD. H. 16 1/2 in. (42 cm.)
Ex French private collection, acquired in the 1970s.
10 ROMAN LARGE MARBLE SANDALLED FOOT

from a statue, probably of Aphrodite.
6
11 ROMAN MARBLE DEEP BUST OF EROS STRINGING HIS BOW Love’s messenger and the companion
of Aphrodite is depicted bending forward to attach his bowstring. His head is turned to the right, facing the
viewer, and his centrally parted hair ends in curls. 1st Century AD. H. 15 3/8 in. (39 cm.)
Ex collection of B. N.-L., Chiswick, London, acquired in 1983 from an English private collection.
He has the features of an adolescent with a knowing expression. After the 4th Century BC original by Lysippos.
Cf. H. Döhl, Der Eros des Lysipp, 1968, 10,49; LIMC III, 1986, p. 881, s.v. Cupid; P. Moreno, Lisippo,
L'arte e la fortuna (exhibition in Rome), 1995, p. 166.
7
12 ROMAN MARBLE HEAD OF AESCHYLUS, 525-456 BC, the Greek playwright recognized as the father of
tragedy. 1st-2nd Century AD. H. 12. 1/2 in. (31.8 cm.) Ex old Portuguese collection; W. L. collection, Sint
Niklaas, Belgium.
13 ROMAN MARBLE HEAD OF SOCRATES, 466-399 BC, the Greek philosopher and one of the founders of
Western thought. 1st-2nd Century AD. H. 13.5 in. (34.3 cm.) Ex F. and X. Calico, Barcelona, Spain;
W .L.. collection, Sint Niklaas, Belgium, acquired ca. 1990.
8
14 ROMAN MARBLE HEAD OF THE
EMPEROR HADRIAN (r. AD 117-138),
turned to the left with gaze directed upwards,
drilled wavy hair swept forward over the fur-
rowed brow and tight curls framing the face.
Ca. AD 117-140.
H. 13 1/4 in. (33.6 cm);
H. of bust 21 1/2 in. (54.6 cm.);
H. of bust with socle 25 3/4 in. (65.4 cm.)
Ex Maynard Mitchell collection, Rose Place,

Claines, Worcester, England, 1992; M.B.
collection, Woodland Hills, California, acquired
from Royal-Athena in 2003. The back of the
head is restored. Mounted on an ancient bust
of the period, possibly Hadrianic in date.
Hadrian was a man of extraordinary talents.

A student of philosophy, he wrote both an autobi-
ography and poetry, but architecture was his pas-
sion, designing both the Pantheon in Rome and
his extensive villa at Tivoli.
9
15
LATE HELLENISTIC MARBLE HEAD
OF A YOUNG SATYR his hair carved in
wavy locks; his ears pointed.
2nd Century AD.
H. of head 7 7/8 in. (20 cm.);
H. with bust 13 in. (33 cm.); H. of head
and bust with socle 15 3/4 in. (40 cm.).
Ex private collection, Belgium.
The bust and socle are 18th or 19th
century additions.
16
ROMAN MARBLE PORTRAIT OF THE
EMPEROR CARACALLA (r. AD 211-
217) depicted as a prince or already as
Caesar to his father Septimius Severus in the
first
portrait type of the heir apparent.
Ca. AD 196-204.
H. 10 1/2 in. (26.7 cm.) Ex European
private collection, acquired in the 1990s.
It is similar to his depiction on the Arch of the
Argentarii in Rome. For the type, cf. K.
Fittschen and P. Zanker. Katalog der römis-
chen Porträts in der Capitolinischen
Museen, vol. V, 1985, 98ff., no. 86, pl. 105;
V. Poulsen, Les Portraits Romains, II, Ny
Carlsberg Glyptotek, 1974, no. 132, pls.
CCX-CCXI..
When he was seven years old, his name was

changed to Marcus Aurelius Antoninus. The
name change was a way of connecting the
family of Severus to that of the Antonines.
This portrait and others like it were probably
made to commemorate this event.
10
17
ROMAN MARBLE HEAD OF
THE EMPEROR HADRIAN
(r. AD 117-138), his brow
framed by a thick row of wavy locks
crowned by the corona triumphalis,
a thick laurel wreath centered by a
circular jewel. Ca. AD 120-140.
H. 11 in. (28 cm.)
Ex M.B. collection, Belgium,
acquired before 1985;
C.N. collection, Maryland.
For portraits of Hadrian see M.

Wegner, Das römische
Herrscherbild II, 3, Berlin, 1956,
p. 108, pl. 2.
Hadrian was a man of extraordi-

nary talents, certainly one of the
most gifted emperors that Rome ever
produced. He became a fine public
speaker, he was a student of philoso-
phy and other subjects, who could
hold his own with the luminaries in
their fields, he wrote both an auto-
biography and poetry, and he was a
superb architect. It was in this last
area that he left his greatest mark,
with several of the empire's most
extraordinary buildings and com-
plexes stemming from his
fertile mind.
18
ROMAN MARBLE RELIEF
HEAD OF A DIOSKOUROS,
from a sarcophagus probably depicting
the hunt of Meleager, the young deity
with parted lips and long wavy hair
surmounted by a pilos, his eyes with
recessed pupils. Ca. AD 230-260.
H. 9 1/4 in. (23.5 cm.)
Ex Jean Marais (1913-1998), Paris
and Cannes; Fraysse & Associés,
Drouot, Paris.
For a closely related head of a

Dioskouros from a fragmentary
Meleager hunt sarcophagus in the
Liebieghaus Museum, Frankfurt, see G.
Koch, Die Mythologischen
Sarkophage, VI: Meleager (Die antiken
Sarkophag-reliefs, vol. 12), Berlin,
1975, pls. 47 and 48.
11
19 ROMAN MARBLE LIFE-SIZE HEAD
OF APOLLO in the style of a Greek sculp-
ture of the 5th Century BC, with straight
nose, parted lips drilled in the inner corners,
and almond-shaped eyes, his wavy hair
radiating from the crown, parted in the cen-
ter over the forehead, and bound with a
double mitra.
Earlier 1st Century AD.
H. 10 in. (24.5 cm.)
Ex English collection dispersed in 1988;
collection of Ortrud Carstens, New York,
acquired from Royal-Athena in 2005.
For related heads in the classicizing style see
Paul Zanker, Klassizistische Statuen:
Studien zur Veränderung des
Kunstgeschmacks in der römischen
Kaiserzeit, Mainz, 1974, pls. 68-69.
20 ROMAN MARBLE LIFE-SIZE

BEARDED PORTRAIT HEAD
in the guise of a Greek philosopher.
2nd-3rd Century AD.
H. 11 in. (27.9 cm.) Ex private Swiss
collection, acquired in the 1980s.
12
21 ROMAN LARGE MARBLE TERPSICHORE,
the Muse of dance and choral song, lifting the hem of her
garment as she prepares to step forward. In her now lost
right arm she probably once held a lyre.
From Bulla Regia, Tunisia. 1st-2nd Century AD.
H. 29 1/2 in. (75 cm.) Ex French collection;
J.K. collection, Palm Beach, Florida (1997-2009).
Published: J. Eisenberg, Art of the Ancient World, vol.
VIII, 1997, no. 8. Cf. M. Bieber, Ancient Copies,
1977, figs. 574-578. She was the mother of the sirens by
Achelous, chief among all river deities.
13
22 ROMAN MARBLE STATUE OF APHRODITE (VENUS) OR A NYMPH HOLDING A SCALLOP
SHELL This is a variant of the well-known Aphrodite of Syracuse, usually termed “Nymph with a shell”. Our
example is quite close to the Vatican Museum sculpture but with a more pronounced Aphrodite-type hairdo.
2nd Century AD. H. 55 in. (140 cm.) Ex English collection, pre-1984; S. R. collection, Beverly Hills,
California, 1985-2010. Published: J. Eisenberg, Art of the Ancient World, vol. IV, 1985, no. 237.
Water once poured out of the shell for such statues were used as garden and fountain decoration. Cf. M.
Bieber, Ancient Copies, 1977, fig. 238. For similar sculptures in the Istanbul and Torlonia Museums, see S.
Reinach, Repertoire de la Statuaire, 11, 1908, p. 405, nos. 2 and 4.
14
15
23
ROMAN MARBLE THALIA, MUSE OF COMEDY
and idyllic poetry, holding a theater mask in her right
hand and wearing a himation over her chiton.
Mid 2nd Century AD. H. 24 1/2 in. (62.2 cm.)
Ex Bruce MacAlpine, London, 1984; M.S. collection,
Princeton, NJ (1985-1995); John Kluge collection, Palm
Beach, Florida (1995-2009). Published: J. Eisenberg, Art
of the Ancient World, vol. IV, 1985, no. 242.
24
ROMAN MARBLE STATUE OF APHRODITE
ACCROUPE The nude goddess of love caught unawares,
crouching at her bath, after a work by the Greek sculptor
Doidalsas of Bythnia, ca. 250 BC, now in the Louvre.
Lacking head, arms, parts of lower legs.
1st Century BC/AD. H. 8 5/8 in. (22 cm.)
Ex private Belgian collection acquired in the early 1970s.
Margarete Bieber in Sculpture of the Hellenistic Age,
Oxford, 1955, points out that there were, by the 1950s,
about fifteen marble statues and statuettes of this subject
(the Vatican, Naples, Florence, the Torlonia Museum, Rome,
etc.) in addition to the Lely Venus in the British Museum.
25
ROMAN MARBLE HERM BUST OF A CELTIC
QUEEN OR GODDESS with long curling hair, central-
ly-parted and flowing to the shoulders, wearing a diadem,
the brow furrowed above deep-set eyes, the ears drilled for
earrings, a torc around the neck; the back flat.
1st-2nd Century AD. H. 6 in. (15.2 cm.)
Ex American collection, acquired between 1970 and
1989; thence by descent. Depictions of the gods and god-
desses of Celtic mythology frequently show them wearing
torcs; it was a sign of nobility and high social status.
16
Visit our website,
updated weekly,
to view more of the
nearly 100 marble
sculptures in our
current inventory
as well as our
latest acquisitions.
www.royalathena.com
26
ROMAN MARBLE NUDE
APHRODITE OR NYMPH
seated upon a cloak that partially
covers a rocky outcrop. She leans
languidly upon her right hand; her
left hand, touching her thigh, is partly
covered with a drapery falling over
her left forearm and leg. Her head is
leaning back and her hair is gathered
into a long braid. 2nd Century AD.
H. 11 3/8 in. (29 cm.)
Ex French collection.
Doubtless, an ornamental sculpture

rather than a cult image, intended to
delight the viewer with her vulnera-
bility suggested by the sensitive carving
of the goddess in so relaxed a posture.
17
27 ROMAN MARBLE PORTRAIT OF A SEVERAN WOMAN The oval face is framed by a voluminous, shoulder-
length coiffure styled in even waves. The hair is then laid loosely around the ears, and finally formed into two plaits
which were loosely coiled to form a flat spiral in the nape of the neck. Early 3rd Century AD. H. 13 in. (33 cm.)
Ex B. collection, Switzerland, acquired between 1960-1980. This coiffure is typical of the Severan period. The
coiffures of the empresses Julia Domna and
Plautilla served as models. Cf. K. Fittschen and
P. Zanker, Katalog der römischen Porträts in
der Capitolinischen Museen, vol. III, 1983,
99, no. 144, pls. 171-172.
A ncient Stone Scu lp tu res
28
RHODIAN LIMESTONE SPHINX
wearing an Egyptianizing headdress
with side lappets, the striated wings
outstretched above the back, tail curled
around the left hind leg; seated on an
integral rectangular base.
Ca. 6th Century BC.
H. 3 3/8 in. (8.6 cm.)
Ex Swiss private collection, acquired
prior to 1960 by the grandmother of the
most recent owner. Very rare.
18
29 ROMAN ALABASTER HEAD OF ZEUS-
SERAPIS with a full beard and long curly hair,
clearly defined with deep drill holes, a circular
recess on the crown to receive his modius. Based on
the 3rd Century BC cult statue by Bryaxis for the
Serapeum in Alexandria. 2nd-3rd Century AD. H.
4 in. (10.1 cm.) Ex private collection, Midlands,
England.
30 ROMAN LIMESTONE HEAD OF A PAGE with

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

(BACCHUS) The god of wine is shown wearing a
wreath of vines and grapes, his hair in a top-knot,
the back unmodelled.
2nd Century AD. H. 8 1/2 in. (21.6 cm.)
19
Greek Bronze
Scu lp tures
32 ARCHAIC EAST GREEK BRONZE KOUROS, his hair falling in long wavy strands over his shoulders: on an
integral base. Ionian, probably from Samos, ca. 550 BC. H. 3 5/8 in. (9.2 cm.) Ex R. and L. H. collection,
Beverly Hills, Michigan. Exhibited: Picker Art Gallery, Colgate University, 1990-1994. Published: D. Mitten,
Master Bronzes, 1968, no. 45; A. Emmerich, Classical Art, 1977, no. 62; J. Eisenberg, Gods and Mortals,
1989, no. 3.
33 ARCHAIC GREEK BRONZE NUDE KOUROS

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

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

(CUPID) holding a rooster in the crook of his left arm
and standing in a relaxed pose, a mantle draped over
his left shoulder; his eyes inlaid with silver.
1st Century BC. H. 5 1⁄4 in. (13.3 cm.)
Ex collection of Mrs. Albert Lasker, New York, acquired
from Royal-Athena in London, December 1990; John
Kluge collection, Charlottesville, Virginia.
Published: J. Eisenberg, Gods & Mortals II, 2004,
no. 34.
The offering of a rooster was imbued with sexual sym-

bolism; see: M. Vickers, Greek Vases, Ashmolean
Museum, p. 89, no. 43.
20
Et ruscan B ronz e Scu lp tu res
36 ETRUSCAN BRONZE NUDE KOUROS Striding with his left leg advanced,
both arms bent at his sides, his right hand clenched, his left hand open with the
palm facing out; a hair roll surrounds his face. Umbria, early 5th Century BC.
H. 5 5/8 in. (14.3 cm.) Ex John Kluge collection, Charlottesville, Virginia,
acquired from Royal-Athena in 1994. Published: J. Eisenberg, Art of the
Ancient World, vol. VII, 1992, no. 87.
37 ETRUSCAN BRONZE NUDE MALE DANCER OR ATHLETE, his body
twisted forward with arms extended. A decorative figure from a candelabrum.
Cf. S. Aurlgemma, Scavi di Spina, 1965, pl. 100. Ca. 420-400 BC.
H. 3 in. (7.6 cm.) Ex Swiss collection, 1995.
38 ETRUSCAN BRONZE VOTIVE MALE FIGURE of stylised elongated, flattened
form, wearing ankle-length close-fitting drapery, the hands emerging from the body;
wearing a radiate crown; a v-shaped tang below. 3rd Century BC.
H. 5 5/8 in. (14.3 cm.) European private collection, from the late 1950s onwards.
39
ETRUSCAN BRONZE SEATED
YOUTH wearing a himation and a
diadem with three rosettes.
Ca. 460 BC . H. 3 3⁄4 in. (9.5 cm.)
Ex John Kluge collection, Charlottes-
ville, Virginia, acquired from Royal-
Athena in 1994.
Published: Münzen und Medaillen,
Antike Kunst, 1982, no. 100; C.
Vermeule and J. Eisenberg, Catalogue
of the Greek, Etruscan, and Roman
Bronzes in the Collection of John
Kluge, 1995, no. 90.03; J.
Herrmann, ‘From Olympus to the
Underworld, Ancient Bronzes from
the John Kluge Collection’, Minerva,
vol. 7, no. 2, 1996, p. 39, fig. 2.
Exhibited: Museum of Fine Arts,
Boston, 1996.
21
40 ROMAN BRONZE COMBATANT GLADIATOR
nude to the waist, wearing a helmet, double belt, loin-
cloth, and arm protector; his left leg advancing and his
left arm extended in a thrust.
1st-2nd Century AD. H. 3 7/8 in. (9.8 cm.)
Ex German private collection, Z.C., acquired betweeen
1970 and 1980.
41 ROMAN BRONZE GROUP: TWO SOLDIERS OR

