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15A023
LARGE SCARABOID GEM
SOLD
East Greek, late 5th–early 4th century B Chalcedony. The gemstone is lentoid in shape, with a high, domed back. The intaglio design shows a warrior in helmet and cuirass, resting one foot on a high step. With one hand he holds a gorytus before him. With the other he reaches down to gently release a transverse spear, its tip toward the ground. This depiction seems to indicate the warrior is exhausted after a hard-won victory and is preparing to rest. A large and impressive gem with pleasing style.
$25,000
15A024
STATUETTE OF A FATHER GOD
Greek, 4th century B.C. Silver. The bare-headed, bearded god, perhaps Zeus or Poseidon, stands with his right arm raised and his left hand extended before him. Originally his right hand must have grasped a spear, sceptre, or trident, now missing; the hole formed by the thumb and fingers indicates that the attribute would have been held at a 45 degree angle and probably would have passed above the god’s head. His left palm is also held at an angle but may have supported another now missing attribute, perhaps a Nike or an eagle. His nude body, cast in solid silver, is modeled with fluid restraint, the smooth planes contrasting with the almost fussy incision of the hair and beard.
Parallels: C.C. Vermeule, Greek and Roman Sculpture in Gold and Silver (Boston, 1974), nos. 7–8.
$3,200
15A025
BRONZE APPLIQUÉ
Etruscan, 4th century B.C. Bronze. The cast bronze figurine portrays a reclining woman, veiled and draped. Her weight rests on her left leg and hip and her right leg is slightly flexed, adding variety to the folds of the drapery. She reaches out with her right hand while supporting herself on her left elbow and holding an open incense box in her left hand. The figurine was probably attached to the rim of a vessel or small box.
$2,200
15A026
STATUETTE OF EROS
Hellenistic, 3rd–2nd century B.C. Silver. The little love god stands in a relaxed pose, his weight on his left leg, his left hand resting on his hip. His attention is focused to his right, and he raises his right hand in that direction, possibly to lean upon a now missing support. His small wings, lank hair, and plump infantile physique are characteristic of Erotes of the Hellenistic and Roman period, when small statuettes of dancing or languid Erotes were popular as votives, talismans, and ornaments.
Parallels: For similar Erotes in bronze, see Babelon and Blanchet, Catalogue des bronzes antiques de la Bibliothèque Nationale (Paris, 1895), pp. 121–125 and no. 282. An attractive piece in fine style.
$8,500
15A027
GNATHIAN OINOCHOE
SOLD
Apulian, c. 340–330 B.C. On the front of the body, a woman’s head with fine details rests on a double dotted groundline, in profile to the left. On the dotted line before her is a pomegranate, behind her a branch or spindly plant. A fillet hangs in the field to the left and an ivy leaf to the right. On the shoulder of the jug are three bands of ornament in yellow and white: egg pattern, chevrons, and necklace chain.
Parallel: See M. Bernardini, Vasi dello stile di Gnathia, vasi a vernice near (Bari, 1961), pl. 37, 2. Intact.
$1,400
15A028
STATUE OF A DANCER
SOLD
Late Classical–Hellenistic, c. 350–250 B.C. Marble. Width of base: 14.5 cm (5.7 in) The lovely and graceful statuette of a young woman is carved in a sparkling white marble that now has a beige to light brownish patina covering most of its surface. Her head is lowered modestly and turned slightly to her right. Her face is soft, and the long strands of her hair are swept to the top of her head and gathered in a top-knot. Her arms are lowered, and she daintily holds folds of drapery in both of her rather large hands. Our maiden wears a thin chiton that slips off both shoulders to reveal the forms of her soft torso, breasts, and navel. Contrasting with the sheerness of the chiton is the relative heaviness of her mantle, which is wrapped over her left arm and swirls loosely around the lower part of her torso. The folds of the cloak, which extend down to the ground, are rather ample and billow out on either side of her advanced left leg. The front of her left foot is exposed below the bottom folds of her mantle, whereas her right leg and foot are entirely concealed. The base is a roughly rectangular tapering tenon designed for insertion into the mortise of some other marble element.
The maiden’s animated drapery recalls a motif long employed for images of Nike. There are some wingless Nike figures, and our maiden’s lowered gaze suggests that she could be descending from flight or alighting on the earth. However she lacks the attributes of Nike and is probably better construed as a dancer. Her size and pose are reminiscent of certain Tanagra-style terracotta figurines, which often represent women wearing a dress and mantle in various poses, including dancing. Our marble statuette is unique in at least two respects. It is the only known dancing figure of this size in marble; most comparable figurines are of terracotta and smaller. It is also the only known marble statuette of this size with a tenon instead of a base, suggesting that the statuette served as an architectural decoration, perhaps as an akroterion of a small shrine. The summary carving of the mantle at the back is consistent with this type of display.
In a funerary context our maiden could have been intended to represent a muse. The proportions of the figure, with her relatively small head, follow the Late Classical canon of Lysippus, consistent with a date for the statuette in the second half of the fourth century B.C. or later. The classicizing hairstyle, softness of flesh, pose, and the play of drapery against the body are found in both the early and late Hellenistic periods. A terracotta figurine of a woman with Eros in the British Museum, dated to the second half of the fourth century, is very similar to our dancer in the treatment of the simplified folds of drapery and the partial revelation of the corporeal forms below.
Although a date in the late Hellenistic period cannot be ruled out, it is more likely that our marble statuette was created in the second half of the fourth century or the first half of the third.
