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Out of stock
A mosaic depicting circles and diamonds forming interlocking crosses.
REFERENCE #
SW_RM_1012
500 C.E. – 600 C.E.
180 cm x W. 88 cm
Fine condition
Price available upon request
Private collection, acquired ca. 1980.
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
SI_EG_1046
Egyptian, Late Dynastic Period. 26th Dynasty, 664 B.C.E. – 332 B.C.E.
L. 40 cm
Fine condition
Sold
Ex. Private American collection, gifted to him in 1964 by a doctor who acquired it while working in Sudan.
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
SI_EG_1046
Egyptian, Late Dynastic Period. 26th Dynasty, 664 B.C.E. – 332 B.C.E.
L. 40 cm
Fine condition
Sold
Ex. Private American collection, gifted to him in 1964 by a doctor who acquired it while working in Sudan.
Out of stock
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
The front of the head is made from a mold and with a modeling tool reworked. The rear is Hollow. The sculpture shows a young female’s head in frontal orientation The even facial features women are very attractive. Expressive, with deep-set eyes coupled with strong eyelids. The pupils are clearly defined. A Strong protruding nose and full lips slightly opened. the chin has a gentle dimple. The symmetrically styled hair is parted in the middle, starting in soft curls that are combed back. On the cheeks is a single sleeping curls, and round earrings. The hairstyle is held by a headband. More curls on Top of the head are covered by a corona.
Cf .: St. Ohlig , antique cabinet, catalog no. 3 ( 1998) ” The Etruscans , a sign of life Civilized people . ” Fig.53 .
REFERENCE #
P 20753
Greek, 400 B.C.E.
H. 19.5 cm
A small chip on the tip of the nose, otherwise in Fine quality,
Price available upon request
Private collection of Dr. Ludenscheid , acquired in the 1960s
The expressive face of this satyr reveals a right eye that is slightly lower than the left and a smirk carved purposefully askew. The satyr himself may be of Greek origin, yet this piece hails from central Asia, a result of the clash of cultures that arose out of Alexander the Great’s successful campaigns throughout the region. The result was a vast melting pot of culture, art and religion that spanned the subsequent Hellenistic era of Greek history, when Greek cultural influence and power was at its zenith in Europe and Asia. At the time, this satyr’s inlaid eyes and simple braided crown were uncommon in Asian art, particularly seen in Buddhist sculptures of Siddhartha from the Gandhara region of northern Pakistan. Other examples include the famous Parthian relief from Hatra, as well as the hair and head of the Peshawar Museum’s Bodhisattva. In the years after Alexander’s conquests, the region’s sculpture incorporated such elements in the intervening years as trade and technology increased the mingling of Eastern and Western cultures, creating new currents of art and thought that still inspire us to this day.
The round face is dominated by deep holes for eyes which were originally inlaid. The root of the nose is strongly furrowed, as too is the forehead above, its series of wavy grooves mirroring the curvature of the expressive high-arched brows. Prominent cheekbones, with fleshy, rounded cheeks below; under the broad nose, full sensuous lips with dimples. To either side of the face, long, pointed ears with deep auricles. A exuberant shock of curling locks, whose individual strands are articulated with incised lines, is parted in the middle to form an anastole and spreads outwards in three luxuriant strands to frame the face.
Similarly rendered locks entirely envelope the head, wig-like, in schematically arranged rows. The sinews of the neck form a pronounced V-shape. The combination of glowering features and unruly hair impart to the head an intensely expressive quality. Encircling the crown of the head is a rope-like wreath which served as the base for an attachment, its upper surface flat to accommodate another element. Head of a statue, in all likelihood an architectural support such as a Caryatid.
SI_GR_1003
Central Asia, with influence from Ghandara, 200 B.C.E. – 100 B.C.E.
Ht. 24cm
Damage to nose, chin and two locks of hair.
$95,000
Private Collection R.J. 1962.
The shape of this bronze shin guard or ‘greave’ is emphasized by the exaggeration of the anatomical muscular structure, on one side a deep crescent-shaped groove and a bulge indicates the position of the calf. The arched upper end protected the knee joint. Above the ankle, the outline of the plaque is rounded and slightly flared to allow for movement.
WP_GR_1010
Greek, 600 B.C.E.
CONDITION
Minor repairs for cracks, and some reinforcements done from the inside
Price available upon request
Previously in a private Japanese collection since the 1970’s
This commanding alabaster mace head exemplifies the artistry and technical skill of Egyptian stone‑workers of the Middle Bronze Age. Crafted from fine, dense alabaster, the piece presents a rounded, slightly pear‑shaped mass terminating in a short, tapering socket for hafting; its surfaces are smoothly finished to reveal the stone’s subtle veining and a soft, satin-like luster. Measuring approximately [dimensions available on request], it is a compact yet powerfully rendered implement.
The most striking feature of the mace head is its sculptural silhouette and the careful modulation of form between the striking face and the haft socket, which together create a balanced, purposeful object. The workmanship demonstrates mastery of stone‑shaping techniques, with precise contouring and evidence of controlled tool work around the socket and perimeter. Minor surface abrasions and faint impact marks may be present, consistent with functional use, while surviving tool marks are minimal and secondary to the overall polished presentation.
This object likely served both practical and symbolic roles: employed as a percussive weapon in conflict or as a status emblem and ceremonial object signaling authority and power. The selection of alabaster—a prized material—speaks to the prominence of its owner and the value attributed to finely
WP-PR-1002
Egyptian, Circa 2100 B.C.E. – 1550 B.C.E.