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

WINTER wearing a hooded tabard and pantaloons and
holding a hare in his raised right hand and a staff in his
left. 3rd Century AD. H. 4 1/8 in. (10.4 cm.)
Ex German collection.
22
Roman Bronze Sculptures
43 ROMAN BRONZE NUDE APOLLO wearing a bow case

on a strap and holding a laurel sprig in his right hand.
Ca. 2nd Century AD. H. 8 7/8 in. (13 cm)
Ex Dutch private collection, Maastricht; H.J. collection,
Sun City, Arizona. Published: J. Eisenberg, Art of the
Ancient World, vol. IV, 1985, no. 278. Exhibited at
Kresge Art Museum, Michigan State University, 1985-2009.
44 ROMAN BRONZE PAN PLAYING A SYRINX

The god of shepherds, herds, and hunters, with upper
human body and goat horns, legs and tail, holds a syrinx in
his right hand, approaching his mouth, and in his left hand
he holds a logobolan (shepherd’s crook).
1st-2nd Century AD. H. 5 1/8 in. (13.2 cm.)
Ex German private collection, Z.C., acquired betweeen
1970 and 1980. Cf. M. Kunze, Meisterwerke antiken
bronzen und metallarbeiten aus der sammlung Borowski,
Franz Phillip Rutzen, Germany, Mainz 2007, pp. 158-
159, fig. C. 24.
45 ROMAN BRONZE ISIS FORTUNA wearing a diadem

topped with Hathor horns, plumes, and a solar disk. In her
left arm she cradles a cornucopia, and with her right she
steadies a rudder. 1st-2nd Century AD.
H. 4 in. (10.2 cm.) Ex collection of Prof. Alcibiades N.
Oikonomides (d.1988), Chicago, acquired in the 1970’s;
private collection, Westlake Village, California.
23
46 ROMAN LARGE BRONZE DISCOBOLOS based on the famous lost Greek bronze
original by Myron that was completed between 460-450 BC.
1st Century BC/AD. H. 10 in. (25.4 cm.)
Ex old Belgian collection said to have been acquired in Egypt before 1983.
The Discobolos is known through numerous Roman copies, both full-scale examples in
marble, such as the first to be found in 1781, at the Villa Palombara on the Esquiline Hill,
or smaller versions in bronze such as this one. The discus thrower is depicted about to release
his throw. The moment captured in the sculpture is an example of rhythmos: harmony and
balance. The body is perfect in its symmetry, the torso showing no muscular strain, even
though the limbs are outflung. The athlete reveals no emotion in his expression as if concen-
trating all on the moment of stasis just before the release, oblivious of his iconic physical
beauty which is all too apparent to the observer. The Palombara Discobolos was initially
restored by Giuseppe Angelini; the Massimi installed it initially in their Palazzo Massimo
alle Colonne and then at Palazzo Lancelotti. The Italian archaeologist Carlo Fea identified
the sculpture as a copy from the original of Myron. It was instantly famous and universally
admired. It is now in the National Museum of Rome, displayed at the Baths of Diocletian.
24
25
47 ROMAN LARGE BRONZE NUDE
TORSO OF APHRODITE inspired by
a famous prototype of the Hellenistic period,
which subsequently was copied many times.
The goddess is represented entirely nude,
wearing nothing but gold armlets.
1st-2nd Century AD.
H. 10 1/2 in. (26.7 cm.)
Ex private collection, Basel, Switzerland;
Patricia Kluge collection, Charlottesville,
Virginia, acquired from Royal-Athena in
1990.
Originally, she supported herself by rest-

ing her raised left arm upon a pillar as
she is about to remove her sandal from
her left foot. The figure is captured as she
balances precariously, in a self-consciously
counterbalanced pose that highlights the
nudity and sensuality of the goddess: a
pretext for the observation of the female
body is a foible of the classical aesthetic.
Very fine style.

Large bronze nude Aphrodites are
very rare.
26
27
48 ROMAN BRONZE STEELYARD WEIGHT: HEAD
OF A NUBIAN YOUTH with characteristic hair style,
articulate, large almond eyes, broad nose, and large lips.
2nd Century AD. L. 3 in. (7.6 cm.)
Ex collection of Prof. Alcibiades N. Oikonomides
(d.1988), Chicago, acquired in the 1970s; private
collection, Westlake Village, California.
49 ROMAN BRONZE NUDE NUBIAN SLAVE BOY seated on his haunches, his legs drawn up. It probably
formed the handle of a key or a knife. A charming representation. 1st-3rd Century AD.
H. 1 7/8 in. (4.8 cm.) Ex French collection.
50 PAIR OF ROMAN BRONZE APPLIQUE HEADS OF THE YOUNG DIONYSOS with elaborate coif-
fure including grape clusters; his eyes with partial paste inlays remaining. 3rd Century AD. Hs. 2 3/4 in.
(7 cm.) Ex collection of B.H.S., a retired military officer, St. Petersburg, Florida, formed in the 1950s-early
1970s.
28
51 PAIR OF ROMAN BRONZE APPLIQUES: DEEP BUSTS OF HERAKLES wearing a lionskin over
tiers of curly hair, the paws tied across his chest; probably from a wagon or carrying chair.
2nd Century AD. Hs. 4 1/2 in. (11.4 cm.) Ex collection of B.H.S., a retired military officer, St.
Petersburg, Florida, formed in the 1950s-early 1970s.
52 ROMAN BRONZE MOUNT: BUST OF THE YOUNG DIONYSOS with elaborate coiffure including
grape clusters; his eyes recessed for inlay. Wrapped with a goat skin tied over his left shoulder, he rests
atop an architectural element. 3rd Century AD. H. 6 3/4 in. (17.2 cm.) Ex collection of B.H.S., a
retired military officer, St. Petersburg, Florida, formed in the 1950s-early 1970s.
53 ROMAN BRONZE APPLIQUE THEATER MASK

Expressive mask of an older bearded actor, the mouth
wide open, the silver-inlaid eyes deeply pierced, the
curly hair tied back. 2nd-3rd Century AD.
H. 2 7/8 in. (7.3 cm.) Ex B. Collection, Munich,
1960s.
29
54 ITALO-GEOMETRIC BRONZE DOUBLE-HEADED RAM Ca. 8th-7th Century BC. L. 4 5/8 in. (11.7
cm.) Rare. Published: J. Eisenberg, Art of the Ancient World, vol. VI, 2, 1991, no. 43. Acquired in Basel,
October, 1988.
55 GREEK BRONZE DOG carrying a puppy in its mouth; on an integrally cast rectangular base. A rare type.
Late 6th-5th Century BC. L. 2 5/8 in. (6.7 cm.) Cf. a 6th Century BC terracotta of the same type in R. A.
Higgins, Catalogue of the Terracottas in the British Museum, 1970, no. 789. Published: J. Eisenberg, Art of
the Ancient World, 1992, vol. VIII, no. 170.
56 ROMAN BRONZE LEAPING GOAT, head turned slightly to the left, with back-curving horns, long ears,
and heavily detailed fleece. 2nd Century AD H. 4 3/8 in (11.1 cm.) Ex A. Abraham collection, New York.
Ancient Animals
57 ROMANO-IBERIC OR CELTIC BRONZE
PRANCING HORSE Ex Lord McAlpine col-
lection of West Green, England; acquired July
1988. Published: J. Eisenberg, Art of the
Ancient World, vol. VIII, 1995, no. 68.
30
Classical Bronze Vessels
58 GREEK LARGE BRONZE HYDRIA Reddish-
brown surface with areas of mottled green patina.
Ca. 4th Century BC. H. 17 5/8 in. (44.8 cm.)
Ex Swiss collection; Patricia Kluge collection,
Charlottesville, Virginia, acquired from Royal-
Athena in 1990. The base was probably reworked
in the 1st-2nd Century AD.
59 ROMAN BRONZE OLPE with incised horizontal

bands encircling the neck and body, the handle
terminating in a comic mask.
1st Century AD. H. 6 7/8 in. (17.5 cm )
Ex collection of Mrs. Elias-Vaes (1908-2002),
Netherlands; Kralings Museum, Rotterdam.
31
Ancient Arms & Armor
60 MIDDLE EUROPEAN BRONZE AGE BRONZE DAGGER
Ca. 1500-1200 BC. L. 14 3/8 in. (36.6 cm.) Ex German collection.
61 MIDDLE EUROPEAN BRONZE AGE BRONZE ARM PROTECTOR,
formed as a broad flat band with central rib, terminating in spirals.
Ca. 1200-1000 BC. L. 11 1/4 in. (28.5 cm.) Ex German collection.
62 MIDDLE EUROPEAN BRONZE AGE CEREMONIAL BRONZE AXE HEAD
Ca. 1500 BC. L. 7 1/8 in. (18 cm.) Ex German collection.
Cf. similar one in J. Eisenberg, Art of the Ancient World, vol. XXI, 2010, no. 85.
63 MIDDLE EUROPEAN BRONZE FIGHTING AXE HEAD cast with raised

circles and dots on the shaft. 9th-6th Century BC. L. 6 7/8 in. (17.5 cm.)
32
64 CENTRAL EUROPEAN BRONZE AGE BRONZE LANCE HEAD with a
ridged blade and a round socket with two attachment holes on each side.
10th-7th Century BC. L. 13 5/8 in. (34 cm.) Ex German collection.
65 CENTRAL EUROPEAN BRONZE AGE BRONZE LANCE HEAD,
Urnfield Culture, with a ridged blade and a round socket with two attachment
holes on each side. 10th-7th Century BC. L. 6 1/2 in. (16.5 cm.)
holes on each side. 10th-7th Century BC. L. 6 5/8 in. (17 cm.)
holes on each side. 10th-7th Century BC. L. 7 1/4 in. (18.5 cm.)
68
EASTERN CELTIC IRON
CURVED KNIFE with
curved, one-sided blade with an
engraved wave tape at both ends
of the handle, with two bronze-
decorated ferrules and the scab-
bard shoe remaining.
2nd-1st Century BC.
L. 14 in. (35.5 cm.)
33
69 LONG CELTIC WROUGHT IRON LANCE HEAD of attenuated leaf shape with a central rib from
which the two faces of the blade plane off. 6th-5th Century BC. L. 24 in. (61 cm.) Ex German collec-
tion.
70 CELTIC IRON LONG SWORD WITH SCABBARD Stuck tightly in the iron scabbard, a broad iron blade
with curved iron quillons and a conical tang. The ridged scabbard has a super-imposed chape and a riveted
suspension ring on the reverse side of the locket. 3rd-2nd Century BC. L. 35 in. (89 cm.)
71 ROMAN LEGIONNAIRE’S FORGED IRON PUGIO DAGGER BLADE with characteristic curved blade
and a midrib on both sides. 1st Century AD. L. 15 in. (38 cm.) Ex collection of Axel Guttmann (1944-
2001), Berlin, acquired in Munich in the 1990s. Found in Germany.
72 DACIAN IRON SLASHING WEAPON (SPATHA) with a wide two-edged blade with long flat handle
ornamented with notches between and capped with a suspension ring. 1st-2nd Century AD.
L. 23 3/4 in. (60.5 cm.) Ex German collection. A rare weapon from Southeastern Europe during the
Dacian Wars, probably captured by a Roman soldier.
Near Eastern weaponry on page 91

34
73 CELTIC SILVER INLAID IRON RING-
HANDLED KNIFE Slightly curved back
blade with t silver-inlaid ornament.
2nd-1st Century BC.
L. 19 1/4 in. (49 cm.)
74 CELTIC HAMMERED IRON BOAT-

SHAPED HANGING OIL LAMP with
a partially reeded handle terminating in a
stylized dragon head with long horns.
Danubian region, 2nd-1st Century BC.
H. without chain 6 7/8 in. (17.5 cm.)
Ex Austrian collection. Cf. similar lamp
but without chain, in J. Eisenberg, Art of
the Ancient World, vol. XXI, 2010, no.
179.
75 CELTIC BRONZE AMPHORA Thick-walled, with bellied body, short, cylindrical neck, flaring slightly
towards the mouth. The handles, cast separately, each have a decorative human face terminus. Scarce.
2nd-1st Century BC. H. 7 in. (18 cm.) Ex collection of Dr. Florian Papp, Munich (1964-1990s).
76 CYPRO-ARCHAIC LIMESTONE HEAD OF A

