A beautiful reddish tone Antefixes, an antefix is a decorative brick used on buildings. This semi- oval relief was made from a mold. The illustration shows a bust of a young woman looking to her right. The face is sunken by both Eyes to emphasize them with shaped bold eyelids. The pupils are incised; the protruding nose and the pair of lips are slightly worn. The head is framed by a powerful hairstyle, with hair parted in the center, and with numerous curls to the sides and some combed back . The woman is wearing a Cross and pyramidal earrings. The relief is mounted on a base with velvet .
Cf. :H. Herdejurgen , Basel Museum of Antiquities . (1982 ). Ancient Art Works from the Ludwig Collection
REFERENCE #
P 20752
CIVILIZATION
Greek. 400 B.C.E.
SIZE
H. 18.5 cm, W 18.8 cm, D. 6 cm
CONDITION
The left corner is missing. A small chip on top. Otherwise only minor abrasions on nose and lips.
This Persian sword is a remarkable example of the technology and design that went into crafting an ancient piece of weaponry. The dark hue of this sword lends it an austere weight, while the thick ribs and large crescent of the hilt are an indication of the strength required to wield such a heavy object. The broad blade seems to be made not for bludgeoning as much as cutting, with the raised ridge that runs along its length adding force to its blows.
This is a piece that makes a forceful statement in any collection, especially for collectors looking for a simpler alternative to the overwrought designs of later civilizations. The ancient Persians were known for their battle prowess, and this weapon is a fine example as to the tools ancient warriors had at their disposal. This sword has been wonderfully restored and displays a brilliant luster that still gleams along its long blade.
This bronze helmet is designed for combat rather than purely ceremonial purposes, with blade-like wings which slide forward under the jawline from a straight-edge forehead margin. The top of the helmet is fortified with two prominent structural ‘ribs’ designed to deflect sword blows, while the rear edge of the helmet – above the shoulders – is lipped outwards to provide a neck guard. There are faint marks indicating that the helmet was indeed struck, probably by a sword, on the left side.
The early date of this piece put it in the Illyrian (i.e. Macedonian and Albanian) kingdom of the Enchelei, an 8th and 7th century B.C.E. polity focused around Lake Ohrid in what is now Albania and Macedonia. Their economy appears to have been based mainly on fishing, and they had extensive trade networks with Greece. They also had an uneasy relationship with local tribes including Macedonians and the Dardani, among others, and the fact that they seem to have spent much of their time at war may explain why so much of their art and material culture is based around warrior-like iconography and accessories. A helmet such as this would have been worn by a lightly-armed foot-soldier (or Hoplite, in Greek terms), and was designed for skirmishing. This is an evocative and impressive piece of ancient art.
Amphoriskos are shortened versions of the classic amphora, jars with two handles located on either side of the neck. This particular piece is about 19.5 cm in height, not large by traditional standards, yet still smaller than the massive amphora meant for storing water in the arid climate of the ancient Levant.
This beautiful red slip amphoriskos comes from the ancient Israeli city of Samaria, located just west of the Jordan River. Dating from approximately 900 B.C.E. – 800 B.C.E., this piece was made well before the Roman occupation of the region that eventually led to the first Great Jewish revolt.
Plaster mummy portrait of a young boy, with slender features and orange tan flesh tones. His lips are pursed into a smile, rendering his features serene. His black hair is moulded in curls with fine brush strokes and his eyes and eyebrows are stylistically delineated with thick black lines. His shawl covers the back of his head. Areas of linen wrappings are preserved on the interior.
REFERENCE
#SI_EG_1052
CIVILIZATION
Ptolemaic period, 305 B.C.E. – 30 B.C.E.
SIZE
H. 27 cm
CONDITION
Professional restoration on the paint and the plaster, overall fine condition.
Plaster mummy portrait of a young girl, with slender features and tan flesh tones. Her full lips are pursed into a smile, rendering her features serene. Her black hair is molded with front row of small curls, and parted in the middle hair fashion. The eyes and eyebrows are stylistically delineated with black lines and beautiful lashes. She is wearing a pair of earrings. Areas of linen wrappings are preserved on the interior.
REFERENCE #
SI_EG_1053
CIVILIZATION
Ptolemaic period, 305 B.C.E. – 30 B.C.E.
SIZE
H. 29 cm
CONDITION
Professional restoration on the paint and the plaster, overall in fine condition
$1,700.00Original price was: $1,700.00.$1,500.00Current price is: $1,500.00.
Description
CORNER FRAGMENT – A frieze corner with framed, dark ornamental band on a light ground, densely filled with various floral patterns, kneeling human figures, fish and mythical creatures, plus filler motifs. At one end of the frieze, a small tondo with a dancing (?) human figure. Foliage-filled border at three frieze edges. Along one side inside the border another frieze of four and a half winged figures on talons.
Mounted on red linen ground and framed. Fragments of tunics, tabulae, etc. – Cf. Cat. Leipzig – 2002, 113 ff. nos. 157–173 with ill.
REFERENCE #
TX_EG_1006
CIVILIZATION
Egypt,
Coptic, 300 C.E. – 500 C.E.
SIZE
L. 26 cm, W. 22.5 cm
CONDITION
Fine Condition
PRICE
$1,500
PROVENANCE
Formerly Coll. Eduard Schällibaum, 1950’s–60’s, Chur. – On back of frames, alleged find spot “Upper Egypt”, inv. no. “716. 269. 476”.
CORNER FRAGMENT – A frieze corner with framed, dark ornamental band on a light ground, densely filled with various floral patterns, kneeling human figures, fish and mythical creatures, plus filler motifs. At one end of the frieze, a small tondo with a dancing (?) human figure. Foliage-filled border at three frieze edges. Along one side inside the border another frieze of four and a half winged figures on talons.
Mounted on red linen ground and framed. Fragments of tunics, tabulae, etc. – Cf. Cat. Leipzig – 2002, 113 ff. nos. 157–173 with ill.
REFERENCE #
TX_EG_1006
CIVILIZATION
Egypt,
Coptic, 300 C.E. – 500 C.E.
SIZE
L. 26 cm, W. 22.5 cm
CONDITION
Fine Condition
PRICE
$1,500
PROVENANCE
Formerly Coll. Eduard Schällibaum, 1950’s–60’s, Chur. – On back of frames, alleged find spot “Upper Egypt”, inv. no. “716. 269. 476”.
FRIEZE FRAGMENT WITH LION. – Two tondi on a beige background, with a lion facing right and a grape vine (?) as part of a larger frieze, framed by a zigzag band with rhombi hanging from it.
Mounted on beige linen ground and framed. Fragments of tunics, tabulae, etc. – Cf. Cat. Leipzig – 2002, 113 ff. nos. 157–173 with ill.
REFERENCE #
TX_EG_1007
CIVILIZATION
Egypt, Coptic, 300 C.E. – 500 C.E.
SIZE
L. 12.8 cm, W. 11.5 cm
CONDITION
Fine Condition
PRICE
Price available upon request
PROVENANCE
Formerly Coll. Eduard Schällibaum, 1950’s–60’s, Chur. – On back of frames, alleged find spot “Upper Egypt”, inv. no. “716. 269. 476”.
This large glass bowl comes from Samaria, the capital of ancient Israel in the 9th century B.C.E. and 8th century B.C.E.. Located just west of the Jordan River, Samaria was a vibrant city for many centuries; its history is recounted in the Old Testament book of Kings. It experienced many invasions over the intervening centuries located as it was in the strategic mountains of Judea.
By the time this beautiful aquamarine bowl was blown, Samaria had come under Roman rule, a period of great innovation as new Roman technology filtered throughout the region.