Time Of Abraham
L. 5cm
Fine condition
$1850
The Baidun Collection
This commanding alabaster mace head exemplifies the artistry and technical skill of Egyptian stone‑workers of the Middle Bronze Age. Crafted from fine, dense alabaster, the piece presents a rounded, slightly pear‑shaped mass terminating in a short, tapering socket for hafting; its surfaces are smoothly finished to reveal the stone’s subtle veining and a soft, satin-like luster. Measuring approximately [dimensions available on request], it is a compact yet powerfully rendered implement.
The most striking feature of the mace head is its sculptural silhouette and the careful modulation of form between the striking face and the haft socket, which together create a balanced, purposeful object. The workmanship demonstrates mastery of stone‑shaping techniques, with precise contouring and evidence of controlled tool work around the socket and perimeter. Minor surface abrasions and faint impact marks may be present, consistent with functional use, while surviving tool marks are minimal and secondary to the overall polished presentation.
This object likely served both practical and symbolic roles: employed as a percussive weapon in conflict or as a status emblem and ceremonial object signaling authority and power. The selection of alabaster—a prized material—speaks to the prominence of its owner and the value attributed to finely[/vc_column_text]
WP-PR-1002
Egyptian, Circa 2100 B.C.E. – 1550 B.C.E.
Time Of Abraham
L. 5cm
Fine condition
$1850
The Baidun Collection
10 leaves, two columns of 48 lines written in black ink in a round gothic bookhand between four verticals and 49 horizontals ruled in plummet, rubrics of red, letters of running headings and chapter numbers alternately red and blue, initials of red or blue with cusps and flourishing of both colours extending beyond the height of the text to open each chapter, TWO ILLUMINATED FOLIATE INITIALS and HISTORIATED INITIAL WITH TEXT-HEIGHT ACANTHUS BORDER, in pastel colours and burnished gold (tiny area of dampstaining at top of margin of first three folios). 20th-century half pigskin (slightly rubbed at extremities).
CONTENT:
Book of Daniel ff.1v-10v, preceded by the incomplete prologue to Daniel (Stegmüller 494) and followed by the prologues to Hosea (Stegmüller 500 and 507).
These leaves must once have been part of an extremely handsome and elegantly produced folio Bible. The delicate forms of the acanthus sprays, their twisting leaves turning from pale blue to pink and orange and from yellow to orange, point to an origin in Umbria, probably Perugia, around the middle to third quarter of the 14th century.
Provenance:
The Reverend Anson Phelps Stokes (1874-1958): bookplate inside front cover. The noted clergyman in New York and New England, who also directed the philanthropy of his family’s foundation, had this manuscript as no 5 in the listing of his books, De Ricci and Wilson, Census, II, p.2276, where its acquisition from Goodspeed in 1935 and the presence of the Book of Job from the same manuscript, then in the Goodhart collection, New York were also noted. The manuscript passed from his son, the Reverend Anson Phelps Stokes II (1905-1986), Bishop of Massachusetts 1956-70, to the Episcopal Theological School, which in 1974 became part of the Episcopal Divinity School, Cambridge, Mass.
MS_BZ_1013
Italy, 14th Century
H. 32 cm x W. 22.7 cm
Fine Condition
Price available upon request
| Civilization: | Persian |
|---|---|
| Material: | Bronze |
This Elamite Bronze Double-Headed Bull Mace Head, originating from the Near East region circa 2100–1550 B.C.E., is a striking example of ancient artistry and symbolism. The mace head features two imposing bull heads sculpted with remarkable detail and power, with their facial features exuding strength and dominance.
The bulls’ horns and expressions reflect the reverence for these animals in ancient cultures, often symbolizing fertility, power, and protection.
The handle, crafted in an openwork lattice style, showcases the artisan’s advanced skill in metalworking. The lattice pattern adds both aesthetic beauty and functional lightness to the piece. Though one of the bulls’ ears shows an ancient loss, the artifact remains in fine condition, its surface adorned with a rich natural patina, adding to its historical authenticity and appeal.
In the ancient Elamite kingdom, bulls were potent symbols of strength, fertility, and divine power, often associated with deities and rulers. This double-headed bull mace head likely held ceremonial or ritual significance, symbolizing authority, protection, or a connection to the divine. Its exquisite craftsmanship speaks to the advanced skills of the ancient Near Eastern metalworkers and their ability to imbue objects with profound cultural meaning.
WP_AT_1001
Persian, Middle Bronze 2100 B.C.E. – 1550 B.C.E.
L. 19 cm, W. 13 cm
Fine condition.
$24850
This Elamite Bronze Double-Headed Bull Mace Head, originating from the Near East region circa 2100–1550 B.C.E., is a striking example of ancient artistry and symbolism. The mace head features two imposing bull heads sculpted with remarkable detail and power, with their facial features exuding strength and dominance.
The bulls’ horns and expressions reflect the reverence for these animals in ancient cultures, often symbolizing fertility, power, and protection.
The handle, crafted in an openwork lattice style, showcases the artisan’s advanced skill in metalworking. The lattice pattern adds both aesthetic beauty and functional lightness to the piece. Though one of the bulls’ ears shows an ancient loss, the artifact remains in fine condition, its surface adorned with a rich natural patina, adding to its historical authenticity and appeal.
In the ancient Elamite kingdom, bulls were potent symbols of strength, fertility, and divine power, often associated with deities and rulers. This double-headed bull mace head likely held ceremonial or ritual significance, symbolizing authority, protection, or a connection to the divine. Its exquisite craftsmanship speaks to the advanced skills of the ancient Near Eastern metalworkers and their ability to imbue objects with profound cultural meaning.[/vc_column_text]
WP_AT_1001
Persian, Middle Bronze 2100 B.C.E. – 1550 B.C.E.
L. 19 cm, W. 13 cm
Fine condition.