Ancient V aria YOUTH with a cap-like hairdo of snail curls, almond-
shaped eyes with offset lids, and an oval face with
pointed chin; traces of red paint indicate the pupils.
Ca. 600 BC. H. 2 1/2 in. (6.3 cm.)
Ex collection of the Sarasin family, acquired between
1960-1970.
35
77 GALLO-ROMAN BRONZE RETICULATED BELT FITTING with rich punched decoration and cut out
with two stylized horse heads. Ca. AD 400. L. 3 in. (7.5 cm.) Ex J. H. collection, acquired in the 1990s.
Cf. Die Alamannen, exhibition catalogue, Stuttgart Museum, 1997, p. 94, fig. 79, p. 138, fig. 138.
78 ROMAN RETICULATED BRONZE BELT BUCKLE: LEOPARD AND TIGER FIGHTING, the loops
ending in lion heads. 2nd-3rd Century AD. L. 2 1/8 in. (5.4 cm.) Ex Dorotheum, Vienna, September
15, 1999, no. 180; ex Austrian collection.
79 ROMAN BRONZE ARCHITECT’S CORNER, CONICAL PLUMB, CALIPERS, AND REGULA
The corner a total of 12.7 cms long and 9 cms wide, with 90° and 45° corners. The hinged regula in
opened state is 11 1/2 in. (29.3 cms.). 3rd Century AD. The calipers: L. 5 7/8 in. (15 cm.)
Ex German private collection. Cf. similar in: Pompeii. Nature, science and technology in a Roman
town. Exhibition and conference, Deutsches Museum, Munich, 1999, p. 134, no. 384; J. P. Adam,
Roman Building. Material and Techniques, 1994, 43; Pondera, Pesi e plight nell'Antichità, 2001,
p. 241, no.171.
80 ROMAN LEAD WAGON WITH TWO FIGHTING GLADIATORS The shorter Thracian wears a
plumed broad-rimmed helmet that encloses the entire head, a square-shaped shield, and two thigh-length
greaves. In his right hand he holds a curved sword (sica). The murmillo wears a plumed helmet with a
stylized fish (mormylos) on the crest, an arm guard (manica) and carries a gladius and an oblong Gallic
shield. 2nd-3rd Century AD. H. 2 3/8 in. (6.2 cm.); L. 3 1/8 in. (8 cm.) Probably a votive or toy; the two
back wheels and axles missing, Ex German private collection, 1970s.
36
Neolithic Terra cott as
81 NEOLITHIC POTTERY IDOL Cruciform, with incised almond-shaped eyes, raised nasal ridge, and
pointed nose. The body is incised with lines indicating, perhaps, clothing or jewelry. Vinca Culture, Balkan
area. 6th-5th Millennium BC. H. 3 1/2 in. (8.8 cm.) Ex French collection
82 NEOLITHIC BROWN POTTERY OVEN IN THE FORM OF A HUMAN FACE, decorated with white-
filled, incised lines. Vinca Culture, Balkan area. Very rare. Late 5th-4th Millennium BC.
H. 3 3/4 in. (9.5 cm.) Published: J. Eisenberg, Art of the Ancient World, 1999, no. 70.
83 NEOLITHIC LARGE GRAY POTTERY HEAD FROM AN IDOL Roughly spade-shaped, with raised
arching eyes surrounded by incisions, an incised cheek line, and a raised nasal ridge; the nose lacking; the
back of the concave head with a row of four perforations. Vinca Culture, Balkan area. Ca. 5th Millennium
BC. H. 3 1/8 in. (7.9 cm.) Ex M. M. collection, Belgrade; private collection, London.
84 NEOLITHIC LARGE BROWN POTTERY HEAD FROM AN IDOL Roughly spade-shaped with incised
arching eyes, the face with incised lines following the contours of the facial planes. Choice.
Vinca Culture, Balkan area. Ca. 5th Millennium BC. H. 2 5/8 in. (6.7 cm.) Ex M. M. collection,
Belgrade; private collection, London.
37
Greek Terr acottas
85 GREEK POLYCHROME
TERRACOTTA PROTOME
OF A KORE wearing a polos.
Later 5th Century BC.
H. 6 1/4 in. (16 cm.)
86 BOEOTIAN TERRACOTTA
PROTOME OF A GODDESS
Her hair is arranged in an opulent,
wavy coiffure. She wears a polos
whose bands fall down to her
shoulders and a necklace with
triangular elements.
Late 5th-early 4th Century BC.
H. 6 1/2 in. (16.4 cm.) Ex collection
of Helen Schou, acquired 1930-1940.
Cf. S. Mollard-Besques, Catalogue
Raisonné du Louvre, 1954, p. 93,
nos. C 59-61, 65, 73, pls. LXVI,
LXVIII.
87 GREEK TERRACOTTA KORE wearing a peplos and draped with a himation. In her right hand she
holds a wreath. Ca. 530-500 BC. H. 7 7/8 in. (20 cm.) Ex German collection.
88 GREEK LARGE TERRACOTTA KORE wearing a chiton wrapped in a himation, a polos on her head.
Her hair is combed beneath a stephane and then back into two long braids. In her left hand she holds a
lotus cup. 5th Century BC. H. 13 3/4 in. (35 cm.) Ex French collection.
38
89 GREEK TERRACOTTA DEEP BUST OF A
KORE her arms close to her body. She wears a
peplos with richly layered folds over a finely pleated
chiton which is knotted at the arms; her wavy hair
in a sakkos. Ca. 450 BC.
H. 6 1/8 in. (15.8 cm.) Ex collection of Herbert
Cahn, Basel, acquired before 1994. For the type cf.
R.A. Higgins, Catalogue of the Terracottas in the
British Museum, 1954, nos. 678-679, 682, pl. 89.
90 HELLENISTIC TERRACOTTA LADY OF

FASHION with delicate facial features and her hair
dressed in a melon coiffure. She turns her head
slightly to the right. She wears a chiton and a cloak
pulled over her breasts and angled right arm.
Ca. 300 BC. H. 6 in. (15.4 cm. )
Ex English collection.
91 HELLENISTIC TERRACOTTA OF A YOUTH

with curly red hair, wearing a chiton and
himation, leaning against a column.
3rd Century BC. H. 9 3/4 in. (24.7 cm.)
Ex collection of Yves Saint Laurent, Paris; traces of
original pigment remaining.
92 HELLENISTIC POLYCHROME TERRACOTTA DRAPED FEMALE She wears a draped, ankle-length

himation, drawn up at her side with her hands beneath the fabric, the pleated lower hem of the floor-length
chiton revealed; with pastel mauve pigment over white ground. Canosa, ca. 3rd Century BC.
H. 10 3/4 in. (27.3 cm.) Ex Dr. M. S. collection, Scarsdale, New York.
39
93 ETRUSCAN TERRACOTTA ANTEFIX in the form
Etruscan Terracottas of a female head, with 'archaic smile', and curls over her
forehead, with remains of painted decoration and arched
attachment at back. 6th-5th Century BC. H. 7 in. (18 cm.); Depth 10 1/2 in. (26.6 cm.) Ex American
private collection, acquired from Faustus Ancient Art Ltd, London, in 1988.
94 ETRUSCAN TERRACOTTA VOTIVE HEAD OF A YOUNG BOY, capite velato, with hair rippling
towards his back. 4th Century BC. H. 6 1/8 in. (15.5 cm.) Ex French collection.
95 ETRUSCAN TERRACOTTA HEAD OF HERAKLES wearing a lion skin hood. The head is framed by the
lion’s mane; the browline has a row of applied snail curls. Ca. 6th Century BC. H. 6 in. (15.2 cm.)
Ex Belgian collection; Dr. M. S. collection, Scarsdale, New York, acquired from Royal-Athena in 2004.
96 ETRUSCAN POLYCHROME TERRACOTTA SATYR MASK executed in the bold relief of the Archaic style,
with a row of brow curls, pointed ears, broad moustache, thick lips, and a wide, curly spade-form beard; exten-
sive polychromy remaining. Veii, 5th Century BC.
H. 8 7/8 in. (22.5 cm.) Ex R.H. collection, New York, acquired before 2001.
40
97 ETRUSCAN TERRACOTTA HEAD OF A
GODDESS wearing a broad stephane. The hair
is laid over the brow in fine, wavy strands, with a
curl in front of each ear. Ca. 480 BC.
H. 7 1/4 in. (18.5 cm.) Ex R. M. collection
(1956-1979), Bern, Switzerland.
98 ETRUSCAN TERRACOTTA VOTIVE HEAD

OF A YOUNG WOMAN with centrally parted
hair, veiled, and falling to her shoulders; around
her neck is a necklace with two rows of circular
beads from which biconical beads are pendant.
4th Century BC. H. 6 5/8 in. (17 cm.)
Ex Tollmann collection, Cologne, acquired in the
1960s-70s. Cf. H. Brijder, et al., De Etrusken.
Amsterdam, 1989, 169; I. Jucker, Italy of the
Etruscans, Jerusalem, 1991, p. 265 no. 348.
Roman Terracottas
99 LATE HELLENISTIC TERRACOTTA OF AN

OLD SLAVE WOMAN supporting a large trans-
port amphora with her right hand and holding a
jug in her left. 1st Century BC/AD.
H. 7 in. (17.8 cm.) Ex English private collection,
acquired in the 1980s.
Stylistically based on Hellenistic Greek figures,

however, drawn from the popular characters of the
New Comedy, fabulae palliatae, in the Greek style
of Plautus and Terence.
41
100
ROMAN TERRACOTTA NUDE APHRODITE
(VENUS PUDICA) WITH EROS The goddess of
love wears a diadem over a hairdo reminescent of
Julia Domna, wife of Septimius Severus.
Late 2nd- early 3rd Century AD. H. 7 1/8 in. (18
cm.) Ex German collection.
101
GALLO-ROMAN TERRACOTTA THEATER MASK
OF A BEARDED HERO, eyes, nose, and mouth open;
holes on the side for attachment.
3rd-4th Century AD. H. 9 in. (22.8 cm.)
Related to a group of masks found near Trier, ca. 1925
-1931. Ex Dutch private collection.
For a near-identical mask see J. Eisenberg, Art of the
Ancient World, vol. XVI, 2005, no. 65. Cf. P.
Stuart, Provincie van een Imperium, Rijksmuseum
van Oudheden te Leiden, p. 131, no. 192.
102
ROMAN TERRACOTTA ALTAR (ARULA): THE
RAPE OF EUROPA
Europa, daughter of Agenor, king of Tyre, being
abducted by Zeus in the form of a bull.
42
Early Greek Pottery
103
PROTOCORINTHIAN ROUND-
MOUTHED OINOCHOE
with a central band of animals.
Ca. 640-630 BC.
H. 7 1/8 in. (18.1 cm.) Ex German
collection; John Kluge collection,
Charlottesville, Virginia, acquired from
Royal-Athena in 1983; Patricia Kluge
collection, Charlottesville, Virginia,
1990-2010.
This is a rare and important vase,

a masterwork of potting and painting
produced in Corinth in the time of
transition from the Late Protocorinthian
to the Corinthian styles. In the frieze
around the middle of the body are eight
animals: two goats, two leopards (?), a
lion, a boar, a bull, and a ram. Seven
of the beasts walk to the left. The ram,
however, walks to the right and comes
head to head with the bull; both lower
their heads as though determined to
contest the right of way. This parade of
beasts is executed with far more feeling
and precision than would ever again be found in the developed Corinthian style. Parts of each animal are highlighted by
the use of added red. The shape is East Greek but the decoration is pure Corinthian. Only one other example is known
which also has an animal frieze: Munich 228; see H. Payne, Necrocorinthia, Oxford, 1931, p. 272, no. 149. Cf. A.
Lane, Greek Pottery, New York, 1949, pl. 24A; F. Villard, CVA Louvre 13, pl. 47, 1-2; and H. Bloesch, ed., Greek
Vases from the Hirschmann Collection, Zurich, 1982, 18-19 and 94, no. 6.
43
104
GREEK GEOMETRIC TANKARD with
arching striated handle, the body with
overall banding, flanking a
central frieze of water fowl.
Geometric IB-IIA, 750-725 BC.

H. 6 3/8 in. (16.2 cm.)
Ex private North German collection.
Published: W. Hornbostel, Kunst der
Antike, Schätze aus Norddeutschen
Privatbesitz, 1977, p. 241, no. 226; J.
Eisenberg, Art of the Ancient World,
vol. XV, 2004, no. 81.
105
CORINTHIAN FLAT BOTTOMED
OINOCHOE BY THE PAINTER OF
BOSTON F471 Between bands, a cen-
tral frieze of animals including a panther,
an ibex, a small bird, and a siren; tongues
on the shoulder and rays beneath the
frieze; with dipinto (painted inscription).
Ca. 580 BC. H. 8 in. (20.5 cm.)

Acquired in Basel, Switzerland, June
2000. Published: J. Eisenberg, Art of
the Ancient World, vol. XII, 2001, no.
169. Cf. D.A. Amyx, Corinthian Vase-
painting of the Archaic Period, 1988,
221, pl. 91.
This is a small selection

of the many newly
acquired vases just
published in our
One Thousand Years of
Ancient Greek Vases II
catalog featuring 195
Greek, Etruscan, and
South Italian vases.
44
Attic Black-figure
Vases
106
ATTIC BLACK-FIGURE PANEL
AMPHORA BY THE BATEMAN
PAINTER Herakles stands in the center,
locked in combat with the Nemean lion,
an invulnerable beast that terrorized the
vicinity near Nemea in the N. W.
Peloponnese. Iolaos, Herakles’ nephew
and companion, stands at left holding
Herakles’ club and gesturing excitedly.
At right stand Athena and Hermes.
Reverse: The red-bearded Dionysos stands
in profile holding a kantharos; at right
dance two nude satyrs. Behind him, at
left, dance a third satyr and a white-
skinned maenad.
Ca. 530-520 BC. H. 19 in. (48.3 cm.)

Ex collection of Patricia Kluge,
Royal-Athena in 1991.
Published: Summa, Ancient Art, Beverly
Hills, California, 1976, no. 9.
Only five other vases are known by this

painter, an artist Sir John Beazley placed
among the followers of the Lysippides Painter
(the name vase in the Cleveland Museum,
two in the Metropolitan Museum, New York,
one in the Museum of Fine Arts Boston, and
the other in a private American collection).
The goddess Athena was a frequent compan-

ion of Herakles and was his patron among
the gods. Hermes was also present during
several of his Twelve Labors.
45
Visit our website,
updated weekly,
to view many of the
over 300 ancient vases
in our
current inventory
as well as our
latest acquisitions:
www.royalathena.com
107
ATTIC BLACK-FIGURE NECK AMPHORA
On both sides, a Gigantomachy: Athena attacks
to the right, plunging the spear in her upraised
right hand into the giant who kneels in front of
her, probably Enkelados. Reverse: Similar, but
Athena fights without a shield.
Ca. 520-510 BC.

H. with lid 20 1/2 in. (52 cm.)
Ex collection of Patricia Kluge, Charlottesville,
Virginia, acquired from Royal-Athena in 1991.
In mythology, the Gigantes were a tribe of

one hundred giants born of Gaia, the Earth. At
her instigation they made war on the Olympian
gods but, with the help of Herakles, were
destroyed in the ensuing conflict.
The battle between the gods and the giants had
a long history in art and literature, being men-
tioned by Homer (Odyssey 7.59) and described
by Hesiod (Theogeny 185).
46
108
ATTIC BLACK-FIGURE NECK
AMPHORA FROM THE GROUP OF
TORONTO 305
In a battle between Greeks and Amazons
(Amazonomachy), a four-horse chariot
(quadriga) is wheeling to the left. The horses
have already turned, but the chariot itself
still faces frontally, with the wheels foreshort-
ened. The charioteer is not visible, but we see
the Theban shield he wears on his back, with
its red rim and characteristic indented sides.
Of the warrior riding beside the charioteer,
we see only his high-crested Corinthian hel-
met, his scabbard, his two long spears, and
his round Argive shield. An air of equine
ferocity is reinforced by the open mouths and
white teeth. At the left is an Amazon carry-
ing a spear and shield. She falls to the left;
at first glance, the horses seem to be trampling
her, but in fact she is behind them. Her
attacker is probably the warrior at the far
right, who strides to the left behind the chari-
ot, his face hidden by the shield of the chario-
teer.
Reverse: In the center, Dionysos stands holding a

rhyton in his left hand and a grapevine in his
right. He wears an ivy wreath. Like the two
satyrs in the scene, the god has a long red beard.
One satyr stands empty-handed at the far right;
the other stands behind Dionysos holding a jug,
ready to fill the god’s rhyton when summoned.
Behind this satyr, at the far left, is a maenad
wearing a deerskin (nebris) over a chiton deco-
rated with stars and rosettes. A second woman,
probably Dionysos’ consort, Ariadne, stands
before the god, in a chiton and red-striped
himation, her right hand gesturing toward him.
Ca. 520-510 BC. H. 17 1/8 in. (43.5 cm.)

