A Beautiful Greek AntefixOut of stock
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A Beautiful Greek Antefix

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.

PRICE

Price available upon request

PROVENANCE

Ex. Private German collection, 1980’s

 

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A Fine Egyptian Gypsum Mask of a Male YouthOut of stock
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A Fine Egyptian Gypsum Mask of a Male Youth

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.

PRICE

SOLD

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A Fine Egyptian Gypsum Mask of a Young GirlOut of stock
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A Fine Egyptian Gypsum Mask of a Young Girl

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

PRICE

SOLD

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A Seated Figure of the God Thoth as an Ibis
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A Seated Figure of the God Thoth as an Ibis

Description

Great attention has been paid to the accurate and skillful rendering of the anatomic details of the ibis. Incised decoration replicates the structure of the bill, the eyes and the feathers and skin of the legs. The long, curved beak is harmoniously in proportion to the body, which has been simplified and streamlined to the point where it is an exercise in pure form. The bone structure of the beak and the head are represented through carefully nuanced modeling. The graceful contours of the neck flow into the body, of which only the outlines of wings, modeled on the underside as a slight ridge, are visible. The stylized mass of tail feathers was made separately and then inserted into the body.

Our bronze ibis would probably have been dedicated at a temple to Thoth, Egyptian god of writing, magic and wisdom, whose sacred animal was the ibis, and who often appeared as a man with the head of an ibis. As the creator of mankind, Thoth was one of the most important gods in the Egyptian pantheon. His main sanctuary was located in Hermopolis, a city that was known for its wealth.

Hermopolis benefited greatly from the rule of the Ptolemies, the Greek kings of Egypt, who commissioned large building projects for the city, thus solidifying Hermopolis’s identity as a luxurious resort town. A bronze such as our ibis would have undoubtedly been commissioned by a wealthy patron or king, who had access to the best workshops and quantities of good bronze. Our ibis is larger than the average ibis votives found: one of the closest parallels in terms of size and style is a Ptolemaic bronze ibis in the Brooklyn Museum (no. 49, 48).

Bibliography

ARNOLD, D., An Egyptian Bestiary, in Metropolitan Museum of Art Bulletin, New York, 1995.

ROBINS, G., The Art of Ancient Egypt, New Haven, 1998.

For other Late Period and Ptolemaic bronze ibis statuettes, see:

British Musem BM n. 64095 (1939, 0211.1)

Cleveland Museum of Art, no. 1940.667. 1/14

REFERENCE #

SI_EG_1046

CIVILIZATION

Egyptian, Late Dynastic Period. 26th Dynasty, 664 B.C.E. – 332 B.C.E.

SIZE

L. 40 cm

CONDITION

Fine condition

PRICE

Sold

PROVENANCE

Ex. Private American collection, gifted to him in 1964 by a doctor who acquired it while working in Sudan.

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A Seated Figure of the God Thoth as an Ibis
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A Seated Figure of the God Thoth as an Ibis

Great attention has been paid to the accurate and skillful rendering of the anatomic details of the ibis. Incised decoration replicates the structure of the bill, the eyes and the feathers and skin of the legs. The long, curved beak is harmoniously in proportion to the body, which has been simplified and streamlined to the point where it is an exercise in pure form. The bone structure of the beak and the head are represented through carefully nuanced modeling. The graceful contours of the neck flow into the body, of which only the outlines of wings, modeled on the underside as a slight ridge, are visible. The stylized mass of tail feathers was made separately and then inserted into the body.

Our bronze ibis would probably have been dedicated at a temple to Thoth, Egyptian god of writing, magic and wisdom, whose sacred animal was the ibis, and who often appeared as a man with the head of an ibis. As the creator of mankind, Thoth was one of the most important gods in the Egyptian pantheon. His main sanctuary was located in Hermopolis, a city that was known for its wealth.

Hermopolis benefited greatly from the rule of the Ptolemies, the Greek kings of Egypt, who commissioned large building projects for the city, thus solidifying Hermopolis’s identity as a luxurious resort town. A bronze such as our ibis would have undoubtedly been commissioned by a wealthy patron or king, who had access to the best workshops and quantities of good bronze. Our ibis is larger than the average ibis votives found: one of the closest parallels in terms of size and style is a Ptolemaic bronze ibis in the Brooklyn Museum (no. 49, 48).

Bibliography

ARNOLD, D., An Egyptian Bestiary, in Metropolitan Museum of Art Bulletin, New York, 1995.

