An Etruscan Female Votive Head
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An Etruscan Female Votive Head

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

CIVILIZATION

Greek, 400 B.C.E.

SIZE

H. 19.5 cm

CONDITION

A small chip on the tip of the nose, otherwise in Fine quality,

PRICE

Price available upon request

PROVENANCE

Private collection of Dr. Ludenscheid , acquired in the 1960s

 

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Bronze Etruscan Harpago
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Bronze Etruscan Harpago

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.

Reference: Cf. MFA Bronzes, p. 421, fig. 608. Published: HASB 1, 1975, 21ff

 

REFERENCE #

MW_GR_1006

CIVILIZATION

Etruscan, 600 B.C.E.

SIZE

H. 33 cm

CONDITION

Fine Condition, some of the tips are reattached.

PRICE

$17,000

PROVENANCE

Private Collection P.C. Nuremberg

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Greco-Phoenician Core-Formed Amphorisque
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Greco-Phoenician Core-Formed Amphorisque

Amphorisque with a dark blue background. Dark blue, light blue and yellow opaque glass.

 

REFERENCE #

GL_RM_1014

CIVILIZATION

Greco-Phoenician, 500 B.C.E. – 400 B.C.E.

SIZE

H. 9.7 cm

CONDITION

Excellent condition

PRICE

Price

available upon request

PROVENANCE

Baidun Family Collection

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Greek Ceramic Figurine of a Sphinx
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Greek Ceramic Figurine of a Sphinx

According to ancient literary sources, the sphinx was a monster with the face and bust of a woman, the talons of a lion, the body of a dog, a serpent’s tail and wings of a bird. Its pale appearance, venomous mouth and stony gaze characterised this demon of divine origin. Its presence amongst humans created uncertainty and fear. It is possible that this hybrid had its origin in Egyptian iconography, where it was represented with the body of a feline and a human face, and was probably related to the divine power of the pharaoh.

This terracotta piece shows a monster seated on its haunches and in profile, with its head turned to the right toward the public. The female countenance has idealised features of great beauty. The thick, wavy hair is crowned with a polos or crown on the Corinthian model. On the right wing the rendering of the feathers shows a clear interest in the anatomical details of birds: the feathers inserted into the body itself are small and short, rather like scales, while those at the extreme end of the wing are long and narrow, to help the bird take flight.

The sculptural prototype of Greek sphinxes appears around the 7th century BC in terracotta, and was usually found decorating large receptacles. A century later they appeared in marble crowning seated ex-votos on a column. The monstrous, aggressive nature of the hybrid was channelled into funerary art, serving as an apotropaic symbol to keep away malevolent forces. It was usual, therefore, to find this iconography in metopes and hollow acroteria in Greek necropoleis of the 6th century BC, usually with the animal in profile and turning its head toward the public in an attitude of defiance.

 

BIBLIOGRAPHY:

  • BILLOT, M.F. “Le Sphinx du Louvre CA 637”, Bulletin de Correspondence Hellénique. 1977.
  • MARCONI, C. Temple Decoration and Cultural Identity in the Archaic Greek World. Getty Foundation. 2007, p. 90.
  • RENGER, A.B. Oedipus and the Sphinx: The Threshold Myth from Sophocles through Freud to Cocteau. UCP. 2013.
  • STILLWELL, A. N. Corinth: The Potters’ Quarter. Harvard Univ. Press. 1952.

REFERENCE #

SI_GR_1034

Civilization Greek,

6th – 5th century B.C.E.

 

SIZE

H. 18 cm

 

CONDITION

In a good state of preservation, without any restoration.

 

PROVENACE,

Private collection G. A., Gardena, California, USA.

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Greek Ceramic Figurine of a Sphinx
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Greek Ceramic Figurine of a Sphinx

According to ancient literary sources, the sphinx was a monster with the face and bust of a woman, the talons of a lion, the body of a dog, a serpent’s tail and wings of a bird. Its pale appearance, venomous mouth and stony gaze characterised this demon of divine origin. Its presence amongst humans created uncertainty and fear. It is possible that this hybrid had its origin in Egyptian iconography, where it was represented with the body of a feline and a human face, and was probably related to the divine power of the pharaoh.

This terracotta piece shows a monster seated on its haunches and in profile, with its head turned to the right toward the public. The female countenance has idealised features of great beauty. The thick, wavy hair is crowned with a polos or crown on the Corinthian model. On the right wing the rendering of the feathers shows a clear interest in the anatomical details of birds: the feathers inserted into the body itself are small and short, rather like scales, while those at the extreme end of the wing are long and narrow, to help the bird take flight.

The sculptural prototype of Greek sphinxes appears around the 7th century BC in terracotta, and was usually found decorating large receptacles. A century later they appeared in marble crowning seated ex-votos on a column. The monstrous, aggressive nature of the hybrid was channelled into funerary art, serving as an apotropaic symbol to keep away malevolent forces. It was usual, therefore, to find this iconography in metopes and hollow acroteria in Greek necropoleis of the 6th century BC, usually with the animal in profile and turning its head toward the public in an attitude of defiance.

 

BIBLIOGRAPHY:

  • BILLOT, M.F. “Le Sphinx du Louvre CA 637”, Bulletin de Correspondence Hellénique. 1977.
  • MARCONI, C. Temple Decoration and Cultural Identity in the Archaic Greek World. Getty Foundation. 2007, p. 90.
  • RENGER, A.B. Oedipus and the Sphinx: The Threshold Myth from Sophocles through Freud to Cocteau. UCP. 2013.
  • STILLWELL, A. N. Corinth: The Potters’ Quarter. Harvard Univ. Press. 1952.

Reference #

SI_GR_1034

Civilization Greek,

6th – 5th century B.C.E.

Size

H. 18 cm

Condition

In a good state of preservation, without any restoration.

Provenance,

Private collection G. A., Gardena, California, USA.

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Pamphylia Tetradrachm with Athena and Nike
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Pamphylia Tetradrachm with Athena and Nike

Obverse (Front): The coin features a realistic portrait of Athena facing right. She is depicted wearing a Corinthian helmet, which is adorned with a decorative crest. The engraving captures fine details such as expressive eyes and intricate helmet ornaments, styled in the classical Greek artistic tradition.

Reverse (Back): The reverse displays Nike, the winged goddess of victory, in motion, flying left. She is shown with outstretched right arm holding a wreath, symbolizing victory, while her left arm is slightly bent. Nike’s flowing drapery and detailed wings convey a sense of movement and divine aura. Behind her, the inscription ΔΕΙ-ΝΟ (Deino) appears, indicating the magistrate responsible for minting the coin. To the right of Nike, in the field, is a pomegranate, a symbol associated with Side, representing fertility or prosperity. The background field is clear, ensuring that Nike, the wreath, the inscription, and the pomegranate stand out distinctly.

REFERENCE #

CO_GR_1005

CIVILIZATION

GREEK, Circa 205-190 B.C.

SIZE

D. 3 cm

CONDITION

Excellent Condition

PRICE

$1250

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