This remarkable bronze weapon is a dagger or short sword from ancient Persia, specifically attributed to the Pre-Achaemenid Empire. During this period, the empire expanded extensively, establishing a formidable and centralized administrative structure that drove the production of luxurious and highly ornate high-status artifacts. Crafted by master smiths, this piece exemplifies the exceptional skill and artistry of Persian metallurgists, renowned for creating prestige items for the military forces.
The weapon features a distinctive strengthening spine, design element that facilitates both easier thrusting. The fine craftsmanship, intricate detailing, and functional design underscore its dual role as both a battlefield implement and a symbol of status and authority.
Ancient Roman bronze eagle statue (statuette) of a Roman eagle holding a crown in its beak showing finely detailed metalwork by the artist in the feathers, face and talons. The wings of the metal eagle are slightly raised from its side and the legs are close together set on thick talons.
The majestic eagle, being one of the traditional Roman symbols, stands atop a bronze orb which represents the dominion of Rome over the world. A simple crown of laurels hangs from the bird’s beak in a nod to the eagle’s close association with the royalty of ancient Rome.
The eagle, was a prominent symbol used in ancient Rome, especially as the standard of a Roman legion. A Roman legionaire known as an aquilifer, or eagle-bearer, was the standard bearer who carried this standard on Roman military conquests. Each Roman legion carried one eagle. The eagle was extremely important to the Roman army, beyond merely being a symbol of a legion. A lost standard was considered an extremely grave occurrence, and the Roman military often went to great lengths to both protect a standard and to recover it if lost.
For example, see the aftermath of the Battle of the Teutoburg Forest, where the Roman army spent decades attempting to recover the lost standards of three Roman legions. That’s why they are relatively small size, since a standard bearer in circumstances of danger will wrench the eagle from its staff and conceal it in the folds of his girdle.
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.
REFERENCE #
WP_GR_1010
CIVILIZATION
Greek, 600 B.C.E.
SIZE
H. 42 cm
CONDITION
Minor repairs for cracks, and some reinforcements done from the inside
PRICE
Price available upon request
PROVENANCE
Previously in a private Japanese collection since the 1970’s
Dionysus, the god of wine, is portrayed frontal, looking forward. His hair is tied with a thick fillet with two rows of locks across his forehead. He has a long moustache and a square beard composed of curving locks. The face with arched eyebrows, large eyes sockets, pronounced cheeks, straight nose and a smiling mouth with fleshy lips. The Archaistic head is inspired by the Greek Archaic style, frontal and frozen, with stylized features and smiling mouth. It has a strong and majestic expression.
Reference: Cf. Anderson M. L., Nista L. (Eds.), Radiance in Stone. Sculptures in Colored Marble from the Museo Nazionale Romano, De Luca Edizioni d’Arte, Rome, 1989, p.72, fig. 9.[
REFERENCE #
SI_RM_1081
CIVILIZATION
Roman, 100 C.E. – 200 C.E.
SIZE
H. 10.2 cm
CONDITION
Missing inlayed eyes and lower part of beard, chipped at the back of the upper part.
Dionysus, the god of wine, is portrayed frontal, looking forward. His hair is tied with a thick fillet with two rows of locks across his forehead. He has a long moustache and a square beard composed of curving locks. The face with arched eyebrows, large eyes sockets, pronounced cheeks, straight nose and a smiling mouth with fleshy lips. The Archaistic head is inspired by the Greek Archaic style, frontal and frozen, with stylized features and smiling mouth. It has a strong and majestic expression.
Reference: Cf. Anderson M. L., Nista L. (Eds.), Radiance in Stone. Sculptures in Colored Marble from the Museo Nazionale Romano, De Luca Edizioni d’Arte, Rome, 1989, p.72, fig. 9.
REFERENCE #
SI_RM_1081
CIVILIZATION
Roman, 100 C.E. – 200 C.E.
SIZE
H. 10.2 cm
CONDITION
Missing inlayed eyes and lower part of beard, chipped at the back of the upper part.
This elegant alabaster bowl exemplifies the artistry and craftsmanship of ancient Mesopotamian artisans. Crafted from fine, translucent alabaster, the bowl features a rounded, symmetrical form with a smooth, polished surface that showcases the natural beauty of the stone. Measuring approximately 12 cm in diameter and 7 cm in height, it is a compact yet finely detailed vessel.
The most striking feature of the bowl is its decorative banding, which encircles its exterior. These bands are composed of carved lines and geometric motifs, adding a sense of rhythm and harmony to the piece. The craftsmanship demonstrates a mastery of stone carving techniques, with precise incisions and smooth finishes that highlight the skilled artisanship of the period.
This vessel likely served both functional and ceremonial purposes, possibly used in ritual offerings or as a display piece in a noble or religious setting. Its durable alabaster material and sophisticated decoration reflect the high status of its owner and the cultural importance of craftsmanship in ancient Mesopotamian society.
$2,000.00Original price was: $2,000.00.$1,850.00Current price is: $1,850.00.
Description
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
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]
$30,000.00Original price was: $30,000.00.$25,000.00Current price is: $25,000.00.
Description
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.
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]
This female body is an interesting example of a Roman sculptor playing with the form of fabric as it drapes in thick folds over this woman’s strong figure. The head of this sculpture has been lost to time, yet we are able to understand that the woman we look upon was of a high standing due to her lush clothing and upright stance.
The skill of the sculptor who carved this piece is seen in the movement of the woman’s himation, or draped robe, as it both cinches below her bosom and sweeps across her waist as it is held back by her right hand. The result is a beautiful statement that highlights her full figure even under the weight of her thick robe.
A bronze Etruscan harpago, or underwater sponge collecting hook, with seven curved tines set radially around a central torus. The hook piece is set upon a large handle with a coiled design along its shaft. An additional pair of tines protrudes just below the torus at the top of the coiled shaft.
$49,000.00Original price was: $49,000.00.$45,000.00Current price is: $45,000.00.
Description
Solid cast, the bird is shown in a typical pose, wings crossed over the tail with the feathers all cleanly incised. It wears the double crown of Egypt and traces of gilding remains scattered over the surface. This probably once decorated the top of a sarcophagus.
The so-called Horus falcon is one whose characteristics do not conform exactly with any of the four species known to the Egyptians: it is an idealized falcon with elements inspired by more than one of the predatory birds. The falcon was revered from earliest times for its awesome climb into the heavens and its headlong yet sure swoop upon its prey. The earliest element of the royal titulary, which officially proclaimed the ruler’s name, was the Horus name by which the holder of the royal office and the royal bird were indissolubly linked. Horus was essentially protective of the king and so an image of a falcon held an inherent concept of protection. But in one creation legend, the creator god was held to be a falcon whose outspread wings formed the vault of heaven, his two eyes being the sun and moon. Thus the image of the falcon was also strongly associated with creation and regeneration.
Not surprisingly it was a form adopted by a number of Egyptian gods. Even the name Horus refers to more than one deity since Horus of Edfu, Horus the son of Isis and Osiris and Horus the Elder are three completely separate gods with only the name in common; all could manifest themselves as a falcon. In addition, the sun god Re, Monthu the Theban war god, Sokar the Memphite funerary god, Khonsu of Thebes, even one of the Sons of Horus called Qebhsenuef could appear as falcons or falcon-headed (and there are others), with only special attributes to help distinguish each from the other and the multiplicity of Horuses. If none of these distinctive features is present and there is no inscription, identification of a falcon as being the manifestation of a specific deity is frequently impossible.
