AAW17

Art of the Ancient World
Greek, Etruscan, Roman, Byzantine, Egyptian, & Near Eastern Antiquities
Celebrating our Volume XXVIII - 2017

75th Anniversary
royal-athena
galleries new york london
No. 95 - Art of the Ancient World - Vol. XXVIII - January 2017
We are pleased to issue this catalog Every object purchased by our galleries
celebrating our 75th anniversary of dealing in has been legally acquired. If imported by us into
classical numismatics and our 63rd year of deal- the United States, we have done so in
ing in ancient art. It illustrates in full color 176 compliance with all federal regulations and have
selected antiquities priced from $1,250 to over given full consideration to all international
$500,000. treaties governing objects of cultural
This publication is one of a continuing series importance. Antiquities priced at $5,000 or
primarily illustrating new acquisitions featured more are now checked and registered with the
in our New York galleries, where over two Art Loss Registry in London.
thousand fine works of art are on permanent All of our objects are clearly labeled with
display. All of the antiquities in this catalog are complete descriptions and prices. Condition
displayed at our New York gallery, the largest reports on all the objects are available upon
and most extensive collection of the ancient request. We encourage browsing and are happy
arts ever exhibited for sale. to assist and advise both the amateur and the
In addition to the many masterworks serious collector. We urge our prospective clients
of ancient art, there is a wide variety of fine to ‘shop around’, for we are proud of our quality,
items on display priced from $100 to $1,000 expertise, and competitive pricing.
and up, including Greek and Roman coins and Appointments may be arranged outside of
Old Master prints and drawings, perfect for the regular gallery hours for clients desiring privacy.
beginning collector or for that very Updated price lists for our catalogs are available
special gift. A few of the pieces illustrated may upon request. For terms and conditions of sale
not be available since they were sold while the see the inside back cover.
catalog was in preparation, but a number of
other newly acquired objects will be on display COVER PHOTO: no. 47
in our New York gallery and on our website: Roman bronze statue of Alexander the Great as a Dioscuros
www.royalathena.com, updated weekly. 2nd Century AD. H. 16 in. (40.5 cm.)
(Detail)
We unconditionally guarantee the BACK COVER: no. 86
authenticity of every work of art Attic black-figure amphora by the Bateman Painter
sold by Royal-Athena Galleries. Ca. 540-530 BC. H. 19 in. (48.3 cm.)
(Detail)
©2016 Jerome M. Eisenberg, Inc. Text and catalog design by

Composed and printed in the United States of America. Jerome M. Eisenberg, Ph.D.,
and F. Williamson Price
Photography by Ramon Perez
We will be exhibiting at
TEFAF, The European Fine Arts Fair, Maastricht, The Netherlands, March 10-19, 2017
(Check our website to confirm the dates)
royal-athena galleries Jerome M. Eisenberg, Ph.D.

Director
established 1942
153 East 57th Street Royal-Athena at Seaby

New York, NY 10022 VISIT OUR WEBSITE, 20 Bloomsbury Street
Tel.: (212) 355-2034 updated weekly with London WC1B 3QA UK
Fax.: (212) 688-0412 our latest acquisitions: By appointment
[email protected] www.royalathena.com Tel.: (44) 780-225-8000
Monday-Saturday, 10 - 6 Fax.: (44) 18-8334-4772
Art of the Ancient World
Greek, Etruscan, Roman, Byzantine,
Egyptian, Near Eastern, & Prehistoric Antiquities
Volume XXVIII - 2017

Table of Contents
CLASSICAL ART BYZANTINE ART 80
Greek Marble Sculptures 3
Roman Marble Sculptures 6 ANCIENT VARIA 81
Classical Silver Sculptures 28
Greek Bronze Sculptures 30 EGYPTIAN ART
Etruscan Bronze Sculptures 32 Egyptian Stone Sculptures and Reliefs 82
Roman Bronze Sculptures, 34 Egyptian Bronze Sculptures 86
Classical Bronze Helmets & Vessels 49 Egyptian Wood Sculptures 88
Classical Terracottas 52 Egyptian Stone Vessels 89
Early Greek Vases 54 Egyptian Varia 90
Attic Black-figure Vases 56
Attic Red-figure Vases 63 NEAR EASTERN ART 91
Magna Graecia Vases 67 COLLECTING ANCIENT ART 94
Etruscan & Roman Vases 73 ROYAL-ATHENA GALLERIES 94
Ancient Jewelry 77 Expertise and Ethics 95
Royal-Athena Galleries Catalogs Inside back cover
Photo above: no. 113 Sicilian red-figure calyx krater by the Chequer Painter
1 Ca. 410-400 BC. H. 14 1/8 in. (35.9 cm.) (Detail)
Introduction
As we enter our 63rd year of dealing in ancient art and our 75th year in Classical
numismatics, we are delighted to present in our 94th publication another outstanding selec-
tion of antiquities assembled primarily from old collections in the United States and Europe.
A large number of these objects were originally purchased from us over the past several
decades and we are pleased to offer them again to a new generation of enthusiasts.
We are pleased to announce the reacquisition of an important group of classical

masterworks from a private north German collection purchased from Royal-Athena
from 2000 to 2010. These include a large Roman statue of the nude Apollo Kitharoidos, a
Roman marble relief section from a sarcophagus depicting a battle between the Greeks and
the Trojans, and a Roman marble herm bust of a wounded Amazon. Also in the collection
are a magnificent Roman bronze statue of Alexander the Great as a Dioscuros, an Attic black-
figure neck amphora by the Bateman Painter with Herakles fighting the Nemaean lion, and
another Attic black-figure amphora from the Group of Toronto 305 with an Amazonachy.
This catalog again presents a large selection of antiquities from the collection of the
Director (J.M.E. collection) acquired over more than thirty years including Greek and Roman
mythological bronzes and small Greek and South Italian pottery vases. A good representation
of additional pieces from the J.M.E. collection including mythological bronzes, Greek and
South Italian vases, Egyptian stone vases, and Egyptian faience amulets may be found on our
website. Further objects from the J.M.E. collection will be added regularly to our website and
monthly Newsletter over the coming year.
We have devoted over six decades to selling carefully attributed works of art with
particular attention to their provenance. This diligence has resulted in an astonishingly low
percentage of claims against legal ownership – less than 0.0006% or one out of every 2000
objects! In view of the increasing legislation being passed in several countries to restrict the
trade in illegally exported antiquities, we may assure our clients that we continue to proudly
conduct a very ethical business and take all of the proper steps to insure that our inventory is
free of any possible claims.
It is with great pride and delight that we celebrate our 75th year!
Jerome M. Eisenberg, Ph. D.
Greek Marble Sculptures
1 HELLENISTIC MARBLE HALF STATUE OF A GODDESS, PROBABLY DEMETER, goddess of

agriculture, wearing a chiton, her himation over her head (capite velato).
Asia Minor, ca. 325-250 BC. H. 35 3/8 in. (90 cm.) Ex Gregoire Couturier collection, Delémont,
Switzerland, acquired before 1960. Dr. Norman Herz, University of Georgia, analyzed the marble as
Aphrodisias 75%, Ephesus 83%, i.e. Western Turkey. Published: J. Eisenberg, Art of the Ancient World, vol.
XIX, 2008, no. 4.
2
2 GREEK MARBLE HEAD OF A KORE
She wears a diadem that begins at the back of the
head and runs to the forehead in three flat, overlap-
ping double ears of grain. Under the diadem the
slightly wavy hair is combed backwards.
Pentelic marble, Athens, ca. 460-440 BC.
H. 8 1/2 in. (21.5 cm.) Ex Swiss private collection.
A corkscrew curl on either side of the neck and a
small curl in front of the right ear. A blossom was
orignally located in the centre of the diadem above
the forehead. The planar treatment of the forehead
and cheeks with the special emphasis placed on the
eyebrows and lids, as well as the compact chin
suggest a date for the head between the pediment
figures of the temple of Zeus in Olympia and those
of the Parthenon. Cf. H. Knell - 1990, 83 ill. 119
and the head of a goddess from the East pediment of
the Parthenon, Agora-Museum, Athens, inv.-no. S
2094, see W. Fuchs - 1979, 559, ill. 671; Athenian
Agora - 1976, 191. Published: J. Eisenberg, Art of
the Ancient World, vol. XXII, 2011, no. 1.
3 GREEK MARBLE HEAD OF A GODDESS