Parallels: compare a mid-fourth century Corinthian terracotta dancer with Eros in the British Museum, R.A. Higgins, Terracottas in the British Museum, Vol. I (London, 1969), no. 970, pl. 137; also an early third century terracotta dancer in the Metropolitan Museum of Art, New York, Marguerite Bieber, The Sculpture of the Hellenistic Age (2nd ed., New York, 1961), fig 557. For the head and hairstyle, see Ellen D. Reeder, Hellenistic Art in the Walters Art Gallery (Baltimore, 1988), no. 16. A charming, lovely, and highly important sculpture.
P.O.R.
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15A029
CINERARIUM
SOLD
Etruscan, 2nd–1st century B.C. Terracotta. Maximum width: 22 cm (8.66 in)
Height with lid: 53 cm (20.87 in) The lid is modeled with the figure of the owner, wearing a toga and reclining on a cushion with his knees flexed. He is propped on his left elbow and holds a phiale mesomphalos in his right hand, which rests on his right knee. Traces of red paint color his hair. The rectangular chest is decorated on the front by a relief showing the combat of Eteocles and Polynices. The brother on the left leans forward on the heroic diagonal, stabbing his fallen sibling in the throat. The brother on the right has fallen on his right knee and stabs his opponent in the groin, while holding a round shield behind his back. On either side is a bare-breasted woman raising her hand above the nearest brother. Fractures to the lid repaired.
Parallels: Compare a group of similar examples in situ in a tomb, M. Sprenger and G. Bartolini, Die Etrusker (Munich, 1990), pl. 266.
Eteocles and Polynices were sons of Oedipus and Jocasta. After their father blinded himself, the sons taunted him, prompting Oedipus to curse them and abandon Thebes. The brothers agreed to share the government of Thebes, each reigning in alternate years, but at the end of the first year Eteocles refused to give up the throne. Polynices fled to King Adrastus of Argos and raised the expedition of the Seven against Thebes. It was predicted that all who participated in the battle would die, except for Adrastus. After all the other heroes had fallen, Eteocles and Polynices engaged in single combat and slew each other.
Ex Charles Ede, Ltd., Etruscan and Roman Antiquities, 2004, lot 3. Ex Bateman collection, sold by Sotheby’s in 1895. An 18th century collection label on the underside of the lid.
$45,000
15A030
SILVER BOWL
SOLD
Ptolemaic Alexandria, 2nd century B.C. Silver. Diameter: 14 cm (5.5 in)
Height from bottom to rim: 2.5 cm (1 in)
Height of relief head: 7.6 cm (3 in)
Width of relief head: 5 cm (2 in)
Depth of relief head: 3.4 cm (1.34 in)
Weight: 175.6 gm This silver phiale, or libation bowl, is a unique work of art, the only known example of such a vessel featuring the head of Alexander the Great, in high relief, as an emblema, or center emblem. Executed in the repoussé technique, the head is averted to the left so that it is seen in a three-quarter view. The leonine hair with anastolé (rising lock) above the forehead and the broad-band royal diadem in the hair clearly identify the head as Alexander. A ram?s horn is visible above the near temple, an attribute of the deified Alexander that also appears in his early Ptolemaic coin portraits. It recalled his visit to the oracle of Zeus Ammon at Siwah, where he was recognized as a son of Zeus; in Egypt, it also signified that he had been chosen as pharaoh by the Egyptian god Amun-Re. The phiale was probably used in the cult worship of Alexander, who was deified by Ptolemy I and honored at Alexandria as the founder of the Ptolemaic dynasty. The dramatically modeled facial features are consistent with the baroque style popular in the middle Hellenistic period (c. 250?150 B.C.) but also exhibit a marked resemblance to late Ptolemaic rulers depicted on seal impressions from Edfu and Nea Paphos, identified both as Ptolemy VIII and Ptolemy X. The Greek letters ??, inscribed below the head, may indicate the temple inventory number 250, since we know that the ancients recorded such information, especially for objects in precious metal. The bowl was originally broken in several fragments due to the metal being porous and has been restored to its original shape. The head of Alexander is completely absent of restoration. Reverse of the bowl has been reinforced and a small loop-hook has been added in modern times. Ex private European collection since 1960s. Unique and highly important.
$25,000
15A031
FOOT LAMP
SOLD
Roman, 1st century A.D. Bronze. Length (including handle): 13.5 cm (5.31 in) Plastic lamp in the shape of a right foot wearing a sandal. The slightly expanding tubular nozzle rises from below the big toe. The filling hole above the ankles is covered with a scallop shell, hinged to a large ivy leaf thumb piece above the ring handle at the back of the foot. Small flanges protrude on either side of the toes. The sandal consists of a thin double sole, two triangular leather flaps below the ankles, and a thin strap that loops around the back of the foot, passes through the flaps and between the toes, with a triangular ornament on the top of the foot. The sole of the sandal shows a double row of stitching around the edge, two shorter rows of stitches below the ball of the foot, and an ankh or teardrop below the heel.
Parallels: For other bronze foot lamps, see BMC IV, Q3586–Q3589. Fine details and well executed.
$3,500
15A032
EROTIC LAMP
Roman, 1st half of 2nd century A.D. Terracotta. Molded terracotta lamp in the form of an erotic symplegma. The body of the lamp has the shape of a phallus which also serves as the bed of the couple. The woman lies on the bottom, her head resting on a cushion and turned slightly to her left. Her right arm circles her head and her left holds the side of the bed. The male leans over her at an angle, lifting her left leg with his right hand. He wears a band around his head and his garment is draped over his left shoulder and wrapped around his right knee. The wick hole is at the tip of the phallus, the filling hole is behind the man’s lower back, and just beyond the woman’s feet is a round handle with serrated sides. Completely intact. Extremely rare and possibly unique.
$9,500
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