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Bronze Etruscan Harpago
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Bronze Etruscan Harpago

Original price was: $20,000.00.Current price is: $17,000.00.
Civilization: Greek
Material: Metal
Description

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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Bronze Figurine of Horus as a Falcon
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Bronze Figurine of Horus as a Falcon

Original price was: $49,000.00.Current price is: $45,000.00.
Civilization: Egyptian
Material: Metal
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.

REFERENCE #

SI_EG_1047

CIVILIZATION

Egyptian, 26th/30th Dynasty, 664 B.C.E. – 342 B.C.E.

 

SIZE

H. 14.4 cm

CONDITION

Excellent condition

PRICE

$45,000

PROVENANCE

Former French private collection, acquired ca. 1970. French Passport # 128908

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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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Egyptian Book of the Dead for Min-Her-Khetiu
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Egyptian Book of the Dead for Min-Her-Khetiu

 

Egyptian Book of the Dead for Min-Her-Khetiu

‘Book of the Dead’ is a modern term for a collection of magical spells that the Egyptians used to help them get into the afterlife.  They imagined the afterlife as a kind of journey you had to make to get to paradise – but it was quite a hazardous journey so you’d need magical help along the way.

Prior to the New Kingdom, The Book of the Dead was only available to the royalty and the elite. The popularity of the Osiris Myth in the period of the New Kingdom made people believe the spells were indispensible because Osiris featured so prominently in the soul’s judgment in the afterlife. As more and more people desired their own Book of the Dead, scribes obliged them and the book became just another commodity produced for sale.

From the New Kingdom through the Ptolemaic Dynasty (323 – 30 BCE) The Book of the Dead was produced this way. It continued to vary in form and size until c. 650 BCE when it was fixed at 190 uniform spells but, still, people could add or subtract what they wanted to from the text. A Book of the Dead from the Ptolemaic Dynasty which belonged to a woman named Tentruty had the text of The Lamentations of Isis and Nephthys attached to it which was never included as part of the Book of the Dead. Other copies of the book continued to be produced with more or less spells depending on what the buyer could afford. The one spell which every copy seems to have had, however, was Spell 125.

Featured here are two papyrus fragments from the Egyptian New Kingdom, 18th Dynasty (circa 1400 BCE) of an Egyptian Book of the Dead written for the Royal sandal-bearer of Isis, Min-Her-Khetiu:

The smaller papyrus sheet includes the painted figures of a woman and the dead man, their hands raised in adoration. Between them a column of hieroglyphs gives the name and title of the owner.  Seven columns of hieroglyphs in the center contain the opening of Chapter 7 headed ‘Chapter of Sailing in the Bark of Ra’.  Above this an accompanying vignette of a shallow boat containing the falcon headed Ra crowned with solar disc and flanked by wedjat eyes to signify health and security.  To the right four columns recounting part of Chapter 149,’The Fourteen Mounds’, the illustration above showing a pottery jar with liquid spilling from it.

The longer sheet carries thirty columns of Chapter 125 ‘The Declaration of Innocence’ with a scene showing standing figures of Anubis with the dead man to the left of a kneeling falcon headed god (Horus though he is labelled Thoth) supervising the weighing of the heart against Maat.  Two seated gods above the scales represent the 42 gods who witness the judgement.  Two of the three columns in the center are from Chapter 81a ‘Spell for becoming a lotus’ and on the right side of the sheet are ten columns from the beginning of Chapter 144 ‘Address to the Keepers of the Underworld’ with the paired figures of the horned guardian and reporter of each gate shown at the foot of the column.

Other fragments from the same scroll can be found in the Cairo Museum and the Papyrus Museum, Syracuse, Italy.  This piece is the oldest illuminated manuscript of the Egyptian Book of the Dead in private hands, and among the oldest literary manuscripts (MSS) on papyrus.

Provenance:

Previously Maurice Nahman, Cairo, acquired 1930s; The Schøyen Collection, Norway.

Exhibited:

Kon-Tiki Museet, Oslo, 2002-3

Published Literature:

Barbara Lüscher, ‘Der Totenbuch- Papyrus des Minherchetiu‘ in Studien zur Altägyptishen Kultur, Band 36, 2006.

FOOTNOTES:
1.) The British Museum

2.) Ancient.eu

 

REFERENCE

#SC_EG_1001

CIVILIZATION

New Kingdom. 18th Dynasty, c.1400 B.C.E.

SIZE

H. 14 x L. 33.2 cm and H. 15.5 x L. 88.8 cm

CONDITION

Fine condition

PRICE

Available Upon Request

PROVENANCE

Maurice Nahman, Cairo, acquired 1930s; The Schøyen Collection, Norway. Exhibited: Kon-Tiki Museet, Oslo, 2002-3 Literature: Published: Barbara Lüscher, ‘Der Totenbuch- Papyrus des Minherchetiu’ in Studien zur Altägyptishen Kultur, Band 36, 2006.