depicted gazing forward, her expression serene, with
almond-shaped eyes and a small mouth, her wavy
hair centrally-parted and drawn back over her ears,
the back flat. 3rd-2nd Century BC.
H. 5 1/2 in. (14 cm.) Ex private collection, formed
in the early 1980s. Published: J. Eisenberg, Art of
the Ancient World, vol. XXII, 2011, no. 4.
44
4 GREEK LIMESTONE RELIEF OF MAENADS HUNTING STAGS, Three maenads in an ecstatic state,
wearing chitons and billowing himations and holding thyrsoi, hunting stags. Carved in high relief.
Taras, South Italy, ca. 300-280 BC. H. 7 1/4 in. (18.3 cm.); L. 26 3/4 in. (68 cm.) Acquired in London,
February 2000. Ex English collection.
Cf. J.C.Carter, “The Sculpture of
Taras,” Transactions of the American
Philosophical Society, vol. 65, part 7
(1975), p. 94, pl. 60c.
Published: J. Eisenberg, Art of the
Ancient World, vol. XXI, 2010, no.5.
5 HELLENISTIC MARBLE STELE

OF ZOA depicting her in deeply
sunken relief. Zoa, wearing a hima-
tion, standing in the center flanked
by two girls, probably servants.
Ex Dr. B. collection, Basel,
Switzerland, acquired 1960-1970.
Published: E. Pfuhl-H. Möbius, Die
ostgriechischen Grabreliefs, vol. 1,
Mainz, 1977, p. 151, no. 469, pl. 77;
J. Eisenberg, Art of the Ancient
World, vol. XI, 2000, no.6.
Her himation covers head and body,
leaving only a small section of the right
arm and the richly pleated undergar-
ment visible. The right hand grasps the
hem of the himation. The girl to the
left, shown in profile, is in a reflective
or mourning pose, and looks up to the
deceased from the side. The fingers of
her left hand touch her throat. The
pose of Zoa is reminiscent of that of the
so-called Small Herculanian Woman,
cf. W. Fuchs - 1979, 219, no. 237
with ill. The girl to the right holds an
open box or mirror in both hands. A
box, a kalathos and a double comb (?)
stand on a ledge in the upper part of
inscription: ΙΩΑ ΜΗΝΙΟΥ ΧΑΙΡΕ.

the relief. On the upper frame, an
The inscription translates: Zoa, daugh-

ter of Menios, farewell.
5
6
Roman Marble
Sculptures
6 ROMAN MARBLE RELIEF SECTION FROM A

SARCOPHAGUS DEPICTING A BATTLE
BETWEEN GREEKS AND TROJANS. A standing
warrior at left; in the midst, a nude helmeted horseman in
the iconic pose of a hero is about to strike with his club an
opposing warrior who raises his shield in defense. The
uppermost edge is decorated with a frieze of frenzied ani-
mals including lions and boars; a deeply carved egg and
dart border below.
Ca. AD 200. H. 25 1/2 in. (64.8 cm.), W. 35 3/4 in.
(90.8 cm.) Ex Swiss art market, April 1991; Dr. H. col-
lection, Germany, acquired from Royal-Athena in April
2000.
Published: J. Eisenberg, Art of the Ancient World, vol.
VII, 1992, no. 57; vol. XI, 2000, no. 30.
Attributed. by Dr. Guntram Koch. A similar sarcophagus
featuring a battle between Greeks and Amazons, is in the
Thessalonika Museum (Bianchi Bandinelli, Rome, The
Late Empire, 1971, fig. 277-278, p. 300). Other related
reliefs may be found in the British Museum, the Museé du
Louvre, and the Istanbul Archeology Museum.
7
7 ROMAN LARGE MARBLE NUDE APOLLO KITHAROIDOS The youthful god,
patron of music and poetry, standing in contrapposto, his centrally parted hair bound
with a thick wreath, its long tendrils falling on his shoulders. At his left, on a thigh-
high column or altar stands his kithara, created for him by Hermes. This sculpture is
based upon the 2nd century BC statue of Apollo from his Temple at Cyrene, now in the
British Museum. Late 1st-early 2nd Century AD. H. 46 1/2 in. (118.1 cm.)
Ex Zurich art market, 1992; Christie’s New York, June 2000; M.B. collection,
Woodland Hills, California, acquired from Royal-Athena in October 2002; Dr. H. col-
lection, Germany, acquired from Royal-Athena in March 2007. Published: J. Eisenberg,
Art of the Ancient World, vol. XII, 2001, no. 13; vol. XVII, 2006, no. 21. It is rare
to find so large and relatively complete a statue with no restorations. A powerful work
from antiquity!
8
9
8
ROMAN MARBLE YOUTH AS THE
YOUNG HERAKLES, wearing a lion skin
over his head, its forelegs tied around his
shoulders. its gaping jaw with fangs, the tufted
mane delineated over the back of his head,
1st Century AD. H. 23 5/6 in. (60 cm.)
Ex M. A. collection, Paris, ca. 1977; with
Myths & Ledgends, Paris, 1980s; French
private collection, acquired prior to 2000.
A cult statue of Herakles as a child is thought
to have stood in a temple or shrine on the
Aventine Hill in Rome.
Ancient World, vol. XXI, 2010, no. 8.
9
ROMAN MARBLE TORSO OF
MELEAGER, nude but for a cloak draped
around his neck, after a 4th century BC
prototype by Scopas. Meleager, an
Argonaut, son of Oeneus, King of Calydon,
killed the Calydonian boar.
1st Century AD.
H. 28 1/2 in. ( 72.5 cm.)
Ex A.D. collection, Paris, acquired in the
early 1970s. Published: J. Eisenberg, Art of
the Ancient World, vol. XXIII, 2012, no.
6.
10
11
10
ROMAN MARBLE MEN, THE ANCIENT MOON GOD OF ANATOLIA The young god stands with his
weight on his right leg, his left advancing, He wears a chiton with a chlamys pinned on his right shoulder,
and the traditional Phrygian cap over tiered curls. Remains of the crescent moon at his back.
2nd Century AD. H. 20 7/8 in. (53 cm.) Ex French collection, acquired on the European market ca. 1985.
Published: J. Eisenberg, Art of the Ancient World, vol. XXIII, 2012, no. 9.
12
11
ROMAN MARBLE STATUE OF A YOUNG
SILVANUS with masses of long curly hair bound
with a fillet; wearing a goat skin (nebris) about
his neck, filled with fruit, which he holds up with
his left hand.
2nd Century AD. H. 18 1/2 in. (47 cm.)
Ex private collection, Southwestern France,
acquired in the mid-1990s.
Published: J. Eisenberg, Art of the Ancient
World, vol. XXIII, 2012, no. 7.
His name in Latin literally means “of the woods”.
This woodland tutelary deity was a protector of
the fields and flocks which are referenced in this
example by his goat skin bulging with fruit.
13
12 ROMAN MARBLE RECLINING
YOUNG FAUN LEANING
UPON A WINE ASKOS
He is depicted as a handsome
adolescent, nude, lying upon a
draped rock in a languid pose;
originally used as a fountain.
1st-2nd Century AD.
H. 11 3/8 in. (29 cm.)
L. 19 1/4 in. (49 cm.) Ex collection
of Massimo Gargia, Paris; French
collection, acquired in May 2008.
Published: J. Eisenberg, Art of
the Ancient World, vol. XXII,
2010, no. 7.
13 ROMAN MARBLE STATUE OF