ROBINS, G., The Art of Ancient Egypt, New Haven, 1998.

For other Late Period and Ptolemaic bronze ibis statuettes, see:

British Musem BM n. 64095 (1939, 0211.1)

Cleveland Museum of Art, no. 1940.667. 1/14

 

REFERENCE #

SI_EG_1046

CIVILIZATION

Egyptian, Late Dynastic Period. 26th Dynasty, 664 B.C.E. – 332 B.C.E.

SIZE

L. 40 cm

CONDITION

Fine condition

PRICE

Sold

PROVENANCE

Ex. Private American collection, gifted to him in 1964 by a doctor who acquired it while working in Sudan.

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A Terracotta SeahorseOut of stock
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A Terracotta Seahorse

A Greek ceramics winged sea horse. The Ancient Greeks and Romans believed the seahorse was an attribute of the sea god Neptune/Poseidon and as such, the seahorse was considered a symbol of strength and power.

REFERENCE #
SI_GR_1028

CIVILIZATION

Greek, 400 B.C.E.

SIZE
L. 15 cm
CONDITION

Fine condition, right leg, tip of left leg, and some tips of the wings are missing .

PRICE
Sold

PROVENANCE

Collection of W. Rosenbaum, Ascona

 

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Sale!
Bronze Handle in the Shape of a Lion’s Head
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Bronze Handle in the Shape of a Lion’s Head

Original price was: $28,000.00.Current price is: $25,000.00.
Civilization: Roman
Material: Stone

Description

Here we see a bronze handle with a lion’s head holding the bronze ring from its mouth. This handle was cast sometime between 100 C.E. – 300 C.E. and depicts the lion in a highly realistic manner with much care given to the proportion of its protruding snout, fierce teeth, and vibrant mane. The heads of two iron nails remain from where the handle was hammered onto the surface from which it rested against. A series of concentric circles frame the lion’s head with beautiful precision, while the handle’s ring is fully intact and symmetrical.

This piece is in excellent condition and has a diameter of approximately 13 cm. The bronze has been cleaned and cared for, and all of its original details remain as fresh as the day they were cast. The lion has long been a symbol of strength and pride, and this piece continues to resonate across two thousand years of history.

REFERENCE #

SI_RM_1063

CIVILIZATION

Roman, 100 C.E. – 300 C.E.

SIZE

D. 13.7 cm

CONDITION

Fine condition

PRICE

$25,000

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Bronze Imperial Roman Bull Stomping Hoof
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Bronze Imperial Roman Bull Stomping Hoof

Civilization: Roman
Material: Metal

Description

This incredible Bronze Imperial Roman Bull statuette dating from 200 – 300 C.E. is decorated with two stylized markings on its flanks and one large ribbon across its torso.  The bull’s powerful stance is accentuated by his head that is turned, as well as his front left leg that is raised in an aggressive stomping motion.  Additional decorations are present on the bull’s head in the form of decorous curls.  This Bronze Imperial Roman Bull statuette was part of a composed relief depicting a procession that leads to the sacrifice of the bull which was performed for the welfare of the Roman empire.

For more than 5,000 years, bronze and other copper alloys have been essential materials used to create everything from life-size sculptures to objects of daily life such as weapons, jewelry, tableware, and as featured here:  This incredible Bronze Imperial Roman Bull statuette.  Similar pieces are found in museums such as the Met Museum in New York City, but few found are as majestic and powerful as this piece.

Roman Bull in Cult of Magna Mater (Great Mother of the gods) Cybele

The religious practices of the Roman Empire of the 2nd to 4th centuries C.E. included the taurobolium, in which a bull was sacrificed for the well being of the people and the state. Around the mid-2nd century C.E. the practice became identified with the worship of Magna Mater (i.e. the Great Mother of the gods, Cybele), but was not previously associated only with that cult (cultus).

After 159 CE all private taurobolia inscriptions mention Magna Mater.  Public taurobolia enlisting the benevolence of Magna Mater on behalf of the emperor became common in Italy, Gaul, Hispania, and Africa. The last public taurobolium for which there is an inscription was carried out at Mactar in Numidia at the close of the 3rd century C.E. It was performed in honor of the emperors Diocletian and Maximian.