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Gospel Of John, in Armenian
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Gospel Of John, in Armenian

Four leaves from an extremely early Biblical codex.  4 leaves, with one complete leaf and a lower half (bisected horizontally across the page) from an early Armenian translation of John 10-11, the complete leaf 320mm. by 230mm., double column, 17 lines in dark brown ink in large  and imposing erkat’agir majuscules (the so-called ‘Iron Writing’, the earliest Armenian script to survive in manuscript) with capitals with long trailing descenders, notably similar to British Library, Add. MS.21932, trimmed to edges of text, Armenia, probably ninth or tenth century; plus the lower half of a leaf from a Biblical or liturgical manuscript, 200mm. by 135mm., with remains of double column, 12 lines in light brown ink in a smaller and squarer hand closer to that of Dublin, Chester Beatty MSS.554 and 556, both twelfth century (Catalogue of the Armenian Manuscripts, 1958 II: pls.1 and 4), Armenia, probably twelfth century; all leaves recovered from bindings and with stains, tears, folds and later pen-trials and notes, but overall in fair and sound condition.

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Gospel of Mark in Greek - Fragment of a Manuscript
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Gospel of Mark in Greek – Fragment of a Manuscript

This is an extremely early and important witness to the Gospel of Mark, written within decades of the death of Jerome and Augustine of Hippo; it is perhaps from the Imperial library of Constantinople, the last of the great libraries of the ancient world This manuscript is from an important cache of early fragments, discovered in 2003, and reported to have been from a pre-War Armenian collection of antiquities and manuscripts in France. Five Biblical fragments, including the present one, were published by P.M. Head in the Journal of Theological Studies, ns.59 (2008), with short earlier notices in TC: A Journal of Biblical Textual Criticism, 8 (2003), Bulletin of the International Organization for Septuagint and Cognate Studies, 36 (2003) and the Tyndale Bulletin, 56 (2005). They include fragments of Luke (fifth century, and probably the oldest witness to that part of the text), John (late fifth century or even c.500), another fragment of Mark (fifth to sixth century) and Romans (sixth or seventh century). Subsequently, the other fragments have been identified as the oldest extant witness to the Lucianic recension of Jeremiah in Greek (early to mid-fifth century: Head ibid., pp.1-11), the only surviving witness to the Greek original text of the Testamentum Domini Nostri Jesu Christi (fifth century: Corcoran and Salway in Journal of Theological Studies, ns.62 (2011) pp.118-35), and the only surviving fragments of a series of imperial edicts made by third-century emperors and now named the Fragmenta Londiniensia Anteiustiniana (fifth century: Corcoran and Salway in Zeitschrift der Savigny Stiftung für Rechtsgeschichte: romanistische Abteilung, 127 (2010) pp.677-8, and Roman Legal Tradition, 6 (2010). Clearly these fragments of six early Bibles, a pseudo-Apostolic Church Order, and records of imperial edicts were once in a large and important library of the ancient world, in scope and chronological range far beyond that of a wealthy individual. There were large institutional libraries in Upper Egypt (such as that of the monastery founded by Pachomius c.320), Roman North Africa (as used by Augustine of Hippo in the late fourth and early fifth century), Milan (as used by Ambrose in the late fourth century) and Alexandria (as used by Bishop Gregory of Alexandria in the mid-fourth century), but the Eastern Empire was increasingly centred on Constantinople as its outlying territories fell prey to barbarian invasion. Jerome notes that the Lucianic recension of the Septuagint (including the fragment of Jeremiah noted above) was current only in Constantinople and Antioch in the early fifth century, and the collection of imperial edicts has been tentatively identified as also coming from the city. If so, it seems likely that they come from the Imperial Library in Constantinople, founded by Emperor Constantius II (reigned 337-61) as a scriptorium with the express purpose of copying fragile papyrus documents onto more stable vellum. Under Emperor Valens in 372 it employed four Greek and three Latin scribes. It survived a fire in 473, was sacked by the Normans in 1204 during the Fourth Crusade, and eventually destroyed only after the conquest of the city by the Ottoman Empire in 1453. The only other manuscript thought to be from this source is that of the Archimedes Palimpsest, which surfaced first in Constantinople in 1840 and is now in a private collection in America.