Ex English collection; Patricia Kluge collection,
Athena in 1990.
Published: J. Eisenberg, One Thousand Years
of Ancient Greek Vases, 1990, no. 30.
The painters in this group were followers of

the Antimenes Painter and worked in a
comparable style.
47
109
ATTIC BLACK-FIGURE NECK
AMPHORA FROM THE LEAGROS
GROUP Herakles holds the Erymanthian
boar upside down on his left shoulder,
scaring the daylights out of Eurystheus,
who hides in a sunken storage jar (pithos),
gesturing excitedly. Athena, on the right,
looks on. Iolaos, Herakles’ companion,
stands behind him at the far left. Reverse:
Dionysos holding a kantharos. Flanking
him are two maenads, both dancing away
from the god but looking back and gesturing
at him.
Ca. 510-500 BC. H. 17 in. (43.2 cm.)

Ex English collection; Patricia Kluge
Published: J. Eisenberg, One Thousand
Years of Ancient Greek Vases, 1990, no.
29.
The goddess Hera hated Herakles because he

was the son of her husband Zeus and the
mortal woman Alkmene. When it was fated
that Herakles and Eurystheus would be born
on the same day, and that the first-born
would have dominion over the other and be
king of Argos, Hera intervened to have
Eurystheus born prematurely. Eurystheus was
a spiteful weakling and envious of Herakles.
It was he who set Herakles the Twelve Labors,
one of which was to capture the vicious boar
of Erymanthos. When the hero returned to
Argos with the beast, Eurystheus was so terri-
fied that he hid in a pithos.
Herakles was a favorite subject of the Leagros

Group. The heroic proportions and features
are typical and, as usual, there is little wasted
space.
48
110 ATTIC LARGE BLACK-FIGURE HYDRIA BY THE SWING PAINTER A warrior prepares to
depart in a chariot. The charioteer stands in the box, the reins in one hand and the goad in the
other. His hair and beard are red, like those of the man standing in the background conversing with
the warrior (his son?). At either end of the chariot, stand two males mantled in red-striped hima-
tions; the one at the left is bearded. In the foreground, a woman stands by the chariot box, appar-
ently conversing with the driver. On the shoulder, a hoplite is among four enemy horsemen, who
have surrounded him for the kill. Ca. 540-530 BC. H. 18 1/4 in. (46.4 cm.)
Ex English collection; Patricia Kluge collection, Charlottesville, Virginia, acquired from Royal-
Athena in 1990. Published: J. Eisenberg, One Thousand Years of Ancient Greek Vases, 1990, no.
33.
Of the Swing Painter, Sir John Beazley said he was perhaps a pupil of the Princeton Painter, and
clearly also influenced by Exekias. Some thirteen hydriae are known by his hand, all with chariot
scenes on the body, but only one other with a fight scene on the shoulder: British private collection;
J. Beazley, Paralipomena, Oxford, 1971, 135, 98.
49
111 ATTIC LARGE BLACK-FIGURE HYDRIA BY THE EUPHILETOS PAINTER Dionysos and Ariadne
in a quadriga; behind, Apollo, a goddess, and Hermes. On the shoulder: Dionysos reclining, satyrs and
maenads in attendance. Ca. 520-500 BC. H. 20 in. (50.1 cm.)
Ex English collection; Patricia Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in
1990. Published: J. Eisenberg, Art of the Ancient World, vol. VII, part I, 1992, no. 264.
50
112
ATTIC BLACK-FIGURE
COLUMN-KRATER BY THE
PAINTER OF LOUVRE F 6
from the workshop of Lydos.
A swan between two confronting
panthers. Reverse: A large
mountain-goat; under the handles
a swan on either side, same on the
square top of the handles.
Ca. 560-550 BC.
H. 11 in. (28 cm.);
Diam. 11 1/4 in. (28.5 cm.);
W. 14 in. (35.6 cm.)
Ex South German private collec-
tion, acquired in the 1980s.
113
ATTIC BLACK-FIGURE WHITE-GROUND TREFOIL OINOCHOE, perhaps by the Painter of Vatican G49.
Dionysos holding a kantharos with a maenad to the right, a goat between. Ca. 500 BC. H. 9 in. (22.7 cm.)
Ex Swiss collection; John Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in 1984;
Patricia Kluge collection, Charlottesville, Virginia, 1990-2010. Published: J. Eisenberg, Art of the Ancient
World, vol. IV, 1985, no. 72.
114
ATTIC BLACK-FIGURE LEKYTHOS “The Concert of Apollo” with the god of music playing a lyre instead of
his usual kithara.The goddesses standing on either side of him are probably his sister Artemis (behind him) and
his mother Leto. Each holds a flower. At the far left, behind Artemis, stands Dionysos holding a rhyton. At the
far right, behind Leto, is the nude Hermes holding his kerykeion. Ca. 520-510 BC. H. 10 3/4 in. (27.3 cm.)
Ex Swiss private collection; John Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in
1988; Patricia Kluge collection, Charlottesville, Virginia, 1990-2010. Published: J. Eisenberg, Art of the
Ancient World, vol. IV, 1985, no. 63.
51
115
ATTIC BLACK-FIGURE NECK AMPHORA
FROM THE LEAGROS GROUP depicting
Ajax in full armor holding a sword and
attempting to seize Kassandra as she seeks
refuge at a statue of Athena Promachos, the
goddess’s shield emblazoned with a dolphin.
The other side is decorated with a figure of
Dionysos flanked by a maenad and a satyr, a
dotted vine in the background. As usual, rays
above the foot, linked lotus buds below the
scenes, palmettes linked by tendrils in the han-
dle zones, linked double palmettes on the neck,
the details in added red and white; graffito
under the foot.
Ca. 520-500 BC. H. 11 3/4 in (29.8 cm.)

From a New York private collection, acquired
in the 1960’s; Antiquarium, Ltd., New York,
1990; Florida private collection; Dr. R. B.
collection, St. Louis, Missouri.
The subject of Ajax and Kassandra is not

common; two examples by the Painter of
Munich 1519, a Leagran artist, are Vatican
G 22 and London B 242.
In Greek mythology, Kassandra ("she who

entangles men") was a daughter of King
Priam of Troy who captured the eye of
Apollo and so was given the ability
to see the future. However, when she did
not return his love, he placed a curse on her
so that no one would ever believe her pre-
dictions. Thus Kassandra foresees the
destruction of Troy (she warns the Trojans
about the Trojan Horse, the death of
Agamemnon, and her own demise), but is
unable to do anything about it.
52
Att ic R ed-figure
Vas es
116
ATTIC RED-FIGURE AMPHORA
WITH TWISTED HANDLES BY
THE HARROW PAINTER
The music lesson: A youth is seated
to the left on a rectangular block.
He is covered from chin to ankle
with a himation which he draws
taut with his covered right hand.
In his left hand he holds a lyre, the
tortoise-shell soundboard of which is
not visible. He looks straight ahead,
not meeting the eyes of the bearded
man who stands before him, leaning
on his knotty staff, his left leg drawn
back. Reverse: A youth stands to the
left, wrapped in a himation.
Ca. 480-470 BC. H. 15 1/4 in. (38.7 cm.)

Ex Swiss collection; Patricia Kluge collection,
Royal-Athena in 1990. Published:
J. Eisenberg, One Thousand Years of
Ancient Greek Vases, 1990, no. 64.
He was strongly influenced by the Berlin

Painter, though not from the same workshop.
Another neck-amphora with twisted handles
has a nearly identical scene and is in the col-
lection of the Vatican, no. 17889, in J.
Beazley, Attic Red-figure Vase-painters
(ARV), Oxford, 1963, no. 272,5.
53
117
ATTIC RED-FIGURE COLUMN KRATER
BY THE LENINGRAD PAINTER
Three nude youths, two holding lyres, and
one holding a kylix in his left hand and an
oinochoe in his right. Reverse: Three
draped youths in conversation, one holding
a skyphos.
Ca. 460-450 BC.

H. 16 5/8 in. (42.1 cm.);
W. 16 1/2 in. (41.9 cm.);
Diam. 14 in. (35.5 cm.)
Ex G. collection, Tessin, Switzerland; J.S.
collection, Cambridge, Massachusetts.
Published: J. Eisenberg, Art of the Ancient
World, vol. XV, 2004, no. 104. Cf. T.
Mannack, The Late Mannerists, Oxford,
2001, pl. 10 (ARV 567.12).
54
118
ATTIC RED-FIGURE COLUMN KRATER BY
THE ALKIMACHOS PAINTER Two galloping
horsemen holding spears, one dressed in an ornate
cloak called a zeira. This boldly patterned garment
was favored by the Thracian cavalry, famed for their
horsemanship. The rider’s cap is of animal skin; it
too is Thracian and is called an alopekis. Reverse: A
mantled youth is accosted by two youths with sticks,
also wearing himations. The pillar separating them
is probably one of the starting posts in the palaestra,
the public exercise ground, a common trysting place.
Ca. 470-460 BC. H. 13 3/4 in. (35 cm.);

W. 14 1/8 in.(35.8 cm.); Diam. 12 in. (30.4 cm.).
Ex English collection; Patricia Kluge collection,
Athena in 1991. Published: J. Eisenberg, One
Thousand Years of Greek Vases, 1990, no. 72.
This Early Classical painter is especially known for
his column kraters and neck amphorae.
55
119 ATTIC VERY LARGE RED-FIGURE
LEKYTHOS BY THE CARLSRUHE
PAINTER A female holding a sash, a
servant to the left, a duck between; PAIDES
written above.
Ca. 440-430 BC. H. 17 1/8 in. (43.5 cm.)
Ex Patricia Kluge collection, Charlottesville,
Virginia, acquired from Royal-Athena in
1992. Published: J. Eisenberg, Art of the
Ancient World, vol. VII, part I, 1992, no.
275.
120 ATTIC RED-FIGURE LEKYTHOS FROM

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

THE MANNHEIM PAINTER A black glaze
with set off shoulder and square handle
attached at the lip and shoulder. Under the
shoulder is a frieze with blossoms, an egg and
dart frieze around the lip.
Ca. 450 BC. H. 10 1/2 in. (26.9 cm.)
Ex German collection. For the Mannheim
Painter and a group of similarly decorated
oinochoai see: J. Beazley, Attic red-figure
vase painters, 1963, 1065,5, Oxford,
Ashmolean Museum V298.
56
57
122
ATTIC RED-FIGURE STAMNOS AND LID BY THE
TYSZKIEWICZ PAINTER A boy stands at the center,
facing to the left. He holds a tortoise-shell lyre in his left
hand and with his right hand gestures at the taller youth
at left. The latter leans on his knotty walking stick and
rests his right hand on his hip. At the right, a bearded
man assumes a similar posture, but without a stick and
with his back turned toward us. The boy with the lyre,
perhaps on his way home from a music lesson, is being
accosted by the man and the older youth, who may wish
anything from a few casual words to a sexual liaison. The
boy is distinguished from his waylayers both by his smaller
stature and by the cut of his hair, with long side-locks and
four rolls on the nape. Reverse: Three nude youths are
cleaning up after exercising in the palaestra. The youth at
the left holds out a round oil flask (aryballos) with a red
leather cord around its neck. He has poured oil into his left
hand and is now rubbing it on the right arm of his friend
at center. The latter scrapes oil and dirt from his right thigh
with a bronze strigil; a stream of oil pours from the strigil’s
tip. With his left hand, he reaches back to touch the rump
of a third youth, who walks away to the right. This youth, wearing a cloak over his shoulders and holding
a strigil in his left hand, looks back to see who is taking such liberties with him. On all three figures,
the abdominal muscles are drawn with brown, diluted glaze.
Ca. 480 BC. H. with lid: 19 1/2 in. (49.5 cm.); Ex English collection; Patricia Kluge collection,
Charlottesville, Virginia, acquired from Royal-Athena in 1990. Published: J. Eisenberg, One Thousand
Years of Ancient Greek Vases, 1990, no. 91. The incised graffito on the bottom of the foot is Type Fii in A.W.
Johnston, Trademarks on Greek Vases, Warmington, 1979, p. 155; the shape of the vase is that of the Class of
the Siren Painter’s stamnoi; see B. Philippaki, The Attic Stamnos, Oxford, 1967, pp. 98-100.
South Italian Vases
123
APULIAN LARGE RED-
FIGURE CALYX KRATER
BY THE WHITE SACCOS PAINTER
A seated Apollo with a thyrsos and a
lyre; a female with a situla, and a nude
satyr with a torch and a situla. Reverse:
A large winged head of a goddess.
Ca. 320-310 BC.

H. 18 1/8 in. (46 cm.);
Diam. 16 1/2 in. (41.9 cm.)
Ex English collection; Patricia Kluge
Published: A.D. Trendall, The Red-fig-
ured Vases of Apulia, Suppl. II, 1992,
no. 29/8c, pl. XCVI, 3-4;
J. Eisenberg, One Thousand Years of
Ancient Greek Vases, 1990, no. 103.
58
124
APULIAN LARGE RED-FIGURE
COLUMN KRATER BY THE DIJON
PAINTER A warrior is taking his leave
of two women. He stands in the center,
facing left, wearing a tunic, cloak, and
Attic helmet. In his left arm he holds a
pair of spears and a round shield. In his
extended right hand he holds a kantharos
that the woman at the left is filling from
a jug. The wreath brought by the woman
at the right is an omen of victory and is
also appropriate to wear when making
offerings. The cakes can be understood
both as additional offerings at the ceremo-
ny of departure and an allusion to the
offerings brought to the tombs, a
reminder that the young warrior may be
going to his death. Such double meanings
are common in Apulian vase-paintings,
which are frequently on vessels made
specifically for funerary use. The situla
which the woman holds probably contains
water.
Reverse: Two youths converse at the left,

as a third youth gestures toward them
from the right. All three wear himations,
and the one at center holds a walking
stick. The square ‘window’ and the liba-
tion bowl (phiale) in the background are
common ornaments. The low pillar below
the ‘window’, however, and the pair of
jumping-weights at the upper left, identi-
fy the setting as the palaestra, the public
exercise ground. The streaks on the pillar
resemble the dried blood on altars, and
we may wonder if a double-meaning is
intended. Jumping-weights (halteres)
were used by broad-jumpers to try to
increase the length of their jump; with
one in each hand the jumper flung his
arms forward during the leap, so that the
momentum of the weights would pull him
forward.
Ca. 370-360 BC.