A NUDE YOUNG BOY,
possibly a representation of Eros.
1st-2nd Century AD.
H. 26 1/8 in. (66.4 cm.)
Ex Swiss private collection,
acquired in 1973.
Published: J. Eisenberg, Art of
the Ancient World, vol. XXIII,
2012, no. 12
14
15
14 AN IMPORTANT ROMAN
MARBLE STATUE OF THE NUDE
APHRODITE, (VENUS), the goddess of
erotic love and beauty, reaching down in
the pose of unfastening her sandal. Her
head is turned to the right and her hair
is tied on top of her head.
After a 3rd Century BC prototype.
Ca. 1st Century AD.
H. 14 1/2 in. (36.8 cm.)
Ex Harounoff Family collection,
Europe, 1950s.
Ancient World, vol. XXIII, 2012, no. 2
16
Aphrodite statues of this type were popular
in Asia Minor, the Greek islands, and
Roman Egypt (see M. Bieber, The
Sculpture of the Hellenistic Age, New
York, 1961, p. 99). For related examples see
A. Adriani, Repertorio d'Arte dell'Egitto
Greco-Romano, vol. II, pl. 58, figs. 179-
182, and pl. 59, figs. 183-184, J. Marcadé,
Au Musée de Délos, Paris, 1969, p. 509,
pl. XLVII, and M. Bieber, op. cit., fig. 394.
For a discussion of the prototype and a list
of other examples see D. Brinkerhoff,
Hellenistic Statues of Aphrodite, New
York and London, 1978, pp. 70-97.
17
15
ROMAN MARBLE STATUE OF AN EMPRESS AS
A GODDESS, standing in a relaxed pose, her weight on
her right foot. She wears the stola and palla worn capite
velato over a diadem.
2nd half of the 2nd Century AD. H. 33 in. (85 cm.)
Ex European collection, 1980s Published: J. Eisenberg,
Art of the Ancient World, vol. XXIII, 2012, no.24
18
16
ROMAN MARBLE PORTRAIT HEAD OF
THE EMPEROR AURELIAN, AD 270-275
The face is marked by strict traits: the cheeks are
hollow with salient cheekbones; short hair, mustache
and beard, directly incised on the surface of the stone.
Ca. AD 270-275. H. 10 1/4 in. (26 cm.)
Ex old Belgian collection, ca. 1989.
World, vol. XXIII, 2012, no.18
The forehead is engraved with horizontal and

vertical wrinkles, and the eminent eyebrows are
also engraved to mark the hairiness. The foundation
of the neck is rounded up for insertion onto a torso
or a statue.
Aurelian successfully reunited the Roman Empire by
defeating the Alemanni, the Goths, Vandals,
Sarmatians, and the Gallic Empire in the west and
the Palmyrene Empire in the east. He thus gained
the title ‘Restorer of the World.’ His portraits are rare.
19
17 ROMAN MARBLE LIFE-SIZE PORTRAIT HEAD OF AN ATHLETE, possibly a pankratist.
His closely cropped beard and thin moustache are suggestive of the styles favored by the athletes of
the period. Sensitively carved of marble from the area near Saliari on the Greek island of Thasos,
his strong countenance has alert deepset eyes and a determined expression upon his parted lips.
Ca. 130 AD. H. 10 in. (26.7 cm.) Ex French collection; W. H. collection, Westport,
Connecticut, acquired from Royal-Athena Galleries in 1988. Published: J. Eisenberg, Art of the
Ancient World, vol. XVI, 2005, no.12.
20
21
18 ROMAN MARBLE HEAD OF A BEARDED GOD OR HERO modeled with a prominent brow, the almond-
shaped eyes with defined lids, the lips parted, his hair center-parted and spiraling from the crown in thick waves.
1st Century AD. H. 5 1/2 in. (13.9 cm.) Ex Swiss private collection, 1970s.
19 ROMAN SMALL MARBLE PORTRAIT HEAD OF A FLAVIAN MALE

Ca. 70-80 AD H. 5 1/8 in. (13. cm.) Ex collection H.J., Sun City, Arizona. Exhibited at Kresge Art Museum,
Michigan State University, 1985-2009. Published: J. Eisenberg, Art of the Ancient World, vol. 4, 1985, no. 257.
22
20
ROMAN MARBLE OVER-LIFESIZE
HEAD OF A GODDESS, her head
slightly turned to the left, with articulat-
ed eyes and bow-shaped lips, wavy hair
deeply drilled, centrally parted and tied
in a large chignon; wearing a high cres-
centic diadem with scalloped edge.
Late 2nd Century AD.
H. 13 in. (33 cm.)
Ex English private collection, pre-2000.
Ancient World, vol. XXIII, 2012,
no. 25.
23
21 ROMAN MARBLE HERM BUST OF A WOUNDED AMAZON of the ‘Sciarra’ type,
based upon a Greek bronze of ca. 440—430 BC. This remarkable example exhibits so much
pathos, yet, despite her plight, this Amazon shows no sign of pain or fatigue. The serenity
and emotional restraint in her facial expression are a testament to the sensitivity of the Greek
original and this Roman artist. 1st-2nd Century AD. H. 15 in. (38 cm.)
Ex French collection of Klaus Otto Preis, acquired c. 1950-1960; French art market, March
2008; ex Dr. H. collection, Germany, acquired from Royal-Athena in April 2008.
Cf. Roman marble head of an Amazon in the Capitoline Museum, Rome. 24
25
22
ROMAN MARBLE HEAD OF
A MUSE, GODDESS, OR VOTARY
with downward cast gaze, wearing a
himation over a floral garland. Socle
base carved for insertion into a draped
body; with fine root marks throughout.
1st Century AD.
H. 6 1/8 in. (15.6 cm.)
Ex Mark Sanders collection, Princeton,
New Jersey; J.M.E. collection, New
York, acquired December 1995.
Ancient World, vol. IX, 1997, no. 23.
23
ROMAN MARBLE PORTRAIT OF
A SEVERAN WOMAN The oval face
is framed by a voluminous, shoulder-
length coiffure, styled in even waves.
Early 3rd Century AD.
H. 13 in. (33 cm.)
Ex B. collection, Switzerland, acquired
between 1960-1980. The hair is set
loosely around the ears, and finally
formed into two plaits which were loose-
ly coiled to form a flat spiral in the nape
of the neck. This coiffure is typical of the
Severan period. The coiffures of the
empresses Iulia Domna and Plautilla
served as models. Cf. K. Fittschen &
P. Zanker, 1983, 99, no. 144, pls. 171-
172.
26
24 ROMAN MARBLE RECTANGULAR OSCILLUM: NUDE DIONYSOS AND AMPELOS
The bearded god of wine having over-imbibed, holds a rhyton (wine cup) in his right hand, a
chlamys over his shoulder. His nude companion, the young satyr Ampelos, supports him while
stroking a panther. Rev: Two Erotes on a dolphin.
Ca. 3rd Century AD. L. 18 1/8 in. ( 46 cm) x 12 1/4 in. (31 cm.)
Ex Nicholas Koutoulakis, Paris, 1970s; thence by descent.
Published: J. Eisenberg, Art of the Ancient World, vol. XXIII, 2012, no.32.
27
Classical Silver Sculpture
25
ROMAN SILVER FIGURE OF A ROMAN
GENIUS OF THE PATER FAMILIAS
wearing his toga capite velato, standing on an
ancient base; a scroll in his left hand, a patera
in his right hand.
1st Century AD. H. 3 5/8 in. (9.2 cm.)
Ex collection of John Moore, York, England
acquired in 1980s. Cf A. Kaufmann-
Heinimann, Die römischen Bronzen in der
Schweiz I, Augst, 1977, p. 79 no. 80; H.
Kunckel, Der römische Genius, 1974, pl. 58 ff.
Gruppe F V.
In the Roman religion the genuis is the individ-
ual instance of a general divine nature that is
present in everyone. Much like a guardian angel,
the genius would follow each man from the hour
of his birth until the day he died.
26
GRAECO-ROMAN SILVER RIGHT ARM
HOLDING A THUNDERBOLT from a stat-
uette of Zeus. 2nd Century BC/AD.
L. 2 3/8 in. (6 cm.)
Ex B.K. collection, Munich, since the 1990s.
28
27
HELLENISTIC SILVER APOLLO, probably a
portrait of a Hellenistic prince in the guise of the
god, perhaps Mithridates VI Eupator of Pontus,
or his son Ariarathes IX Eusebes Philopator of
Cappadocia, of slender and youthful form, stand-
ing in a graceful attitude with his weight on the
left leg, his extended right hand holding a rhy-
ton, the left hand a fragmentary bow, his head
turned to the right, with full lips, straight nose
with flaring nostrils, and eyes with indented
pupils, his long unruly wavy hair bound in a
diadem.
Late 2nd-early 1st Century BC.
H. 4 in. (10.2 cm.)
Ex New York private collection; Australian
private collection. acquired in 2002.
Published: R. Symes, Royal Portraits and
Hellenistic Kingdoms, New York, 1999, no. 24,
illus; J. Eisenberg, Art of the Ancient World,
vol. XX, 2009, no.134.
Cf. Marie-Louise Vollenweider, Musées de