 

Reference #

MS_BZ_1006

Civilization

Byzantine

Size

W. 10 cm, H. 2 cm

Condition

Fine Condition

Price

SOLD

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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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He Domenico Manni Collection Of Liturgical Manuscripts
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He Domenico Manni Collection Of Liturgical Manuscripts

7 leaves and one part-leaf, 312 x 215mm — 372 x 265mm: (i) ORIGEN (d.253/4), translated by RUFINUS (d.410), In Numeros Homiliae, in Latin, [Italy, perhaps Tuscany, early 12th century], 2 almost complete leaves, two columns of 34 lines written in a fine rounded Carolingian minuscule bookhand in dark brown ink, the text containing parts of Homily XXVI and XXVII, with a December 1580 inscription in Italian on f.1v, 372 x 265mm; A MISSAL, in Latin, [Italy, probably Tuscany, early 13th century], 2 leaves, two columns of 31 lines written in brown ink, rubrics and initials in red, the text from the Sanctoral containing masses for Saints Zenobius, Romulus, Reparata and Cerbonius, all Tuscan, 311 x 215mm; ROLANDINUS RODOLPHINUS (d.1300), Summa artis notariae, in Latin, [Italy, late 13th or early 14th century], 1 leaf and one part leaf, two columns of 44 lines written in brown ink, rubrics and paraphs in red, the text containing parts of chapters VIII and IX, 320 x 223mm; A BREVIARY, in Latin, [Italy, late 14th century], two leaves, two columns of at least 23 lines, initials in red and blue, rubrics in red, with part of the text for Feria VI in Easter week, ownership inscriptions in Italian, 355 x 275mm (all recovered from bindings, some cropping, staining and creasing). All in modern card bindings.

 

Reference #

MS_BZ_1005

Civilization

Medieval , 1200 C.E. – 1400 C.E.

Size

7 leaves and one part-leaf, 312 x 215mm — 372 x 265mm

Condition

Fine Condition

Price

Price available upon request

Provenance

Baidun Collection, acquired at Christies sale November 2013

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Hellenistic Marble Head of Zeus
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Hellenistic Marble Head of Zeus

Zeus’ imposing presence was felt throughout Ancient Greece as evidenced by the many sculptures and paintings of his image that make up the region’s archaeological record. This white marble sculpture of Zeus dates from Greece’s Hellenistic period of approximately 300-200 B.C.E., a time when Greek sculpture had entered a Classical period defined by its rigid poses and severe features. This figure’s lush hair, parted lips, and strong brow show the emphasis placed on such stylized details during Greece’s Classical period.

This sculpture is a highly realistic representation of Zeus, and it may be that the sculptor based this image on someone he knew from his everyday life. This sculpture is a breathtaking example of the technical skill and detailed eye of Greece’s celebrated sculptors. The piece has been restored to reveal the sculpture’s original power, although the body has been lost to history’s vagaries.

REFERENCE #

SI_GR_1011

CIVILIZATION

Greek Hellenistic, 300 B.C.E. – 200 B.C.E.

SIZE

H. 30 cm

CONDITION

Fine condition

PRICE

P.O.R

PROVENANCE

English Private Collection of a German Professor, ca 1970’s

 

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Leaf from an Illuminated Manuscript in Latin - Boethius, De Consolatione Philosophiae
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Leaf from an Illuminated Manuscript in Latin – Boethius, De Consolatione Philosophiae

An Illuminated Manuscript On Vellum [Italy (Perhaps Florence), Fourteenth Century] a leaf, 315mm. by 230mm., 22 lines in a high grade angular bookhand, initials formed from ornamental penstrokes and separated from beginning of lines of verse, full border of the continuous gloss of the early fourteenth-century English author William Wheatley (see below) in smaller hand, rubrics and paragraph marks in red, two illuminated initials on blue or pink grounds with scrolling coloured acanthus leaves and large teardrop-like bezants, recovered from the binding of a series of Florentine historical works, partly by the Florentine humanist Matteo Palmieri, with sixteenth-century inscriptions identifying those works on its blank back, with scuffs, rubbing to initials, folds and small holes in places (with minor affect to 3 of glosses), overall in fair and presentable condition.

Reference #

MS_BZ_1010

Civilization

Byzantine, Medieval , 1400 C.E.

Size

H. 31.5 cm x W. 23 cm

Condition

Overall in fair and presentable condition

Price

Price available upon request

Provenance

Baidun Collection, acquired at Sotheby’s sale December 2013

 

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List of the Patriarchs of AntiochLIST OF THE PATRIARCHS OF ANTIOCH
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List of the Patriarchs of Antioch

ANTIOCH preceded by the end of a list of the PATRIARCHS OF ALEXANDRIA and followed by a list of the canonical books of the Bible, in Greek, bifolium from a MANUSCRIPT ON VELLUM [Greece?, mid- to late- 10th century] 196 x 153mm. 17 lines ruled in blind written in brown ink in a fine and formal Greek minuscule, headings in uncials, modern foliation 46-47. In a modern cloth binding.