H. 20 1/2 in. (52 cm.);
W. 19 1/8 in. (48.5 cm.);
Diam. 15 3/4 in. (40 cm.)
Ex Swiss collection; Patricia Kluge
Published: A.D. Trendall, The Red-fig-
ured Vases of Apulia, Suppl. II, 1992,
p. 33, no. 6/166a.
59
125
APULIAN VERY LARGE RED-FIGURE VOLUTE KRATER BY THE
PAINTER OF TARANTO 7013. Two nude youths in an Ionic naiskos
surrounded by attendants. On the neck: An Amazon on horseback pursu-
ing a deer. Reverse: Two females on either side of a stele. Medusa masks
and winged figures on volutes. Ca. 320 BC. H. 41 1/2 (105.4 cm.);
maximum width: 19 in. (48.2 cm.) Ex Patricia Kluge collection,
Charlottesville, Virginia, acquired from Royal-Athena in 1995.
Published: A.D. Trendall, The Red-figured Vases of Apulia, Suppl. II,
1992, 528, 28/39b; J. Eisenberg, Art of the Ancient World, vol. VIII,
1995, no. 119. 60
126
APULIAN VERY LARGE RED-FIGURE VOLUTE KRATER BY THE
BALTIMORE PAINTER, close to Toledo 77.45. Seated in an Ionic
naiskos a bearded male clasps the hand of a standing youth, a cuirass
between; a helmeted horseman at right. On the neck, the head
of an elderly bearded male. Reverse: A youth seated within an Ionic naiskos
flanked by attendants. Medusa masks on volutes. Ca. 340 BC.
H. 44 1/4 in. (112.4 cm.); maximum width: 24 in. (60.9 cm.)
Ex Patricia Kluge collection, Charlottesville, Virginia, acquired from Royal-
Athena in 1995. Published: A.D. Trendall, The Red-figured Vases of
Apulia, Suppl. II, 1992, 521, 27/13d; J. Eisenberg, Art of the Ancient
61 World, vol. VIII, 1995, no. 118.
127 APULIAN RED-FIGURE FISH-PLATE FROM THE PERRONE-PHRIXOS GROUP Around a central
depression are an ombrina, a red mullet, a squid, two small fish, and a mussel; a crab in the center.
Ca. 340-330 BC. H. 1 3/4 in. (4.5 cm. ); Diam 9 in. (22.9 cm.) Ex Swiss collection, before 1982.
Published: I. McPhee and A.D. Trendall, Greek Red-figured Fish-plates, 1987, p. 125, no. 81.
128 APULIAN RED-FIGURE BELL KRATER BY THE PAINTER OF BOSTON 00.342: 62

THE RECOGNITION SCENE FROM EURIPIDES' IPHIGENEIA IN TAURUS
This is a remarkable and important vase, for the scene on the obverse is based on a stage production of
Euripides’ Iphigeneia in Tauris, first performed in Athens in 414 BC. The scene is set in Tauris, on the
shores of the Black Sea. At the left, Iphigeneia stands before a rustic temple of Artemis, its doorway decked
with laurel branches. The small wooden cult statue (xoanon) of Artemis holding a bow is visible in the
doorway. Iphigeneia wears a belted, diaphanous chiton with two black stripes, and a cloak that hangs over
her arms. A veil hangs from the circular polos (open-topped crown) on her head, which along with the
temple key in her left hand identifies her as a priestess. The polos is decorated with palmettes and maean-
ders. In her right hand is a letter, which she hands to the youth standing before her. He is Pylades, the com-
panion of Iphigeneia’s brother Orestes, who sits below at center. Both youths are dressed as travelers: Pylades
wears a chlamys, petasos, and boots; Orestes sports a chlamys and pilos (pointed felt cap). Both carry
spears. Sitting with Orestes is a dog, which looks up alertly, apparently at a biga drawn by leopards.
Artemis in the biga wears a diadem, gown, and belted deerskin, and holds a goad in her right hand. Below
her, at the lower right, is a curious and unexplained group: a nude youth holding a cat over a marble
louterion (a washbasin).
Reverse: The young Dionysos reclines on an embroidered pillow. In his left arm he cradles a thyrsos and
with his right forefinger he twirls a kylix for the game of kottabos, in which wine dregs are tossed toward
a target, usually a plate balanced on a metal pole. At his feet is a three-legged stool, to the right of which
sits a satyr. The satyr gestures to the left, probably telling the nude boy at the lower left to hurry up with the
wine. The boy dips a jug into a calyx krater decorated with a black figure of a dancing man. While the god
plays his game, his kantharos is held by a second satyr at the upper right. The latter holds a thyrsos in his
other hand and is draped with an animal skin. At the upper left sits a maenad dressed in a chiton and
himation and beating a tambourine. She looks toward Dionysos; hanging between them is a female theatri-
cal mask. Dionysos was the patron god of the theater. His appearance on the reverse of this vase is further
proof that the scene on the obverse was taken from the theater, a point made explicit by the presence of the
mask.
Ca. 360 BC. H. 13 1/2 in. (34.3 cm.); W. and Diam. 14 3/4 in. (37.4 cm.) Ex American private col-
lection, New York; Patricia Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in
1990. Published: A.D. Trendall, The Red-figured Vases of Apulia, Suppl. II, 1992, no. 10/48a.
One of the few works attributed to this talented artist.
63
129 APULIAN RED-FIGURE LIDDED OINOCHOE, SHAPE VII The body is decorated with a horse head
emerging from scrolling tendrils; a large palmette under the knotted handle; the knobbed
lid with two profile female heads between palmettes. Late 4th Century BC. H. 11 in. (28 cm.)
Ex collection of an Austrian noble family, acquired 1750-1780.
130 APULIAN RED-FIGURE PLATE with Herakles seated on rocks, wearing lion-skin covering his head and
tied around his shoulders, holding a club in his right hand and a raised bow in his left, flanked by foliate
tendrils, wave pattern below. Ca. 380-360 BC.
Diam. 8 1/8 in. (20.5 cm.) Ex G. and M. Goldfine collection, Tel Aviv, Israel.
131 CAMPANIAN RED-FIGURE BEAKED OINOCHOE FROM THE WHITEFACE GROUP, SHAPE VI
A reclining female (Amazon?), a shield to the side. On the shoulder: a large female head and a swan.
Scarce type. Ca. 360-330 BC. H. 8 3/4 in. (22.2 cm.) Ex John Kluge collection, Charlottesville,
Virginia, acquired from Royal-Athena in 1988; Patricia Kluge collection, Charlottesville, Virginia, 1990-
2010.
132 CAMPANIAN RED-FIGURE FISH PLATE BY THE THREE-STRIPE PAINTER with two bream
and a torpedo around a circular depression; a wave design around the rim. Ca. 340-320 BC.
Diam. 7 1/4 in. (18.4 cm.) Ex John Kluge collection, Charlottesville, Virginia, acquired from
Royal-Athena in 1988; Patricia Kluge collection, Charlottesville, Virginia, 1990-2010. 64
133 PAESTAN RED-FIGURE SKYPHOS FROM THE ASTEAS-PYTHON WORKSHOP Two nude
women washing at a laver; the girl at the right looks into the mirror in her right hand. An inscription
incised above her head identifies her as Myrtipho; another inscription labels the girl at left as Emauta
(refer to RVP, p. 149, where it occurs on a cup by Python). Such inscriptions are quite rare, especially on
small vases like skyphoi. Reverse: A nude youth and a draped female exchanging objects.
Ca. 340-325 BC. H. 10 1/4 in. (26 cm.); W. 10 1/8 in. (25.7 cm.); Diam. 6 in. (15.2 cm.)
Ex English collection; John Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in
1988; Patricia Kluge collection, Charlottes-ville, Virginia, 1990-2010.
134 PAESTAN RED-FIGURE SKYPHOS FROM THE ASTEAS- PYTHON WORKSHOP with figures in
applied red. A seated female. Reverse: A seated nude male holding bird. Ca. 340-330 BC.
H. 4 in. (10.2 cm.); W. 6 5/8 in. (16.8 cm.) Ex John Kluge collection, Charlottesville, Virginia,
acquired from Royal-Athena in 1988; Patricia Kluge collection, Charlottesville, Virginia, 1990-2010.
135 GREEK TERRACOTTA

PLASTIC VASE FROM
THE MAGENTA GROUP
IN THE FORM OF A
COUCHANT GOAT,
wearing an applied garland
around his brow; long
incised beard. The tubular
neck and ribbon handle
are attached to his back.
South Italy,
3rd-2nd Century BC.
H. 7 in. (17.8 cm.);
L. 9 1/2 in. (24. cm.)
Ex American collection.
65
Etruscan Vases
136 ETRUSCAN BLACK-FIGURE PANEL

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

HANDLED KANTHAROS BY THE MICALI
PAINTER A plastic head, a dancing nude
male and dolphins on the handle; on the body,
a sphinx and animals. Ca. 530 BC.
H. 14 1/4 in. (36.2 cm.)
Ex Swiss private collection; Patricia Kluge
collection, Charlottesville, Virginia, acquired
from Royal-Athena in 1991. Published: Münzen
und Medaillen, Kunst Werke der Antike, 1983,
no. 12; N. Spivey, The Micali Painter and His
Followers, Oxford, 1987; J. Eisenberg, Art of
the Ancient World, vol. V, part I, 1988, no. 47.
The Micali Painter was one of the most talented
of the late 6th century Etruscan vase painters.
This type of vase is also often referred to as a 66
kyathos.
138
ETRUSCAN RED-FIGURE STAM-
NOS BY THE THE VOLTERRA
CAERETAN PAINTER A winged
Artemis (the Etruscan Artumes) in a
biga drawn by stags, a hare in front.
Reverse: A seated female holding a
large basket. Caere, ca. 350-325 BC.
H. 13 5/8 in. (35 cm.)
Ex Patricia Kluge collection,
Royal-Athena in 1991. Published: J.
Eisenberg, Art of the Ancient World,
vol. VI, part II, 1991, no. 78.
Cf. M. Del Chiaro, Etruscan Red-

Figured Vase Painting at Caere,
Berkeley, 1974, 29-33. An unusually
fine work by this artist, especially the
elaborate detail of the biga.
67
Ancient Glass
139 ROMAN SIDONIAN MANGANESE PURPLE

MOLD-BLOWN GLASS BARREL VASE
with tendril frieze around the waist; ribbing at the
shoulder and lower body; highly iridescent.
1st Century AD. H. 2 5/8 in. (6.7 cm.) Ex collection
of Gershon Bineth (d. 1973), Jerusalem; Ricklis collec-
tion, New York, acquired in the early 1970s.
140 ROMAN AMBER MOLD-BLOWN GLASS DATE

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

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

COSMETIC TUBE with diagonal fluting and two
applied handles; with heavy silvery iridescence.
4th-5th Century AD. H. 5 7/8 in. (14.9 cm.) Ex col-
lection of Gershon Bineth (d. 1973), Jerusalem; Ricklis
collection, New York, acquired in the early 1970s.
68
143 ROMAN PALE GREEN GLASS BEAKER-FORM LAMP (CARCHESIUM) with applied blue dot motifs;
some iridescence. 4th-5th Century AD. H. 2 3/4 in. (7 cm.) Ex collection of Gershon Bineth (d. 1973),
Jerusalem; Ricklis collection, New York, acquired in the early 1970s.
144 ROMAN PALE BLUE-GREEN GLASS VASE with three ribbon handles applied to the neck and shoulder.
Around the globular body is an applied band of trailing above a zig-zag; some iridescence.
4th Century AD. H. 3 5/8 in. (8.6 cm.) Ex collection of Gershon Bineth (d. 1973), Jerusalem; Ricklis
145 ISLAMIC GLASS DOUBLE UNGUENTARIUM ON THE BACK OF A DROMEDARY fashioned as a
single piece, the unguentaria with applied trailings and a single handle; with some iridescence.
7th-8th Century AD. H. 4 in. (10.2 cm.) Ex collection of Gershon Bineth (d. 1973), Jerusalem; Ricklis
146 ISLAMIC DEEP GREEN GLASS BOTTLE
with ten large applied whorls; some iridescence.
7th-8th Century AD. H. 3 1/2 in. (9 cm.)
Ex collection of Gershon Bineth (d. 1973),
Jerusalem; Ricklis collection, New York, acquired in
the early 1970s.
69
Ancient Gold Jewelry
147 SIXTEEN HELLENISTIC GOLD LAUREL LEAF