Genève, no. 274, January 1987, pp. 4-5, cover
illus; Treasures from an Ancient Jewelbox:
Gold and Silver of the Ancient World, New
York, 1992.
29
Greek Bronze
Sculptures
28 EAST GREEK BRONZE GROUP: TWO ZEBUS AND A MAN standing behind them reaching under each
animal’s croup, all on an integrally cast plate base. Ex German collection. Very rare.
Cesme, Anatolia, ca. 610 BC. H. 2 3/8 in. (6 cm.); base: 2 3/4 in. (7 cm.) x 2 1/2 in. (6.5 cm.)
Cesme is 50 miles west of Smyrna, Turkey. For other bronzes from this area see British Museum: BM.52.9-
1.10, acquired in 1852. See also M. Constock & C. Vermeule, Greek, Etruscan & Roman Bronzes in the
Museum of Fine Arts Boston, 1971, no. 16, for a man and woman in an oxcart. Published: J. Eisenberg,
Art of the Ancient World, vol. XX, 2009, no. 36.
29 HELLENISTIC BRONZE DIONYSOS ASTRIDE A SNARLING PANTHER, nude, his left arm is resting
on his upper thigh, his head turned to his right, the panther's fur covered with oval spots inlaid in silver.
Fine style. 1st Century BC. L. 3 7/8 in. (9.8 cm.) Ex John Kluge collection, Charlottesville, Virginia,
acquired from Royal-Athena in 1989; J.M.E. collection, New York. Published: J. Eisenberg, Gods & Mortals,
1989, no. 12.
30
30 LATE ARCHAIC SMALL GREEK BRONZE SPHINX SEATED ON AN IONIC CAPITAL wearing a
polos. Very fine style with engraved details. Ca. 500 BC H. 1 1/2 in. (4 cm.) Ex German collection;
J.M.E. collection, acquired on the Munich art market.
31 GREEK BRONZE SEATED SPHINX APPLIQUÉ, her outstretched wings curling at the tips. She wears a
polos over her long braided hair which falls on her shoulders. Ca. 550-540 BC. W. 2 3/8 in. (6 cm.);
H. 2 1/8 in. (5.4 cm.) Ex French collection; J.M.E. collection, New York, acquired at the Drouot, Paris,
March 2001. Exhibited: Sphinx: The Guardians of Egypt, Brussels, October 19, 2006 - February 25, 2007.
32 HELLENISTIC BRONZE BEARDED CENTAUR leaping to right, in gesture of aiming arrow at pursuers.
Ca. 2nd Century BC. L. 3 3/8 in. (8.6 cm.) Ex collection of Patricia O'Brien, acquired ca. 1948; J.M.E.
collection, New York, acquired at Sotheby’s, New York, May 1989.
31
Etruscan Bronze
Sculptures
33
VILLANOVAN BRONZE ATTACH-
MENT: HORSE AND RIDER standing
in the crook of a J-form spar incised with
circles on both sides.
Ca. 8th Century BC.
H. 3 7/8 in. (9.8 cm.) Ex J.M.E. collec-
tion, New York, acquired from Galleria
Serodine, Ascona, February 1994.
34
ETRUSCAN BRONZE HELLE
RIDING THE RAM WITH THE
GOLDEN FLEECE Once a princess,
daughter of King Athamas of Boeotia, she
was the goddess of the Hellespont Sea.
She, partially draped, reclines upon the
ram’s back as it kneels; her left arm
around his neck. Probably a cista finial.
Vulci, ca. 400 BC. L. 2 3/8 in. (6 cm.)
A rare type. Ex J.M.E. collection, New
York, acquired in the Zurich art market,
June 1995. Cf. E. Babelon & A.
Blanchet, Catalogue des bronzes antique
de la Bibliotheque Nationale, Paris,
1895, no. 260.
35
ETRUSCAN BRONZE NUDE MALE DANCER
OR ATHLETE his body twisted forward with arms
extended; decorative figure from a candelabrum.
Ca. 420-400 BC. H. 3 in. (7.6 cm.)
Cf. Scavi di Spina, pl. 100. Ex Sotheby’s London,
December 1990; Swiss collection, 1995.
Published: J. Eisenberg, Art of the Ancient World,
vol. VI, 1995, no. 31.
32
36 ETRUSCAN BRONZE CANDELABRUM
Of typical form, the finial is a sculpture of an
embracing couple on a pedestal base with bead-
ing on its upper edge, the figures looking toward
each other, stepping forward, with their outer
arms akimbo.
Ca. 450 BC. H. 45 3/4 in. (116.3 cm.)
Ex private collection, southern France, acquired
in the late 19th-early 20th century; thence by
descent.
For a similar candelabrum finial with an
embracing couple, see G. Q. Giglioli, L’Arte
Etrusca, Milan, 1935, pl. CCXIV, 2 (Berlin).

33
37 ROMAN BRONZE NUDE APOLLO wearing a
bow case on a strap, holding a laurel sprig in his right
Roman Bronze Sculptures
hand. Ca. 2nd Century AD. H. 8 7/8 in. (13 cm)
Ex Dutch private collection, Maastricht;
38 ROMAN BRONZE NUDE APOLLO
H.J. collection, Sun City, Arizona.
WITH LEFT FOOT ON OMPHALOS, the
Exhibited at Kresge Art Museum, Michigan State
navel-stone of the earth. 1st-2nd Century AD.
University,1985-2009. Published: J. Eisenberg,
H. 4 3/4 in. (12.1 cm.). Ex American
Art of the Ancient World, vol. IV, 1985, no. 278.
private collection, acquired from Royal-
Athena in 1990. Exhibited: Picker Art
Gallery, Colgate University, 1990-1994.
World, vol. XII, 2001, no. 82.
39 ROMAN BRONZE NUDE APOLLO

KITHAROIDOS The athletic figure standing with
his weight on his left leg, the right relaxed and
bent at the knee, holding a plectrum in
his lowered right hand, originally holding his
kithara in his right, his head turned, his hair
bound in a fillet, with long braids falling onto
each shoulder. 2nd Century AD.
H. 5 1/8 in. (13 cm.) Ex collection of John Kluge,
Charlottesville, Virginia, acquired from Royal-
Athena in 1989.
40 ROMAN BRONZE THRACIAN APOLLO

RIDING A GALLOPING HORSE
Nude, he wears a radiate headdress and an arrow
quiver on his back, its strap across his chest. In
his right hand he holds a phiale.
In fine style. 2nd-3rd Century AD.
H. 2 1/2 in. (6.5 cm.) Ex J.M.E. collection,
New York, acquired in Munich, June 2005.
Cf. L. Ogneneove-Marinova, Statuettes en bronze
du musee national archeologique a
Sofia, 1975, no. 17. 34
41 ROMAN BRONZE ASKLEPIOS, THE GOD OF
MEDICINE, wrapped in a himation and leaning
on a staff entwined by a serpent. On an ancient
cylindrical pedestal. Dark green patina. Fine style.
1st-2nd Century AD. H. 6 in. (15.4 cm.)
Ex B.K. collection, Munich, acquired in the 1990s.
This sculpture is probably based upon the cult statue
at Epidaurus, the center for his worship. Born a
mortal, educated by the centaur Cheiron, he became
so skilled in the art of medicine that he was said to
be able to raise the dead.
42 ROMAN BRONZE ASKLEPIOS, THE GOD OF