Provenance: (a) the conservative character of the writing is very marked, as is customary with the codices vetustissimi and vetusti of the 9th – 13th centuries. The minuscule slants slightly to the right, the breathings are square and the accents precise, and there is no enlargement of certain letters and intermixing with uncial forms as tends to happen in later centuries, all indicating a possible dating to the 10th century. The list of the Patriarchs of Alexandria ends with Peter IV (642-651), while the list of the Patriarchs of Antioch ends with Anastasius II (599-610), and the scribe has left space for 9 and 10 more names respectively, which would suggest he was copying the text from an earlier manuscript and writing a few centuries after the names listed. (b) ANDRe ROORYCK (1923-2010), sold at Sotheby’s, 5 July 2005, lot 7. An interesting and early bifolium from what would probably have been a compendium of useful religious dates, events, and lists relating to the Greek Orthodox Church. George I (621-630), Cyrus (631-641) and Peter IV (642-651) close the list of Patriarchs of Alexandria (following the Greek Orthodox as opposed to the Coptic Orthodox tradition, after the schism of 536), while the Patriarchs of Antioch run from Peter the Apostle (c.37 – 53) to Anastasius II (599-610).

Reference #

MS_BZ_1003

Civilization

Byzantine

Size

L. 19.6 cm, W. 15.3 cm

Condition

Fine Condition

Price

Price available upon request

Provenance

Baidun Collection

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Martianus Capella, on the Marriage of Philology and Mercury in Latin
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Martianus Capella, on the Marriage of Philology and Mercury in Latin

Manuscript Of The Text, In Latin, On Vellum [Germany, Early Twelfth Century] 9 fragments: 2 strips approximately 85mm. by 20mm. and 7 rectangular pieces, each approximately 42mm. by 25mm., one strip and one rectangle cut from same section of text allowing the reconstruction of 4 lines of a single column (35mm. wide): II:132-33, “Philologie frontem illuc ubi … oculis afflaret honores” and on back “sunt inclytam majestatem … hac regali lectica in”, and showing that the original volume was single-column and pocket-sized (with only approximately 21 lines missing between the lines here), other fragments with text from II:109, 110, 113, 130, and another part of 132, text in a fine late Carolingian hand with a pronounced ct-ligature, recovered from a binding of an sixteenth-century printed book from Leipzig, and hence with stains, cockling and splits.

Reference #

MS_BZ_1009

Civilization

Byzantine, Medieval , 1200 C.E.

Size

W. 8.5 cm, H. 2 cm

Condition

Fine condition

Price

Price available upon request

Provenance

Baidun Collection, acquired at Sotheby’s sale December 2013

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Monumental Imperial Roman Marble Eagle
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Monumental Imperial Roman Marble Eagle

A large and imposing majestic Roman marble eagle, straight gaze, with its wings spread and legs bent preparing to take flight

REFERENCE #

SI_RM_1100

CIVILIZATION

Roman, 100 C.E. – 200 C.E.

SIZE

H. 64 cm

CONDITION

The beak is restored, otherwise in perfect condition.

PRICE

Price available upon request

PROVENANCE

French Private Collection purchased in Paris in the 1970’s.

 

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Nine Fragments From Early Liturgical Manuscripts
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Nine Fragments From Early Liturgical Manuscripts

fragments: (i) 7 sections of leaves from a Missal, 5 triangular in shape (approximately 185mm. by 260mm.) and cut diagonally from the parent leaves, 2 further smaller pieces used as gathering supports (230mm. by 40mm. and 60mm. by 11mm.), the larger showing that the original codex was single column, 24 lines in light brown ink in a fine late Carolingian minuscule leaning to the right, with pronounced ct- and st-ligatures, lines of music in smaller script with simple neumes, rubrics (in ornamental capitals in style of ninth and tenth century) and simple red initials (some with tiny baubles at the head and foot), a few additions in later medieval hands including the apparent folio numbers “xxxi” and “xxxij” in late thirteenth-century script at the head of two leaves, Germany, second half of the eleventh century or c.1100; (ii) two long strips cut horizontally from a Lectionary leaf, each approximately 65mm. by 283mm., with remains of two columns of 7 lines of large and elegant early gothic script, rubrics and 17 one-line initials in red, Germany, mid-twelfth century; all recovered from bindings of early sixteenth-century books printed in Augsburg, and with some folds, scuffs, small stains and red ink oxidised to silver in places, but overall in good condition.

Reference #

MS_BZ_1012

Civilization

Byzantine, Medieval , 1100 C.E. – 1200 C.E.

Condition

Overall in good condition

Price

Price available upon request

Provenance

Baidun Collection, acquired at Sotheby’s sale December 2013

 

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