HAIR ORNAMENTS, each devised as three joined
leaves, mounted in a modern circlet.
Ca. 2nd-1st Century BC.
Ls. 1 7/8 in. (4.8 cm.) - 1 3/8 in. (3.5 cm.)
Ex private French collection. The dried aromatic leaf
of the laurel or bay (Laurus nobilis), used as a sea-
soning in cooking to which the Greeks and Romans
attributed magical properties, has long been a symbol
of honor, celebration, and triumph.
148 ETRUSCAN GOLD FILIGREE EARRINGS
Openwork ribbons filled with wire bands, bosses,
scrolls. Probably from Vetulonia,
Ca. 700-675 BC. Dia. 1 9/16 in. (4 cm.)
Ex Thane Collection, England; W.D. collection, Jericho,
New York. Published: J. Eisenberg, Art of the Ancient
World, vol. VIII, 1995, no. 131; vol. XIV, 2003, no. 128. For a similar pair of bracelets, see: A. Maggiani,
et al., Treasures from Tuscany - The Etruscan Legacy, 2004, p. 40, no. 44.
149 LATE HELLENISTIC GOLD BUCKLE designed as two circular medallions one with the face of the god
Bes, the other of a lion; original bronze attachments. 1st Century BC - early 1st Century AD.
Ex W.N. collection, Wiesbaden, Germany. Published: J. Eisenberg, Art of the Ancient World,
vol. XVII, 1996, no. 140. Cf. the lion heads in F.H. Marshall, Catalogue of the Jewellery - Greek,
Etruscan, and Roman, British Museum, 1968, pl. XXXVII.
70
150 ROMAN GOLD FINGER RING WITH A RED CARNELIAN INTAGLIO OF A THEATER MASK
in profile, facing left. 1st Century AD. Ring size, 1 1/2; Diam. 1/2 in. (1.3 cm.)
Ex private French collection.
151 ROMAN GOLD FINGER RING SET WITH A CYLINDRICAL EMERALD BEAD on a gold pin with-
in a crenelated, rectangular bezel, the shank with open scroll work at the shoulder to secure the bezel.
Ca. 3rd Century AD. Ring size, 3 1/2; Diam. 0.57 in. (14.5 mm.) Ex private French collection.
Published: J. Eisenberg, Art of the Ancient World, vol. XVIII, 1997, no. 176.
152 SOUTH ARABIAN GOLD MEDALLION with a Yemenite inscrip-
tion; a goat above and a lion below. 1st Century AD. Very rare. Ancient Silver
D. 3/4 in. (1.9 cm.) Ex French collection.
153 ROMAN SILVER APPLIQUE BUST OF MERCURY, bare-chested and wearing a petasos.
2nd-3rd Century AD. H. 2 1/8 in. (5.5 cm.) Ex private collection, Los Angeles, California.
154 OSTROGOTHIC SILVER BUCKLE WITH A RELIEF OF A LION The Crimea, 6th Century AD.
L. 4 3/8 in. (11.3 cm.) Ex S.A. collection, Germany.
71
E gypti an S to ne Sc ul p tur es & Reli efs
155 PAIR OF EGYPTIAN OLD KINGDOM LIMESTONE SUNK RELIEFS FOR NYANHKNESUT
Each is carved with a representation of this dignitary with the hieroglyphs for his name above. He strides,
wearing the simple kilt with a triangular apron knotted at the waist which was fashionable at the time.
The relief at right shows him with the distinctive sash of a cult priest wrapped around his right shoulder,
chest, and back, In his right hand Nyankhnesut holds a horizontal object, most likely the end of a sekhem-
sceptre, the front of which is not shown, however. He is wearing a shoulder-length wig covering his ears
and sports a short square beard. In the relief at left, he is beardless and wears a well detailed helmet-like
wig of tiered curls. He holds in his right hand a flail. With his left hand he clutches a gold collar from
which hangs a large pendant of Hathor. Early VIth Dynasty, ca. 2323-2291 BC.
H. 24 1/4 in. (61.5 cm.) x 10 7/8 in. (27.5 cm.); H. 25 in. (63.5 cm.) x 9 3/4 in. (24.8 cm.)
Ex collection of Dr. Jacob Hirsch, 1920s; English private collection, 1930s-1950s; K.J. Hewett, London,
1960s-1970s; Andrew Hess, Wilton Crescent, London; French collection dispersed at the Drouot, Paris, in
2010.
72
For a similar pair of reliefs from this tomb, see: C.A.R. Andrews and J. van Dijk, Objects for Eternity,
Egyptian Antiquities from the W. Arnold Meijer Collection, Mainz, 2006, pp. 38-41, no. 1.24, illus. Some
60 reliefs from this tomb are now in public and private collections.
The decoration of the two reliefs is simple: each has a standing figure of the tomb owner facing inwards; above
him are four hieroglyphs spelling his name, Nyankhnesut. As is so often the case with high officials of the Old
Kingdom, many of the titles enumerated in the tomb link him with the court and with the king personally
'confidant of the king in his every place'; some of them may be honorific rather than real titles. On the other
hand, Nyankhnesut bore several priestly titles, and this may have been his chief occupation in life. Thus he was
'chief lector priest', 'sem priest', 'overseer of the secrets of heaven', and 'greatest of seers in Heliopolis', i.e. high
priest of the sun god Re.
The tomb appears to have been discovered around 1917 and was said to be already in ruins at that time (L.M.
Berman, Catalogue of Egyptian Art, The Cleveland Museum of Art, Cleveland and New York, 1999, p.
135). The exact location of the tomb within the necropolis remained unknown until January 2000, when it
was rediscovered by the inspectors of the Saqqara office of the Supreme Council of Antiquities close to the
north-west corner of the enclosure of Sekhemkhet (A. Leahy and I. Mathieson, "The Tomb of Nyankhnesut
(Re)discovered," Journal of Egyptian Archaeology, vol. 87, 2001, pp. 33-42, pls. IV-V, and K. Mahmoud,
"Preliminary Report on the Tomb of Nyankhnesut at Saqqara: 1st Season of Excavation”, Göttinger Miszellen,
vol. 186, 2002, pp. 75-88). It is a fairly large mastaba measuring some 20 meters from the entrance to the
rear wall of the innermost chamber; there are five rooms and a long corridor. (...)
156 EGYPTIAN AMARNA PERIOD SANDSTONE SUNK RELIEF: SERVANT GIVING

HOMAGE From Karnak, XVIIIth Dynasty, reign of Akhenaten, ca. 1350-1334 BC.
H. 7 1/4 in. (18.5 cm.) W. 7 in. (18 cm.) Ex Jean-Marie Talleux Collection,
Grand Fort Philippe, France; V. S. collection, Fort Lauderdale, Florida, 2000-2010.
Published: J. Eisenberg, Art of the Ancient World, vol. IX, 1997, no. 168.
73
157
EGYPTIAN LIMESTONE OFFERTORY
STELE FOR SEKHMET AND NEFERTUM
Beneath the winged disc of Horus Behedet,
Sekhmet, the lion-headed goddess of war wearing
the Double Crown stands at left behind
Nefertum, god of perfumes. Before them stands a
priest holding an incense burner and a libation
vase.
XXII-XXIIIrd Dynasty, 945–730 BC.
H. 15 1/2 in. (39.6 cm.);
W. 15 3/4 in. (40 cm.)
Ex old French collection.
158
EGYPTIAN REDDISH BROWN STONE
ENTHRONED OSIRIS Mummiform, wearing
an Atef-crown and holding a crook and flail
crossed over his chest.
XXVIth Dynasty, 664-525 BC.
H. 6 1/2 in. (16.5 cm.)
Ex Bandy collection, Rochester, Michigan.
Exhibited: Kresge Art Gallery, Michigan State
University, 1985-2002.
74
159
EGYPTIAN NEW KINGDOM LIMESTONE
USHABTI FOR NEFERTITI, the mistress of
the house, mummiform, with a single column of
hieroglyphic text.
Late XVIII-early XIXth Dynasty,
ca. 1400-1250 BC. H. 5 1/4 in. (13.56 cm.)
Ex Canadian private collection assembled
between 1960 and 1970.
160
EGYPTIAN LIMESTONE SCULPTOR’S
MODEL RELIEF OF A YOUNG GOD OR
PRINCE wearing the Red Crown fronted by a
uraeus and bearing the sidelock of youth.
Ptolemaic Period, 305-30 BC.
H. 5 1/4 in. (13.5 cm.);
W. 4 3/8 in. (11.3 cm.) Ex French collection.
161
EGYPTIAN LIMESTONE DEEP BUST
OF BES, the dwarf god of children, games, and
laughter, with a modius on his head. The eyes are
deeply carved and recessed beneath the heavy, fur-
rowed brow and he wears a lion head necklace.
H. 9 in. (22.9 cm.) Ex collection of Hermione
Speier, Assistant Librarian of the Vatican, 1940s-
50s, thence by descent.
75
Egypti an
S to ne Vessels
162 EGYPTIAN OLD KINGDOM

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

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

BANDED ALABASTER COSMETIC
VASE with globular body, broad lip
and slight flaring at the base.
XVIIIth-XIXth Dynasty,
ca. 1540-1190 BC.
H. 3 1/2 in. (8.9 cm.)
Ex American private collection, dispersed
in 1990. Published: J. Eisenberg, Art of
the Ancient World, vol. X, 1999, no.
236.
76
165
EGYPTIAN NEW KINGDOM
LARGE ALABASTER AMPHORA
with a polychrome encaustic lotus
band and double cartouche of
Ramesses II, ca. 1279 - 1213 BC.
H. 16 in. (40.5 cm.)
Extremely rare and choice.
Ex N. Z. collection, Geneva;
Patricia Kluge collection,
Charlottesville, Virginia, acquired
from Royal-Athena in 1990.
77
Like most pharaohs, Ramesses had five names.

The two cartouches set forth the throne name or
praenomen: User-maatre-setepenre, meaning
“Strong in Right is Re, Chosen of Re.”
The cartouche at the right sets forth his nomen:
Ramesis Meriamon, meaning “Born of Re,
beloved of Amon.”
Above these are the epithets Lord of the Two
Lands (sedge: Lower Egypt and bee: Upper
Egypt) and Son of the Sun God.
Below: “May he live forever.”
Egyptian Bronze
Sculptures
166
HIGHLY IMPORTANT This was probably one of the several
LARGE EGYPTIAN BRONZE large bronze statues found in the Temple
STATUE OF A PRIESTESS OF of Amun at Karnak in the early 19th
AMUN with inlaid stone eyes Century. This is one of the two largest
and separately cast short wig of examples; the other is heavily restored.
tiny layered locks of hair. Her It is the only one in private hands; the
attached arms are outstretched, others are in museums in Athens, Berlin,
probably to hold two sistra Leiden, London, and Paris. The Louvre
(musical rattles). She retains her acquired theirs in 1829. Ex S.O.S. col-
original gold necklace and lection, Basel, Switzerland, acquired in
remains of gold leaf on her wig. the late 1950s; J.A.L. collection,
XXIInd Dynasty, 945-715 BC. Chesterfield, Virginia.
H. 37 in. (94 cm) including her
restored feet and ankles. Doubtless, one of the most important
Egyptian works of art to appear on
the art market in a generation!
78
79
167
IMPORTANT LARGE EGYPTIAN
BRONZE KNEELING PHARAOH
wearing the nemes, an usekh neck-
lace, and the shendyt-kilt; he is
holding his right hand on his chest
and his left forearm in an upright
position. The attitude is the henu
pose, a traditional gesture expressing
jubilation. Very rare.
XXVIth Dynasty 664-525 BC.
H. 11 3/4 in. (29.8 cm)
Ex Hélène Servais collection,
Brussels, acquired in 1935.
Only four other kings in this pose are known

to us. Three are listed by Josephson; see: J.A.
Josephson, Egyptian Royal Sculpture of the
Late Period, 400-246 BC, Mainz, 1997,
pp. 33-39, pl. 12; one in Paris (ex
Hoffmann collection), bronze, H. 6 1/8 in.
(15.5 cm); one in the British Museum (BM
11496, bronze, no measurement); and the
one in his own collection (ex de Béhague
collection, now in the Metropolitan Museum
of Art), wood. H. 8 1/4 in. (21 cm).
Cf. M. Hill, Royal Bronze Statuary from
Ancient Egypt, Leiden, 2004. The fourth,
a 9 3/8 in. (23.8 cm.) bronze dated to the
XXVth Dynasty, from the collection of Roger
Fernand Galliano, is now in a private col-
lection.
80
81
82
168 ROMANO-EGYPTIAN LARGE BRONZE SERAPIS wearing a
chiton, wrapped in an himation; a modius on his head. He stands
with his weight on his left leg, his right knee bent as if striding; his
right arm is outstretched. 1st Century BC/AD.
H. 13 1/2 in. (34.3 cm.) Ex English collection; L.B. collection,
New York, acquired from Royal-Athena Galleries in 1985; J.A. col-
lection, Almadoro, Portugal.
169 EGYPTIAN BRONZE PTAH, patron of artists and craftsmen,

wears a close-fitting cap, broad collar, and sed-cloak, and holds
before him the was-scepter; inscription on base.
Late Dynastic Period, 715-332 BC. H. 6 1/2 in. (16.5 cm.)
Ex English private collection.
170 EGYPTIAN BRONZE KNEELING PHARAOH, the royal figure

with his arms bent at the elbows and projecting forward in an offer-
tory position. He wears a tripartite wig fronted with a uraeus and a
royal shendyk-kilt; details incised.
XXVIth Dynasty, 664-525 BC. H. 5 3/4 in (14.6 cm.)
Ex Swiss collection prior to 1970; Joop Bollen collection, South
83 Dakota.
171
ROMANO-EGYPTIAN BRONZE
FITTING OF BES AND BESIT
standing back to back, their feet resting
on swans perched above a pair of
couchant lions on an integral rectangular
base. 1st-2nd Century AD.
H. 2 3/4 in. (7 cm.) Ex collection of
Henry Wallis R. W. S. (1830-1916), the
Pre-Raphaelite painter, thence by descent.
172
EGYPTIAN BRONZE USHABTI OF
THE PHARAOH PSUSENNES I,
mummiform, holding a hoe in each
hand, a seed sack between his shoulders,
wearing a tripartite wig; a cartouche
with the pharaoh's nomen incised below.
XXIst Dynasty, reign of Psusennes I,
1040-992 BC.
H. 2 15/16 in. (7.4 cm.)
Ex Frank J. and Victoria K. Fertitta
collection, Las Vegas; Los Angeles County
Art Museum, acquired in 1980.
173 EGYPTIAN LARGE BRONZE SITULA with a procession of deities; above, a frieze with barques,
figures, baboons, and jackals; open lotus blossom around base; a band of faint hieroglyphic inscription
below the lip. Ptolemaic Period, 305-20 BC. H. 10 in. (25.5 cm.)
Ex German collection. With a metallurgical analysis by Dr. Gerhard Lehrberger, University of Munich.
84
Egyptian Faience
174
EGYPTIAN TURQUOISE FAIENCE STRIDING
IBIS-HEADED THOTH wearing a pleated kilt,
broad collar, and striated tripartite wig.
XXVIth Dynasty, 664-525 BC.
H 5 3/8 in. (13.5 cm.) Ex American private
collection acquired from Jean-Loup Depras, Paris,
in 1983. Exceptionally fine style.
175
EGYPTIAN TURQUOISE FAIENCE AMULETIC
SEAL OF PATAIKOS, standing on crocodiles, flanked
by deities topped by Neb Re; scarab on head, triad on
belly; behind: striding figure of Men-kheper-Re Shu.
H. 1 1/2 in.(3.8 cm.) Ex English collection dispersed
in 1993. Published: J. Eisenberg, Egyptian Art in
Miniature: Amulets and Scarabs, 1994, no. 14.
176
EGYPTIAN GREEN FAIENCE AMULET OF
NEFERTUM, GOD OF FRAGRANCES, wearing
lotus headdress with menat pendants, surmounted by
plumes. Late Dynastic Period, 715-332 BC.
H. 4 3/4 in. (12.1 cm.)
Ex collection of Col. Arbuthnot, acquired in Port Said
or Alexandria between 1930 and 1947; acquired in
London by the J.S. collection, Lyndhurst, NY, in 1988.
85
177 EGYPTIAN TURQUOISE FAIENCE USHABTI FOR NESIPERNOUB, Divine Father of Amun, Scribe
of Mut, mummiforn holding hoes; details and two columns of hieroglyphic text in black.
XXIst Dynasty, 1069-945 BC. H. 5 3/4 in. (14.5 cm.) Ex collection of Dr. John S. Winnie, Georgia.
Published: L. Aubert, Les statuettes funéraires de le Deuxième Cachette, Paris, 1998, p. 76.
178 EGYPTIAN GREEN FAIENCE USHABTI mummiform and holding hoes and a seed basket. With twelve
incised registers of hieroglyphic text setting forth his name and title as well as the ushabti spell from Chapter VI
of the Book of the Dead. XXVIth Dynasty, 664-525 BC. H. 8 1/4 in. (21 cm) Ex French collection.
179 EGYPTIAN TURQUOISE FAIENCE USHABTI Uninscribed. Ptolemaic Period, 305-30 BC.
180 EGYPTIAN TURQUOISE FAIENCE MODEL OFFERING TRAY formed as a rectangular tray supporting
two rows of five cups, each with a tall foot flaring to form a shallow bowl. XXVIth-XXXth Dynasty, ca. 664-
343 BC. L. 3 7/8 in. (9.8 cm.) Ex Austrian collection. Cf: G. Scott, Temple, Tomb & Dwelling, Egyptian
Antiquities from the Harer Family Trust Collection, 1992, no. 129, pp. 180-182.
86
Egyp tia n Wo od
& Terracottas
181
EGYPTIAN UPPER SECTION OF
AN ANTHROPOMORPHIC WOOD
COFFIN LID The face is framed by a
voluminous tripartite wig. The eyes and
eyebrows were once inlaid with bronze
and stone, parts of which are preserved.
Late Dynastic Period, 664-342 BC.
H. 37 3/8 in. (95 cm.)
Ex Belgian collection. Cf. S. Ikram and
A. Dodson, The Mummy in Ancient
Egypt, London, 1998, pp. 236-241.
182 EGYPTIAN NEW KINGDOM POLYCHROME WOOD