MEDICINE depicted wrapped in a himation, his
muscular torso exposed, his curly hair bound with a
fillet. His right hand is upon his waist and at his left
he leans upon a staff entwined with a snake.
1st-2nd Century AD. H. 4 1/4 in. (11 cm.)
Ex K.G. collection acquired in Germany in the 1990s.
43 ROMAN BRONZE HERAKLES BIBAX The nude

drunken hero stands with his weight on his right foot,
a lionskin over his left shoulder, a knopped club in his
left hand, his extending right hand possibly once hold-
ing a kantharos, his wavy hair bound with a diadem.
2nd-3rd Century AD.
H. 5 5/8 in. (14.3 cm.) Ex Lord McAlpine of West
Green collection, England, 1980s; John W. Kluge col-
lection, Charlottesville, Virginia, acquired from Royal-
Athena in 1989. Published: J. Eisenberg, Gods &
Mortals, 1989, no. 86.
35
44 ROMAN BRONZE PAN PLAYING A
SYRINX the god of shepherds, herds and
hunters, with upper human part and goat
horns, legs and tail, holds a syrinx in his
right hand, approaching his mouth, and his
left hand he holds a logobolan (shepherd’s
crook). 1st-2nd Century AD.
H. 5 1/8 in. (13.2 cm.)
Ex German private collection, Z.C.,
acquired betweeen 1970 and 1980.
Cf. M. Kunze, Meisterwerke antiken
bronzen und metallarbeiten aus der samm-
lung Borowski, Franz Phillip Rutzen,
Germany, Mainz 2007, pp. 158-159, fig.
C.24.
45 ROMAN BRONZE ALEXANDER THE
GREAT WEARING ARMOR over a chiton,
a chlamys over his left forearm, and holding
a phiale in his right hand.
1st-3rd Century AD.
H. 3 3/4 in. (9.5 cm.)
Ex English private collection.
46 ROMAN BRONZE NUDE DIOSCUROS

One of the divine twins, Castor and Pollux,
with right arm extended and wearing a con-
ical helmet. 1st-2nd century AD.
H. 5 1/8 in. (13 cm.)
A scarce subject in exceptionally fine style.
Ex Sotheby’s New York, December 1997; Dr.
H. collection, Germany, acquired from
Royal-Athena, April 2000. Fine dark
brown patina.
36
37
38
47
ROMAN BRONZE STATUE OF
ALEXANDER THE GREAT AS A
DIOSCUROS, holding a lance, pilos helmet
on his head, he stands in contrapposto with
his weight on his left leg, his left hand on his
hip, and his right knee slightly bent. With his
raised right arm he holds the lance, a portion
of which still remains.
Ca. 2nd Century AD. H. 16 in. (40.5 cm.)
A superb work of art in exceptional condition.
A powerful and evocative example based upon
the masterpiece by Lysippos.
Ex Belgian collection; Brussels art market,
July 2005; Dr. H. collection, Germany,
acquired from Royal-Athena in January 2006.
World, vol. XVII, 2006, no. 43.
After his death Alexander was often associated

with the Dioskuroi, mortals who became
devine, and were regarded as the saviors and
benefactors of the people. From ancient liter-
ature we know of a painting by Apelles repre-
senting Alexander between the Dioskuroi.
This and another painting by Apelles were
brought to Rome by Augustus who set them in
facing walls of the Aula del Colosso, a square
room at the end of the long northwestern lat-
eral portico of the Forum Augustum, next to
the Temple of Mars. This would associate
Augustus with Alexander and also infer his
divinity and underscore his benevolence as
Pater Patriae.
39
40
41
48 ROMAN BRONZE WINGED, STRIDING EROS HOLDING A DOVE in his left hand and a large
alabastron in his right. He stands atop an ancient spool-form pedestal. Smooth green patina.
2nd Century AD. H. 3 1/8 in. (8 cm.) Ex T.A. collection, Munich, acquired in Munich, in 2003.
49 ROMAN BRONZE EROS RIDING ASTRIDE A LEAPING DOLPHIN Probably a vessel foot.
2nd-3rd Century AD. H. 4 1/4 in. (11 cm.) Ex F. Hancock collection, London, acquired in 1975;
collection acquired in Germany in the 1990’s.
50 ROMAN BRONZE NUDE BOY RIDING A DOLPHIN, its body arching; from a handle.
2nd-3rd Century AD. H. 5 1/2 in. (14 cm.) Exhibited: Detroit Institute of Arts, 1984-1993. Ex Royal-
Athena, 1984; reacquired for J.M.E. collection, New York, at Christie’s, New York, December 1993.
51 ROMAN BRONZE YOUNG BOY AS A GLADIATOR A rare subject. 1st-2nd Century AD.
H. 2 5/8 in. (6.7 cm.) Ex French collection; J. F. collection, Loveland, Ohio, acquired from Royal-Athena in
1989. Exhibited: Ohio State University Art Museum, 1985-1990; Picker Art Gallery, Colgate University,
1991-2007. Published: J. Eisenberg, Art of the Ancient World, vol. XIX, 2008, no. 70.
42
52 ROMAN BRONZE TOGATUS, GENIUS OF THE
PATER FAMILIAS The face modeled with youthful
plump features, standing wearing a tunic with his
toga draped over the head and secured in a roll at the
waist, holding a patera in his right hand, his right
knee relaxed; tangs under the feet.
1st-2nd Century AD. H. 4 in. (10 cm.) Ex private
Suffolk collection, England. Published: J. Eisenberg,
Art of the Ancient World, vol. XXI, 2010, no.61.
53 ROMAN BRONZE COMIC ACTOR The hollow

cast figure standing wearing a comic actor's mask and
banquet wreath, dressed in a tunic and close fitting
patterned trousers, the right hand grasping the left
wrist, leaning nonchalantly with one leg crossed over
the other, against a short pillar surmounted by a comic
mask. 2nd-3rd Century AD. H. 5 ½ in. (14 cm.)
Ex private European collection. Cf. J.R. Green and
A. Seeberg, Monuments Illustrating New Comedy,
1995, 5XB 6 and 6DS 1. Published: J. Eisenberg,
Art of the Ancient World, vol. XXI, 2010, no. 62.
54 ROMAN BRONZE APHRODITE (VENUS), her

right arm is extended, holding an attribute, her left
bent and folded towards her body, her head turned
to her right, gazing downward, her wavy hair is
crowned by a diadem. Significant remains of gilding.
1st-2nd Century AD. H. 8 1/8 in. (20.6 cm.);
Ex collection of Dr. Alfred Vogl and Patricia Stickney,
New York, acquired between 1950 to 1973.
vol. XXIV, 2013, no.43.
43
55 ROMAN BRONZE APPLIQUE BUST OF
HERAKLES emerging from a palmette, the
hero bearded and wrapped in a lionskin;
probably from a carriage.
Ca, 2nd Century AD. H. 5 1/2 in. (14 cm.)
Ex collection of J-P. Mariaud de Serres,
France, acquired before 2000.
56 ROMAN BRONZE DEEP APPLIQUE

BUST OF ALEXANDER THE GREAT, his
hair arranged in the characteristic anastole.
2nd Century AD. H. 5 7/8 in. (14.9 cm.)
Ex collection of B.H.S., St, Petersburg,
Florida, formed in the 1950s-early 1970s.
57 ROMAN BRONZE APPLIQUE BUST OF