 

Roman Bull in Eastern Cult of Mithras

Another Roman mystery cult in which a sacrificial bull played a role was that of the 1st-4th century C.E. Mithraic Mysteries.  The cult of Mithras was very popular throughout the Roman Empire and was followed especially by soldiers.  It was one of several eastern cults that spread rapidly as a result of the Pax Romana (Roman peace) – others included the worship of Jupiter Dolichenus, Manichaeism, and of course Christianity.

Shrouded in secrecy, ancient mystery cults fascinate and capture the imagination.  Like all Greco-Roman mysteries, the cult of Mithraic Mysteries was limited to initiates, and there is very little known about the cult’s beliefs or practices.  In the so-called “tauroctony” artwork of that cult (cultus) – and which appears in all its temples – the god Mithras is seen to slay a sacrificial bull. The tauroctony should not be confused with a “taurobolium”, which was an actual bull-killing cult act performed by initiates of the Mysteries of Magna Mater, and has nothing to do with the Mithraic Mysteries.

Although there has been a great deal of speculation on the subject, the mystery that the tauroctony scene was intended to represent remains unknown.  Like the other ancient “mystery religions” such as the Eleusinian mysteries and the mysteries of Isis, Mithraism maintained strict secrecy about its teachings and practices, revealing them only to initiates. As a result, reconstructing the beliefs of the Mithraic devotees has posed an enormously intriguing challenge to scholarly ingenuity.

Owing to the Mithraic cult’s secrecy, we possess almost no literary evidence about the beliefs of Mithraism. The few texts that do refer to the cult come not from Mithraic devotees themselves, but rather from outsiders such as early Church fathers who mentioned Mithraism in order to attack it, as well as from Platonic philosophers who attempted to find support in Mithraic symbolism for their own philosophical ideas.

However, although our literary sources for Mithraism are extremely sparse, an abundance of material evidence for the cult exists in the many Mithraic temples and artifacts that archaeologists have found scattered throughout the Roman empire – from England in the north and west to Palestine in the south and east.  The temples – called mithraea by scholars – were usually built underground in imitation of caves.  These subterranean temples were filled with an extremely elaborate iconography: carved reliefs, statues, and paintings – depicting a variety of enigmatic figures and scenes. This iconography is our primary source of knowledge about Mithraic beliefs, but because we do not have any written accounts of its meaning the ideas that it expresses have proven extraordinarily difficult to decipher.

 

Sources:

1.) Met Museum – Bronze Statuette of Bull

2.) Met Museum – Bronze Plaque of Mithras slaying the bull

3.) Met Museum – Mystery Cults in the Greek and Roman World

4.) Harvard Art Museums – Ancient Mediterranean and Near Eastern Bronzes

5.) Wikipedia – Sacred Bull Roman Empire

6.) Wikipedia – Taurobolium

7.) Wikipedia – Magna Mater, Cybele

8.) Wikipedia – Tauroctony

9.) Wikipedia – Pax Romana

10.) Ulansey, D., “The Origin of Mithraic Mysteries”, 1991; and
  Ulansey, D., “Solving the Mithraic Mysteries” within:  Biblical Archaeology Review, vol. 20, #5 (September/October 1994) pp. 40-53

11.) The Tertullian Project – The Roman Cult of Mithras

 

REFERENCE #

SI_RM_1085

CIVILIZATION

Roman, 200 C.E. – 300 C.E.

SIZE

H. 16 cm

CONDITION

Fine condition

PRICE

Price available upon request

PROVENANCE

The Baidun Collection, Ex German Private Collection, acquired in the 1980’s

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Bronze Sabaean Bull Head
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Bronze Sabaean Bull Head

Bronze bull head

A rare Sabaean bronze bull head.

Cast around a solid terracotta core the naturalistically modelled head has grooved eyebrows and neck, recessed nostrils, small erect ears and eyes with dark stone inlays, the pupils drilled. The forehead is also recessed with a small circle above a crescent, symbolic of the bull’s connection with the moon god. The long upward curving horn remains intact (left), restored (right) horn. A loop for suspension or attachment on top of the head. A very Strong and imposing piece.Powerful, enigmatic, and deeply expressive, this is a commanding piece that speaks to the strength and spiritual significance of the bull in Sabaean culture.

REFERENCE #
SI_SA_1018

CIVILIZATION SABAEAN,

CIRCA 200 B.C. – 100 B.C.

SIZE

H.16 cm

CONDITION

Fine condition

(Right Horn Restored)

PRICE
$45,000

PROVENANCE

Christies 23.3.71 Property of a Gentleman, from Al-Jubah to the south of Marib

Private collection UK, acquired late 1960s

 

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