USHABTI, mummiform and holding hoes; a column of hieroglyphic
text on the front; extensive original pigment remaining.
XIXth Dynasty, ca. 1293-1185 BC. H. 7 3/4 in. (19.7 cm.)
Ex M.B. collection, Woodland Hills, California.
183 EGYPTIAN POLYCHROME WOOD FALCON with black details
on red and yellow grounds. XXVth-XXXth Dynasty, 712-332 BC.
L. 8 in. (20.3 cm.) Ex H. W. collection, New York, acquired in
London in 1993.
87
184 EGYPTIAN WOOD HAND FROM A SARCOPHAGUS The elegant, elongated fingers extended but
relaxed and the nails clearly described; the upper side with yellowish brown gypsum sizing, the underside
unpainted.. XXII-XXVIth Dynasty, 100-525 BC. L. 8 in. (20.5 cm.) Ex German collection.
185 EGYPTIAN WOOD CAT, embodiment of Bastet, patroness of joy and women, seated on her haunches in
the traditional attitude with alert ears. Late Period, 715-30 BC. H. 3 in. (7.8 cm.) Ex French collection.
186 EGYPTIAN STEATITE OPENWORK PLAQUE with Horus enthroned on one side and the cartouche of
Tuthmosis III on the other. Late Period, 664-332 BC. 24 x 30 mm. Acquired in London, December 1993.
187 ROMANO-EGYPTIAN TERRACOTTA

HARPOKRATES RIDING A HORSE, wearing a
Double Crown and holding his right forefinger to his
mouth. 1st Century BC/AD. H. 6 1/2 in. (16.4 cm.)
188 ROMANO-EGYPTIAN TERRACOTTA
RECLINING SILENOS
1st Century BC/AD. H. 3 7/8 in. (10 cm.)
88
189
ROMANO-EGYPTIAN TERRACOTTA GROUP
WITH HARPOKRATES wrapped in a himation
and wearing a rolled fillet with sidelock, finger to
mouth, standing to the right of a boy holding a jug.
1st Century BC/AD. H. 9 1/2 in. (24.2 cm.)
Ex collection Jean-André Périchon-Bey (1860-1929),
Rodah, Egypt, and Paris; acquired before 1903.
A very rare unpublished type.
190
ROMANO-EGYPTIAN TERRACOTTA NUDE
BAUBO SEATED ATOP A BOAR The goddess of
ribald jocularity is nude, legs spread, a vase atop her
head with a long veil hanging down one side. Traces
of pink and white polychromy remaining.
A rare type. Roman Perod, ca. 1st Century AD.
L. 4 7/8 in (12.4 cm.) Ex French collection.
191
ROMANO-EGYPTIAN TERRACOTTA FLUTE
PLAYER, the youth wrapped in a himation, at his
feet an amphora, a jar, and a bouquet of flowers; a
tympanum on his shoulder. Traces of polychromy
remaining. 1st Century BC/AD. H. 6 5/8 in. (17
cm.) Ex French collection dispersed at the Drouot,
Paris, in 2004.
89
Near E astern A ntiqu ities
192 STYLIZED STEATOPYGOUS FEMALE IDOL with schematic arms extended, the head suggested by a
triconic hairstyle; with traces of copper oxide. Very rare. Probably from Crete, early 1st Millennium BC.
193 ANATOLIAN MARBLE KUSURA-BEYCESULTAN TYPE IDOL of flattened form with round body, ves-
tigial arms, short neck, and ovoid head. Bronze Age II-III, ca. 2700-2000 BC. H. 3 1/2 in. (9 cm.) Ex
London market, 2000. Cf. Exhibition catalogue Art of the Cyclades, Karlsruhe, 1976, p. 388, no. 520.
194 YORTAN CULTURE BLACK POTTERY LIDDED JAR with ovoid body, cylindrical neck and white-
filled zig-zag designs. It has a ring foot and four lug handles. W. Anatolia, Troy I, 3500-2600 BC.
H. 4 in. (10.2 cm.) Ex Clemens Holzmeister (1887-1983) collection, acquired between 1927 and 1954.
Cf. T. Kamil, Yortan Cemetery in the Early Bronze Age of Western Anatolia, 1982, pl. 4.6.
195 NEOLITHIC POTTERY SEATED STEATOPYGOUS FEMALE, her arms supporting her breasts.
Tel Halaf, Al Hasakah governate, Syria Ca. 4500 BC. H. 1 7/8 in. (5 cm.) Ex Dutch market.
196 URARTIAN BRONZE BULL PROTOME Deeply cut eyes and a collar of triangular section once inlaid.
Fine green and red patina. Armenia, 7th century BC. H. 2 3/4 in. (7 cm.) Ex French collection.
Published: J. Eisenberg, Art of the Ancient World, vol. X, 1999, no. 253. Cf. J. Eisenberg, Art of the
Ancient World, vol. IV, 1985, p. 155, no. 502.
90
197 PHOENICIAN BRONZE HELMET The bullet-shaped domed body is hammered from a single sheet
of bronze. Some identical helmets were recovered in the eighties from a wreck lying in Israeli coastal
waters. Earlier 1st Millennium BC. H. 8 in. (20 cm.) Ex collection of Axel Guttmann (1944-2001),
Berlin, acquired in Tel Aviv 1996. A rare, heavyweight helmet from the eastern Mediterranean.
Cf. a similar helmet in J. Eisenberg, Art of the Ancient World, vol. XXI, 2010, no. 246.
198 PHOENICIAN BRONZE CHALCOPHONE The musical instrument is composed of eleven coiled
wire tubes and twin sounding bars, each bar with fifteen attachment holes and terminal spiral res-
onators; four separate fragmentary attachment wires. 8th-6th Century BC. W. 7 1/8 in. (18.3 cm.)
Ex French collection. Cp. a similar example in J. Eisenberg, Art of the Ancient World, vol. XX, 2009,
no. 208. The tubes would have been joined to the sounding bars by wooden pegs which the coiled wire
tubes would have been wound around. It is thought that the chalcophone may have chimed like a
modern xylophone. Examples have been found in South Italian and Phoenician contexts dating from the
8th-6th Century B.C. Similar instruments in later form appear on Apulian red-figure pottery.
199 CAUCASIAN LATE BRONZE AGE CAST AND FORGED BRONZE DAGGER, the blade with a
central ridge and reinforced point, the pierced handle cast separately over the tang and riveted, the grip
with remnants of bone inlays. Ca. 1000 BC. L. 9 5/8 in. (24.4 cm.) Ex Dr. K.-L. collection, Berlin,
1960s.
91
200 PHOENICIAN TERRACOTTA GODDESS
standing on an integral plinth, wearing a high
crown with a wreath, her himation drawn over
her head as a veil, the pleats of her chiton visi-
ble below, her right arm held to her breasts, her
left by her side.
5th-4th Century BC. H. 20 1/2 in. (52.1 cm.)
Ex German private collection since the 1970s.
201 WESTERN ASIATIC BRONZE BELTED

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

ADORANT, his over-sized hands with fingers
outstretched held in front of his stomach.
The Steppes, 8th-6th Century BC.
H. 2 3/4 in. (7 cm.)
Ex collection of Dr. Wassilijew; Levkovic
collection. See references above.
203 INDUS VALLEY CALCITE IDOL A thin slab figure of stylized form, triangular head with lightly incised
facial features and dotted hairline, short, wing-like arms, baluster form body, and feet with incised toes.
Mehrgar Culture, ca. 2500-2000 BC. H. 3 1/2 in. (8.9 cm.) Ex private Bangkok collection; private New
York collection. A rare type.
92
204 SOUTHWEST CASPIAN BRONZE RAM with pendant
loop on its back. Ca. 8th Century BC.
H. 2 3/8 in. (6 cm.); L. 3 1/4 in. (8.2 cm.)
Ex English private collection, deaccessioned in 1988 .
205 LURISTAN BRONZE STANDARD FINIAL OF TWO
CONFRONTED FELINES, 8th-7th Century BC.
H. 5 5/8 in. (14.3 cm.) Ex English private collection; R.
R. collection, Clinton, Michigan, acquired from Royal-
Athena in 1984. Exhibited Picker Art Gallery, Colgate
University, 1985-2007. Cf. O. Muscarella, Bronze and
Iron: Ancient Near Eastern Artifacts in the Metropolitan
Museum of Art, New York, 1988, p. 145, figs. 221-224.
206 AXUMITE TERRACOTTA FEMALE HEAD with long

narrow face, pursed lips, elongated nose; her bulbous eyes
with upward gaze; with hair drawn back and indicated
with three incised 'herringbone' plaits. 3rd Century AD.
H. 2 5/8 in. (6.7 cm.) Ex French private collection.
Axum was an important trading nation in northeastern
Africa beginning in the 4th century BC, rising to its height
in the 2nd-3rd Century AD, specializing in goods from
India and the Roman Empire.
207 PARTHIAN BRONZE INCENSE-BURNER