A WARRIOR, POSSIBLY MARK ANTONY,
emerging from openwork foliate scrolls, seven
incised ears of wheat at the center below,
wearing a crested helmet over luxurious curl-
ing hair, head turned slightly to the left, with
pierced eyes and fleshy lips, plunging an eagle-
headed dagger into his right breast.
1st-2nd Century AD.
H. 8 in. (20.3 cm.) Ex collection of a Greek
archaeologist, pre-1950.
58 ROMAN BRONZE LIFE-SIZE LEFT
FOREARM OF A WOMAN wearing
a twisted movable bracelet, dressed with
a pleated veil on the upper part of the
arm. Ca. 3rd Century AD.
L. 13 3/4 in. (35 cm.) Ex Swiss private
collection acquired in the 1970s.
Ancient World, vol. XXIII, 2012, no.
57.
45
59
ROMANO-BRITISH BRONZE
CROUCHING WINGED
GRIFFIN Hollow-cast, front legs
raised and joined; details incised.
1st Century AD.
L. 3 1/4 in. (8.3 cm.) Found in
East Sussex, together with other
Romano-British metalwork.
Apparently the only sculpture of a
griffin to have been found in
Britain. Ex J.M.E. collection, New
York, acquired at Christie’s London,
1990. Published: J. Eisenberg, Art
of the Ancient World, vol. VI,
1991, no. 45.
60
ROMAN BRONZE PROTOME
OF A WINGED GRIFFIN.
Finely modeled head, chased fur
and feathers, raised lion paws; the
back with a square socket, two lugs,
and a rivet pin.
1st-2nd Century AD.
L. 2 3/8 in. (6.2 cm.)
Ex German collection, acquired in
the 1970s; J.M.E. collection, New
York, acquired in Munich, April
2010.
61
ROMAN BRONZE APPLIQUE
OF A WINGED SEA-GRIFFIN
depicted in profile to the left, the
winged monster with its foreleg
projecting forward and its foliate
tail rising up, some details incised.
Fine style. 2nd Century AD.
L. 21⁄2 in. (6.3 cm.) Ex Pars
Ancient Antiques, London, 1999;
private Midwestern collection;
J.M.E. collection, New York.
Our stock of ancient

bronzes
numbers over 300
museum quality examples.
For an overview consult
our recent catalogues,
visit our New York
gallery, or go to:
www.royalathena.com
46
62
ROMAN BRONZE THREE-HEADED
CERBERUS The triple-headed guard
dog of the underworld with three canine
heads, the larger central head upraised
and two smaller heads, that to the left
also turned to its right, that to the right
looking up and slightly to its left, two of
the heads with upright triangular ears,
one with the ears folded back, the fur
rendered by neat incision.
Ca. 2nd Century AD.
H. 4 in. (10.1 cm.) Superb style.
Ex French collection, sold at
Christie’s, London, July 10, 1987, lot
201; John Kluge collection,
Charlottesville, Virginia, acquired from
Royal-Athena in 1990, sold at Christie’s
New York, June 2004; J.M.E. collec-
tion, New York. 2005-15. Published:
C.C. Vermeule and J.M. Eisenberg,
Catalogue of the Greek, Etruscan, and
Roman Bronzes in the Collection of
John Kluge, New York and Boston,
1992, no. 88-107.
47
63
ROMAN BRONZE APPLIQUE OF
A TRITON with the head and torso
of a man; below, the tail of a fish.
The bearded diety gestures with his
extended left arm.
2nd Century AD.
L. 6 1/4 in. (16 cm.)
Ex Lequeu collection, acquired in
Egypt at the beginning of the 20th
century; Sotheby’s London, December
1992; J.M.E. collection, New York,
acquired in Paris, April 2010.
64
ROMAN BRONZE APPLIQUE:
WINGED SPHINX, crouching to
left, wreathed head facing front,
wearing necklace with three pendants.
Ca. 2nd Century AD.
L. 3 1/2 in. (9 cm)
Ex European private collection,
acquired in Zurich, 1974; J.M.E.
collection, acquired at Christie’s
London, April 2005.
65
ROMAN BRONZE PROTOME
OF A SPHINX with the head and
bust of a woman, up-turned wings,
and lion’s paws. She wears a mural
crown and may represent Tyche,
goddess of destiny. A rare type.
1st-2nd Century AD.
H. 2 3/8 in. (6 cm.)
Ex South German private collection
assembled from the 1970s; J.M.E.
collection, New York.
48
66 CHALCIDIAN BRONZE HELMET Classical Bronze Helmet & Vessels
WITH INCISED DECORATION
Narrow elongated skull with a
carinated and crested crown, holes
for the plume attachment, large cheek
pieces, and a short flaring neck guard.
Ca. 5th-4th Century BC.
H. 9 in. (23 cm.) Ex collection of
Axel Guttmann (1944-2001), Berlin,
acquired in Krefeld in 1990. The
forehead has decorative eyebrows in
relief and richly incised palmettes,
serpents' heads, locks of hair, and
floral ornamentation.
67 HELLENISTIC BRONZE
CIRCULAR MIRROR COVER:
EROS AND PSYCHE seated upon
a rock, their bodies turned out but
their heads facing; the goddess at
right wearing a chiton and a flowing
himation and love’s messenger nude
at right; the back of the mirror is
Roman. Ca. 3rd Century BC.
Diam. 5 in. (12.5 cm.)
Ex collection of Dr. P. Poitier, France,
acquired before 1980.
49
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68
GREEK GILT BRONZE TREFOIL
OINOCHOE with splayed foot
engraved with tongues, piriform body,
tapering neck with raised collar and
high strap handle with rosette engraved
rotelles. Base repaired in antiquity.
Probably Lydian.
Late 7th-6th Century BC
H. 9 1/4 in. (23.5 cm.)
Ex New York collection dispersed in
Hesperia Arts Auction, November
1990; S.B. collection, San Diego,
California.
Ancient World, vol. XXIII, 2012, no.
65.
69
HELLENISTIC BRONZE CHOUS:
IN RELIEF A DANCING NUDE
DIONYSOS holding thyrsos and
lionskin draped over his arm; to left,
two dancing maenads holding tympa-
na and thyrsoi; goat, altar, and tree.
3rd-1st Century BC.
H. 2 1/2 in. (6.3 cm.)
Ex J.M.E. collection, New York,
acquired from J.-A. DeSerres, Paris,
in September 1995.
50
70
VILLANOVAN BRONZE
CIRCULAR LIDDED PYXIS with
straight sides decorated with six rows
of embossed circles. On the lid,
embossed circles around a wreath of
rays in the centre; three projections
with double aperture for suspension.
Ca. 725-675 BC.
Diam. 5 5/8 in. (14.4 cm.)
Ex private Swiss collection, acquired
in 1961; D-J Cahn, Basel, Sept. 2008.
Published: J. Eisenberg, Ancient
World, vol. XXI, 2010, no. 107.
For a pyxis of the same design see:
M. Cristofani, Civiltà degli etruschi,
1985, Florence, p. 55, no. 2.4.10,9.
See also the identical decoration on a
double flask from the Tomb of the
Warrior of Poggio alle Croci, Volterra,
published in M. Torelli, The
Etruscans, 2001, p. 539, no. 12.2.
71
ROMAN BRONZE MINIATURE
LIDDED VESSEL INLAID WITH
NIELLO The body incised with
bound floral motifs heightened with
niello. 2nd-3rd Century AD.
H. to lip 3 in. (7.6 cm.) Ex Flohr
collection Germany; J.M.E. collection,
New York, acquired from B.
Gachstätter, Frankfurt, in July 2006.
Niello is a black metallic alloy of sul-
fur with silver, copper, or lead that is
used to fill designs that have been
engraved on the surface of a metal.
51
72 LATE ROMAN BRONZE BALSAMARIUM IN THE FORM OF A BOOT or calceus, ankle-high,
with nailed sole, and engraved lacing details; one chain remaining. Unusually complete.
Eastern Mediterranean, 4th-6th Century AD. H. 4 1/8 in. (10.5 cm.); L. 4 1/2 in. (11.5 cm.)
Ex A.P. collection, acquired in the 1990s.
Classical
Terracottas
73
ETRUSCAN TERRACOTTA
VOTIVE HEAD OF A
VEILED YOUNG WOMAN,
with an oval face framed by a
coiffure of helical locks over
the forehead and pendant
corkscrew locks to both sides.
Calenian, ca. 375-350 BC.
H. 11 3/4 in. (30 cm.)
Ex collection of Dr. V. Z.,

Switzerland, acquired
between 1950 and 1965.
Exhibited: Archaeological
Collection, University of
Zurich, 1986-2001.
52
74 GREEK ARCHAIC TERRACOTTA KORE
wearing a peplos and draped with a himation.
In her right hand she holds a wreath.
Ca. 530-500 BC. H. 7 7/8 in. (20 cm.)
Ex German collection.
75 HELLENISTIC POLYCHROME TERRACOTTA

DRAPED FEMALE She wears a draped, ankle-
length himation, drawn up at her side, showing
the pleated lower hem of the floor-length chiton;
with pastel mauve pigment over white ground.
Canosa, 3rd Century BC.
H. 10 3/4 in. (27.3 cm.) Ex J-D. Cahn, Basel,
Switzerland; Dr. M. S. collection, Scarsdale, New
York.
76 HELLENISTIC TERRACOTTA OF A DANC-

ING WOMAN, her left leg advancing, and her
left hand pressed against her hip beneath the fab-
ric of her billowing garment, and her right hand
gathering the fabric to keep her from tripping. 3rd
Century BC. H. 8 1/4 in. (21 cm.)
Ex German private collection, acquired from the
Baroness von Ohlendorff, Munich, in 1988.
77 ROMAN LARGE TERRACOTTA APHRODITE

GENETRIX wrapped loosely in a himation; her
upraised right hand lifts a corner of it which
hangs down the back; on an integrally molded
pedestal with a relief of a thiasos, with a satyr
and flautist on the front.
First half of the 1st Century AD.
H. 17 7/8 in. (45.5 cm.)
Ex German private collection.
53
Early Greek
Vases
78
MYCENAEAN BUFF-WARE
POTTERY CHALICE
of elegant form, with slender
stem flaring into a deep coni-
cal bowl with slightly everted
rim, the bowl painted with a
stylized cuttlefish, the two
handles gracefully curving like
tentacles with painted edges;
the stem painted with bands.
Early 13th Century BC.
H. 4 3/4 in. (12.1 cm.)
Ex German collection,
acquired 1970s; J.M.E. collec-
tion, acquired in Munich,
December 2007. Cf. P.
Mountjoy, Mycenaean
Pottery: An Introduction,
Oxford, 1993, p. 86, no. 305
(LH III B).
79 MYCENAEAN POTTERY JAR WITH THREE SMALL HANDLES with stylized 'rock' decoration on
shoulder; parallel bands on neck and body. Ca. 1450-1350 BC. H. 2 3/8 in. (6 cm.) Ex Richard Hattatt
collection; J.M.E. collection, New York, acquired at Sotheby’s London, December 1984.
80 MYCENAEAN POTTERY SQUAT JAR with single handle and decorated with ivy leaves and scrolling
stems in purplish-brown slip; lip and handle also covered in dark slip. Ca. 1450-1350 BC.
H. 3 in. (7.6 cm.) Ex collection of Richard Hattatt, Hampshire, England; J.M.E. collection New York,
acquired at Sotheby’s, London, December 1984.
81 MYCENAEAN POTTERY SQUAT STIRRUP JAR with spout and twin handles. Decorated on the
shoulders with fan-shells and stripes in brown-orange slip. Ca. 1350-1200 BC. H. 2 1/4 in. (5.7 cm.)
Ex J.M.E. collection, New York, acquired at Christie’s London, April 1999.
54
82 ATTIC LATE GEOMETRIC CUP WITH OPENWORK
PEDESTAL FOOT with bands of zig-zag decoration in black
slip. Later 8th Century BC. H. 2 7/8 in. (7.3 cm.)
Ex H.S. collection, Germany, acquired between 1971-1998.
83 RHODIAN TERRACOTTA ALABASTRON IN THE FORM OF A VEILED FEMALE HEAD AND
BUST, holding a dove to her breast with her right hand. Ca. 550 BC. H. 7 in. (17.8 cm.)
Ex Fritzemeier collection, acquired in 1975.
84 CORINTHIAN POTTERY ARYBALLOS BY A PAINTER IN THE OTTERLO WORKSHOP, with the
head of a man and a woman vis-à-vis; stylized rosettes in the field. Ca. 570-560 BC. H. 4 3/8 in. (11.3 cm.)
Ex collection of Pierre and Claude Vérité, Paris, acquired between 1930 and 1960. Cf. Würzburg L 110
in D. Amyx, Corinthian Vase-Painting of the Archaic Period, 1988, p.179: A-26.
85 GREEK DOUBLE COCKLESHELL ARYBALLOS, the shell realistically modeled with ridges and stripes
in black slip. The shell imitates the form of a cockle. Choice. Ca. 525-475 BC. H. 2 3/4 in (6 cm.)
Ex German collection; J.M.E. collection, New York, acquired in March 2008. The idea for creating a
shell-shaped terracotta vessel may derive from containers made from real shells. Archaeologists have found
shells outfitted with hinges and clasps in order to serve as containers for small items.
55
Attic Black-figure Vases
86
ATTIC BLACK-FIGURE AMPHORA BY THE BATEMAN PAINTER
Herakles stands in the center, locked in combat with the Nemaean lion, an invulnerable beast
that terrorized the vicinity near Nemea in the Northwestern Peloponnese. Iolaos, Herakles’
nephew and companion, stands at left holding Herakles’ club and gesturing excitedly. At right
stands Athena and Hermes. Reverse: The red-bearded Dionysos stands in profile holding a
kantharos. Before him at right dance two nude satyrs. Behind him a third satyr and a white-
skinned maenad dance. Ca. 540-530 BC H. 19 in. (48.3 cm.)
Ex New York art market, November 1990; Patricia Kluge collection, Charlottesville, Virginia,
acquired from Royal-Athena in 1991; Dr. H. collection, Germany, acquired from Royal-
Athena in September 2010. Published: Summa, Ancient Art, 1976, no. 9; 1000 Years of
Ancient Greek Vases II, 2010, no. 36; Art of the Ancient World, vol XXII, 2011, no. 106.
Sir John Beazley placed this artist among the followers of the Lysippides Painter and records
only five other works by this artist: the name vase in the Cleveland Museum, two in the
Metropolitan Museum, New York, one in the Museum of Fine Arts Boston, and the other in a
private American collection. This is a classic depiction of a popular mythological tale. 56
57
87
ATTIC BLACK-FIGURE NECK AMPHORA FROM THE GROUP OF TORONTO 305
In a battle between Greeks and Amazons (amazonomachy), a four-horse chariot (quadriga) is
wheeling to the left. The horses have already turned, but the chariot itself still faces frontally, with
the wheels foreshortened. The charioteer is not visible, but we see the Theban shield he wears on
his back, with its red rim and characteristic indented sides. Of the warrior riding beside the
charioteer, we see only his high-crested Corinthian helmet, his scabbard, his two long spears, and
his round Argive shield. An air of equine ferocity is reinforced by the open mouths and white
teeth. At the left is an Amazon carrying a spear and shield. She falls to the left; at first glance,
the horses seem to be trampling her, but in fact she is behind them. Her attacker is probably the
warrior at the far right, who strides to the left behind the chariot, his face hidden by the shield of
the charioteer.
Reverse: In the center, Dionysos stands holding a rhyton in his left hand and a grapevine in his
right. He wears an ivy wreath. Like the two satyrs in the scene, the god has a long red beard.
One satyr stands empty-handed at the far right; the other stands behind Dionysos holding a jug,
ready to fill the god’s rhyton when summoned. Behind this satyr, at far left, is a maenad wearing
a deerskin (nebris) over a chiton decorated with stars and rosettes.
Ca. 520-510 BC. H. 16 in. (40.6 cm.)
Ex Patricia Kluge collection, Charlottesville, Virginia, acquired from Royal-Athena in 1990;
Dr. H. collection, Germany, acquired from Royal-Athena in September 2010.
Published: J. Eisenberg, 1000 Years of Ancient Greek Vases, 1990, no. 30; Art of the Ancient
World, vol XXII, 2011, no. 108. 58
59
88 ATTIC BLACK FIGURE COLUMN KRATER BY THE PAINTER OF LOUVRE F 6, FROM THE
WORKSHOP OF LYDOS. A swan between two confronting panthers. Reverse: A large mountain-goat;
under the handles a swan on either side, same on the square top of the handles. Ca. 560 - 550 BC.
H. 11 in. (28 cm.); diam. 11 1/4 in. (28.5 cm.); W. 14 in. (35.6 cm.) Ex South German private
collection, acquired in the 1980s. Published: J. Eisenberg, Art of the Ancient World, vol. XXII, 2011,
no. 112.
60
89 ATTIC BLACK-FIGURE LEKYTHOS.
‘The Concert of Apollo’ with the god of
music playing a lyre instead of his usual
kithara. Late 6th Century BC.
H 10 3/4 in. (27.3 cm.)
Ex Swiss private collection; John Kluge
collection, Charlottesville, Virginia,
acquired from Royal-Athena in 1988;
Patricia Kluge collection,
Charlottesville, Virginia, 1990-2010.
The goddesses standing on either side of
him are probably his sister Artemis
(behind him) and his mother Leto.
Each holds a flower. At far left stands
Dionysos holding a rhyton. At far right,
is Hermes holding his kerykeion.
Ancient World, vol. IV, 1985, no. 63.
90 ATTIC BLACK-FIGURE SIANA-CUP