with a panther resting his forepaws on a round
cup with two legs. 1st Century AD.
L. 8 1/2 in. (21.6 cm.) Ex N.H. collection,
Shelby, Michigan, acquired from Royal-Athena in
1990. Exhibited: Picker Art Gallery, Colgate
University, Hamilton, New York, 1990-2009.
93
Why Collect Ancient Art? his objects of art, rather than depositing them in a
There are several reasons for collecting fine works vault or holding receipts. Also, art is not as volatile
of ancient art: as stocks and bonds, the coin, gem, and collectibles
• The excitement of owning a beautiful work of art markets, and especially the gold and silver markets.
that has survived for perhaps some 2,000 years or Sylvia Porter in her New Money Book recommends
more. classical antiquities as one of the best types of art for
• The decoration of one's home or office with unique rapid growth. Dr Eisenberg was first quoted on the
objects whose beauty and desirability have withstood investment value of ancient art in the February 9,
the test of time. 1966 issue of Newsday - over 40 years ago! - and
• The creative satisfaction, enjoyment, and pride most recently in Business Week.
in forming a truly fine collection.
• The probable appreciation in value. Royal-Athena Galleries
Jerome M. Eisenberg, Ph.D., the founder and
How to Collect Ancient Art director of Royal-Athena Galleries, is usually at the
Sylvia Porter lists ten sound rules as a guide in art New York gallery and visits the London gallery sev-
collecting: eral times each year. He is available by appointment
1. Study the field which interests you as much as for consultation, expertise, and appraisals; or for a
possible. telephone conference. At no obligation he will
2. Buy cautiously at first. arrange a private viewing with guidance on a sophis-
3. Make sure that your work of art has quality. ticated long term program of collecting and invest-
4. Deal with a top gallery or art dealer. “Some dealing in the fine arts. He also is in attendance at all
ers and major galleries will guarantee the authentici- the fairs in which we exhibit.
ty of the art works they sell, so check this point as Over the past 50 years we have sold more than 600
well." (Not only have we been guaranteeing our works of ancient art to many of the country's lead-
ancient art for over fifty years, but to the best of our ing museums, including the Metropolitan Museum
knowledge our two-day auction sale conducted by of Art, the Boston Museum of Fine Arts, the Sackler
Parke-Bernet Galleries (now Sotheby's) in 1964 was Art Museum at Harvard University, the Yale
the first auction sale by several years in which every University Art Gallery, the Princeton University Art
piece was guaranteed - but by us!) Museum, the Newark Museum, the Walters Art
5. Have an understanding with your dealer or gallery Gallery, the Detroit lnstitute of Arts, the Cincinnati
about trading up - so he’ll repurchase or resell your Art Museum, the Minneapolis Institute of Arts, the
works as you have more money to invest in high qual- Milwaukee Public Museum, the New Orleans
ity art. (We normally allow full credit for the exchange Museum of Art, the Virginia Museum of Fine Arts,
or upgrading of objects purchased from us.) the Los Angeles County Museum of Art, and the J.
6. Do not buy art works just because they are a cur- Paul Getty Museum, as well as the British Museum,
rent rage. the Louvre, and a large number of museums in
7. Ask the advice of museum directors or curators Canada, Belgium, Germany, Greece, Hungary, the
whenever possible. Netherlands, Spain, Switzerland, Australia, and
8. Decide upon your investing limit before you buy. Japan. The catalogs of classical marble sculptures
If you fall in love with a more expensive object try to from the Museum of Fine Arts, Boston, and from
arrange for a time payment. (We certainly encourage the J. Paul Getty Museum illustrate no less than 39
this and offer flexible time payments!) pieces acquired from our galleries. In addition, over
9. Spread your financial risks by buying a variety of one thousand objects purchased from us have been
art unless you are an expert in a particular field. donated to many other museums, including the
10. “Buy the best examples you can afford in any Freer Gallery of Art, the Sackler Gallery (The
category.” Smithsonian Institution), and the Brooklyn Museum
We would add two other important rules: of Art.
11. Ask for the provenance of any potential acqui- Dr. Eisenberg travels overseas several times annu-
sitions. ally to visit collectors, museums, clients, and many
12. Do not buy objects that have been signifi- of the nearly 150 private sources, agents, dealers,
cantly restored. Beware of overly restored faces in and auction houses with whom he is in frequent
both vase painting and sculpture. contact. Since 1954 he has made over 240 overseas
trips, purchasing over forty thousand antiquities for
Ancient Art as an lnvestment many tens of millions of dollars.
Historically, ancient art investments have yielded This aggressive purchasing policy, perhaps without
excellent long-term capital appreciation, usually 8% parallel in the field, enables us to offer an extraordinary
to 10% annually. Any investment in tangibles, espe- number of choice objects at very reasonable prices. Our
cially works of art, should be projected for at least willingness to buy in volume and to purchase our
five to ten vears. Normally one should not hold more inventory outright, rather than to take it on con-
than 10% of their investment portfolio in art. signment, results in extremely competitive pricing,
Collecting fine art is a pleasurable way of hedging often considerably below that of other galleries.
against inflation because the investor can enjoy Furthermore, exchanges and purchases are fre-
94
quently made from many past and present clients the 1998 International Congress of Classical Arch-
who may be upgrading their collections or liquidat- aeologists. He gave an address by invitation on the
ing some of their holdings in order to collect in other international trade in antiquities at the
areas. Exchanges or purchases are sometimes carried UNIDROIT Convention in Rome in 1993.
out with museums both in the United States and in He organized two symposia in New York in 1994
Europe for their duplicate accessions or for objects on public policy and the movement of antiquities
not in their recent or current fields of specialization. and in 1998 on the acquisition of antiquities by
museums for the International Association of
Expertise and Ethics Dealers in Ancient Art, of which he is a founding
Ancient art has been the specialty of our director member and was a member of the executive board
for some 56 years, and numismatics for 68 years. from 1993 to 2002.
His many publications on ancient art and numismat- In 1999 he presented testimony to the United
ics span over five decades. The first volume of Art of States Cultural Properties Committee on the legal
the Ancient World by Dr. Eisenberg was published in and illegal trade in ancient art in Italy.
1965. Since 1968 Dr. Eisenberg has concentrated on In 2003 he was a featured speaker and panel partic-
expertise in the ancient arts, having lectured on this ipant in the U.S. Government Conference on
subject at New York University and presented sever- Stolen Mideast Antiquities in Washington, D.C.
al scholarly papers at the annual meetings of the Also in 2003 he featured on the European TV chan-
Archaeological Institute of America, most recently nel Arte and on BBC Radio’s File on Four in in-
on the ‘Roman’ Rubens Vase. His wide range of depth interviews on the antiquities trade. He ap-
expertise is further revealed through other recent peared on television on CBS News, Dateline NBC,
papers: on Egyptian bronzes at a Congress of the
PBS Jim Lehrer News Hour, and CBC Television
International Association of Egyptologists, on
(Canada), and was interviewed on the BBC and
Etruscan bronze forgeries at an International Bronze
Congress, on the ‘Greek’ Boston and Ludovisi PBR Radio, and in print in the New York Times,
thrones at the Magna Graecia Symposium in Venice, Wall Street Journal, Boston Globe, Philadelphia
on Roman bronze forgeries at the 1999 International Inquirer, Washington Post, The Times, and a dozen
Bronze Congress, and on the Portland Vase as a other publications. In 2004 he was featured on a
Renaissance work of art at the 2003 International Discovery Channel program and on Fox News on
Congress of Classical Archaeology. He chaired a the antiquities trade. Also in 2004 he presented a
conference in London on the Phaistos Disk in 2008. paper on ‘The Mesopotamian Antiquities Trade and
In 1996 he was a Visiting Professor at the Institute the Looting of the Iraq Museum’ to the American
of Classical Archaeology of the University of Leipzig, Bar Association. In 2005 he was interviewed on the
Germany. He was elected a Fellow of the Royal antiquities market and the collecting of antiquities
Numismatic Society in 1952; a member of the on National Public Radio in the US and in 2006 on
Archaeological Institute of America in 1960 (and a National Public Television in Athens, Greece.
Life Member in 1988); a Patron of the American In 2007 he delivered a paper on ‘Perspectives on
Numismatic Society in 1955 (and a Life Associate in the Antiquities Trade and the Collector: Past,
1998); a Fellow for Life of the Metropolitan Present, and Future’ at the symposium ‘The Future
Museum of Art in 1966; and most recently, a of the Global Past’ at Yale University. He was inter-
Benefactor of the Museum of Fine Arts, Boston, and
viewed in depth for his expertise on Greek televi-
an Honorary Fellow of the Egyptian Museum in
sion in 2008 and on Artfinding in 2009.
Barcelona, Spain.
Dr. Eisenberg has appeared as an Expert in the
Courts of several states and has conducted appraisals Ancient Coins
for the U.S. Internal Revenue Service, the U.S. We carry a fine stock of select Greek silver and
Treasury Department, the U.S. Customs Service, the bronze coins from $100, and Roman silver and
Metropolitan Museum of Art and the J. Paul Getty bronze coins from $75. We began our business as
Museum, as well as many other prominent institu- ‘Royal Coin Company’ in January 1942, 69 years
tions. He was elected a Qualified Appraiser by the ago, and Dr Eisenberg, cofounder of the firm, has
Appraisers Association of America in 1964 and has specialized in ancient coins, as sole proprietor, since
recently participated in several episodes of the 1952.
Antiques Road Show. He served on the vetting com-
mittee of the European Fine Art Fair at Maastricht Acknowledgements
from 1993 to 2001 and was the Chairman and co- Dr. Eisenberg wishes to express his gratitude to F.
organizer of the New York Antiquarian International Williamson Price who has again diligently prepared
Fine Art Fair held in November 2001. and co-authored the catalog, to Brent M. Ridge
Dr. Eisenberg has been a leader for several years in who did nearly all of the photography, to the schol-
the promotion of the ethical acquisition of antiqui- ars who attributed and reattributed some of the
ties by museums and collectors and has delivered sculptures and vases, especially Kees Neeft and
papers on this subject at the Archaeology Section of Konrad Schauenburg, and to the several others who
the U.K. Institute for Conservation in 1993 and at prefer to remain anonymous.
95
Our website has been greatly improved and expanded as may be seen by the partial
page of Attic vases illustrated below. It is now updated weekly with new acquisitions
and features over 1200 antiquities! We invite you to become a regular visitor.
Wanted to Purchase: Fine Antiquities of All Periods

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

Dealers in Ancient Art Negociants en Oeuvres d’Art Antique Dealers League of America
MINERVA
Minerva, the bi-monthly, international review of ancient art,
archaeology, and numismatics, published in England, was
established by Dr Eisenberg, its publisher and editor-in-chief
from 1990 to 2009. It features the most extensive and timely
coverage by any magazine of worldwide excavations, auctions and
exhibitions emphasizing Greece, Etruria, the Roman Empire,
Egypt, and the Near East.
The book reviews are concise and objective. It also includes the
most extensive annotated listings of international museum exhibi-
tions, meetings, and symposia in ancient art and archaeology.
Sample copies: $8 or £4 postpaid.
editorial@minervamagazine.com www.minervamagazine.com
Subscription (6 issues per year): U.S.A., Canada, and rest of world:

U.K.: 1 year £21, 2 years £39, 5 years £90. Surface: 1 year $50, 2 years $90, 5 years $220.
Europe: 1 year £23, 2 years £44, 5 years £100. Air: 1 year $66, 2 years $122, 5 years $296.
96
Recent Royal-Athena Catalogs: • Art of the Ancient World (Vol. XIII, 2002) illus-
• Art of the Ancient World (Vol. XV, 2004) illustrates trates in full color 203 objects. (80 pages, $5)
in full color 190 objects. (72 pages, $5) • Art of the Ancient World (Vol. XIV, 2003) illus-
• Gods & Mortals: Bronzes of the Ancient World trates in full color 225 objects. (80 pages, $5)
(2004, illustrates in full color 80 objects, 80 pages, $5) • A number of the objects in the last several catalogs
• Ancient Arms, Armor, and Images of Warfare are still available. Price lists will be included.
(2004, illustrates in full color 100 objects, 48 pages, $5) • All 10 of the above catalogs, 1985 through 2003
• Art of the Ancient World (Vol. XVI, 2005, illustrates (total list price $65), only $50. (Add $50 for over-
in full color 192 objects, 80 pages, $5) seas airmail.)
• Mythologies of the Classical World & Ancient Egypt Orders for our catalogs may be charged to your credit
(2006, 48 pages, $5) card.
• Art of the Ancient World (Vol. XVII, 2006, illustrates Trade lnquiries
in full color 233 objects, 96 pages, $5) We cordially invite inquiries from fellow art dealers,
• Art of the Ancient World (Vol. XVIII, 2007, illustrates art consultants, architects, interior designers, and insti-
in full color 259 objects, 96 pages, $5) tutional collectors and investors.
• Art of the Ancient World (Vol. XIX, 2008, illustrates Special Presentations, Condition Reports, and
Color Photographs of Objects
in full color 222 objects, 96 pages, $5)
We can supply special presentations with further
• Art of the Ancient World (Vol. XX, 2009, illustrates in
information, such as condition reports, and 4 x 6 in.
full color 217 objects, 96 pages, $5)
(10x15 cm.) or 8 x 10 in. (20x25 cm.) color pho-
• Art of the Ancient World (Vol. XXI, 2010, illustrates
tographs, often with other views or close-ups, on
in full color 252 objects, 96 pages, $5)
any of the objects illustrated in this catalog upon
• 1000 Years of Ancient Greek Vases, 2010, illustrates in
request. A selection of photographs may also be
full color 195 vases, 96 pages, $5)
viewed at our London gallery or at the various fairs.
• All 11 of the above catalogs (total list price $50),
with price lists: $40. (Add $50 for overseas airmail.) Conservation and Mounting Services
A professional conservator, Alina Bessarabova,
Other Royal-Athena Catalogs Available working on our premises in New York, does expert
conservation and restoration of ancient art and
• Art of the Ancient World antiques. A same-day or a one day service is available
(Vol. IV, 1985) illustrates in full color over 600 works of for an additional charge. Small metal and wood
art. 208 pages, 192 color plates: $15 mountings and bases are custom made but due to
• Gods & Mortals: Bronzes of the Ancient World insurance restrictions this work is usually limited to
(1989) illustrates in full color 180 objects. (52 pages, $5) objects purchased from us. We are pleased to accept
• One Thousand Years of Ancient Greek Vases from trade accounts.
Greece, Etruria, & Southern Italy (1990) illustrates in Terms and Conditions of Sale
full color 186 vases. (48 pages, $5) All items are offered subject to prior sale. All prices
• Art of the Ancient World (Vol. VIII, 1995) illustrates are subject to change without notice, otherwise, the cur-
in full color 244 objects. (48 pages, $5) rent price list is valid through 2011. The following cred-
• Art of the Ancient World (Vol. IX, 1997) illustrates it cards are honored: American Express,Visa, Mastercard.
in full color 264 objects. (64 pages, $5) A deferred payment plan is also available. New York res-
• Art of the Ancient World (Vol. X, 1999) illustrates in idents must add the appropriate sales taxes (currently 8
full color 264 objects. (64 pages, $5) 7/8%). No cash refunds may be made after 10 days of
• Art of the Ancient World (Vol. XI, 2000) illustrates receipt; however, full credit is allowed on all objects pur-
in full color 167 objects. (64 pages, $5) chased from our galleries with the exception of a few
• Art of the Ancient World (Vol. XII, 2001) illustrates consigned items. All shipping and insurance charges will
in full color 410 objects; 30 pages of glossaries and be billed to the purchaser. Title remains with Royal-
mythologies. (161 pages, $10) Athena Galleries until payment is made in full.
established 1942
Jerome M. Eisenberg, Ph.D., Director F. Williamson Price, Associate Director

New York
Richard M. Novakovich Assistant Director & Brent M. Ridge Photographer
Manager Ramon Perez Photographer
Betty W. Eisenberg Comptroller Andrew England Webmaster
Suzanne George Office Manager Alina Bessarabova Conservator
London (Seaby Antiquities)

Anthony Law Administrator
Peter Clayton Consultant
new york london

Royal-Athena Galleries: Volume XXII - 2011

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Art of the Ancient World

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

Volume XXII - 2011

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

153 East 57th Street Royal-Athena at Seaby

Jerome M. Eisenberg, Ph. D.

Greek Marble Sculptures

3 HELLENISTIC MARBLE HEAD OF

6 HELLENISTIC MARBLE STELE OF ZOA

10 ROMAN LARGE MARBLE SANDALLED FOOT

Ex Maynard Mitchell collection, Rose Place,

Hadrian was a man of extraordinary talents.

When he was seven years old, his name was

For portraits of Hadrian see M.

Hadrian was a man of extraordi-

For a closely related head of a

20 ROMAN MARBLE LIFE-SIZE

Doubtless, an ornamental sculpture

A ncient Stone Scu lp tu res

30 ROMAN LIMESTONE HEAD OF A PAGE with

31 ROMAN LIMESTONE HEAD OF DIONYSOS

33 ARCHAIC GREEK BRONZE NUDE KOUROS

34 HELLENISTIC BRONZE NUDE HERAKLES

35 LATE HELLENISTIC BRONZE CHILD OR EROS

The offering of a rooster was imbued with sexual sym-

41 ROMAN BRONZE GROUP: TWO SOLDIERS OR

42 ROMAN BRONZE PERSONIFICATION OF

43 ROMAN BRONZE NUDE APOLLO wearing a bow case

44 ROMAN BRONZE PAN PLAYING A SYRINX

45 ROMAN BRONZE ISIS FORTUNA wearing a diadem

Originally, she supported herself by rest-

Very fine style.

53 ROMAN BRONZE APPLIQUE THEATER MASK

59 ROMAN BRONZE OLPE with incised horizontal

63 MIDDLE EUROPEAN BRONZE FIGHTING AXE HEAD cast with raised

Near Eastern weaponry on page 91

74 CELTIC HAMMERED IRON BOAT-

76 CYPRO-ARCHAIC LIMESTONE HEAD OF A

90 HELLENISTIC TERRACOTTA LADY OF

91 HELLENISTIC TERRACOTTA OF A YOUTH

92 HELLENISTIC POLYCHROME TERRACOTTA DRAPED FEMALE She wears a draped, ankle-length

98 ETRUSCAN TERRACOTTA VOTIVE HEAD

99 LATE HELLENISTIC TERRACOTTA OF AN

Stylistically based on Hellenistic Greek figures,

This is a rare and important vase,

Geometric IB-IIA, 750-725 BC.

Ca. 580 BC. H. 8 in. (20.5 cm.)

This is a small selection

Ca. 530-520 BC. H. 19 in. (48.3 cm.)

Only five other vases are known by this

The goddess Athena was a frequent compan-

Ca. 520-510 BC.

In mythology, the Gigantes were a tribe of

Reverse: In the center, Dionysos stands holding a

Ca. 520-510 BC. H. 17 1/8 in. (43.5 cm.)

The painters in this group were followers of

Ca. 510-500 BC. H. 17 in. (43.2 cm.)

The goddess Hera hated Herakles because he

Herakles was a favorite subject of the Leagros

Ca. 520-500 BC. H. 11 3/4 in (29.8 cm.)

The subject of Ajax and Kassandra is not

In Greek mythology, Kassandra ("she who

Ca. 480-470 BC. H. 15 1/4 in. (38.7 cm.)