BY LYDOS Tondo with flying eagle;
outside, on each side, a nude heroic
warrior followed by a young horseman
between five men. Ca. 550 BC.
H. 4 5/8 in. (11.9 cm.):
Diam. 9 3/8 in. (23.7 cm.)
Ex Belgian private collection, acquired
in the 1980s. To Lydos and his work-
shop belong the painters who developed
the black-figure style.
61
91 ATTIC BLACK-FIGURE BAND CUP with palmette frieze. 6th Century BC. D. 5 1/4 in. 13.3 cm.);
W. 7 1/2 in. (19 cm.) Ex J.M.E. collection, New York, acquired at Christie’s London in December 1984.
92 ATTIC BLACK-FIGURE WHITE-GROUND TREFOIL OINOCHOE. Dionysos holding a kantharos,
with maenad, goat between, perhaps by the Painter of Vatican 649. Ca. 490 BC.
H. 9 in. (22.9 cm.) Ex Swiss collection; John Kluge collection, Charlottesville, Virginia, acquired from
Royal-Athena in 1988; Patricia Kluge collection, Charlottesville, Virginia, 1990-2010.
Published: J. Eisenberg, Art of the Ancient World, vol. IV, 1985, no. 72.
93 ATTIC BLACK-GLAZED PIRIFORM AMPHORISKOS tapering to a narrow ridged ring foot; twin han-
dles join shoulder and neck. Around the body is a stamped key block meander; below and above is a row of
stamped palmettes. An elegant and rare type. Ex J.M.E. collection, New York, acquired at Bonham’s,
London, April 2000. Cf. q, p. 107, no. 397, pl. LV; Oxford CVA, I, pl. 40, no. 10.
62
Attic Red-figure Vases
94
ATTIC RED-FIGURE COLUMN KRATER BY
THE VILLA GIULIA PAINTER A nude satyr,
running to the left with his arms outstretched,
pursuing Amymone. As she flees to the left holding
a hydria by one horizontal handle in her lowered
left hand, she looks back at her pursuer.
Reverse: A standing draped youth holding a staff
in his right hand.
Ca. 460 BC. H. 15 1/8 in. (38.4 cm.)
Ex H. Vollmoeller, Zurich, 1968;
private collection, Geneva, Switzerland.
63
95
ATTIC RED-FIGURE COLUMN KRATER
BY THE PAINTER OF THE
LOUVRE CENTAUROMACHY
Dionysos with a kantharos and a thyrsos
looks at a satyr stomping grapes in a wine
skin on a footstool at left. From the right
another satyr with a big sack full of grapes
approaches. Reverse: Three draped youths.
Ca. 470-460 BC. H. 13 18 in. (33.4 cm.);
Diam. 11 1/8 in. (28.4 cm.);
W. 13 1/2 in. (34.3 cm.)
Ex D.O. collection, South Germany.
64
96
ATTIC RED-FIGURE COLUMN KRATER
BY A LATER MANNERIST. On either side:
two young horsemen each holding a spear,
cloaks around their shoulders, and petasoi
hanging down their backs, ride to right.
Mid-5th Century BC.
H. 16 1/8 in. (41 cm.)
Ex A. L. collection, Rocourt, Belgium,
acquired in 1972 from another Belgian
collection.
65
97 ATTIC RED-FIGURE NOLAN AMPHORA BY
HERMONAX Nude frontal Dionysos wearing a
laurel wreath and cloak draped over his arms from
behind, stand, holding a thyrsos, looking to the
right. Reverse: a nude satyr holding an oinochoe,
wineskin, and a thyrsos.
Ca. 470-460 BC. H. 14 3/8 in. (36.4 cm.)
Ex North German private collection. Hermonax was
a pupil of the Berlin Painter.
vol. XX, 2009, no. 103.
98 ATTIC RED-FIGURE LEKYTHOS BY THE

ICARUS PAINTER A nude Eros flying to the
right, his wings outstretched behind, reaching
towards a tendril.
Mid-5th Century BC. H. 6 7/8 in. (17.5 cm.)
Ex American private collection.
vol. IV, 1985, no. 96; 1000 Years of Ancient
Greek Vases II, 2010, no. 113.
66
Our collection of ancient
vases, numbering over
300 museum quality
examples, is arguably the
finest and most comprehen-
sive available for sale any-
where.
For an overview, consult our
recent catalogs, visit the
New York gallery, or go to
www.royalathena.com.
Magna Graecia
Vases
99 APULIAN GNATHIA LARGE

HYDRIA FROM THE
BALTIMORE/WHITE SACCOS
GROUP, ribbed, with a horizontal
band along the handle zone, cen-
tered with a female head emerging
from elaborate scrolling tendrils.
Choice! Ca. 325-300 BC.
H. 24 1⁄2 in. (62.2 cm.)
Ex collection of John Kluge,
Charlottesville, VA, acquired from
Royal-Athena in 1980;
Dr. E. collection, North Carolina,
acquired from Royal-Athena in
April 2005.
Ancient World, vol. XVI, 2005,
no. 110.
67
100 APULIAN RED-FIGURE PLATE WITH HERAKLES, seated on rocks, wearing lion-skin covering his head
and tied around shoulders, holding club in right hand and raised bow in his left, flanked by foliate tendrils,
wave pattern below. Ca. 380-360 BC. Diam. 6 1/8 in. (15.5 cm.) Ex Charles Ede Ltd., London; Gil and
Myrna Goldfine collection, Tel Aviv, acquired in 2000. Published: J. Eisenberg, Art of the Ancient World,
vol. XXIII, 2012, no. 112.
101 APULIAN RED-FIGURE LIDDED PYXIS In the form of a spindle whorl, a janiform female profile on the
cover. Mid-4th Century BC. Diam. 4 1/4 in. (9.6 cm.) Ex New York private collection since the 1960's;
J.M.E. collection, New York, acquired in the New York art market, March 2009.
102 APULIAN GNATHIA SMALL RIBBED HYDRIA with depictions of hydria and kantharos on shoulder;
two sections of deep incisions on body separated by a meander in white. Ca. 4th century BC.
H. 5 3/8 in. (13.8 cm.) Ex J.M.E. collection, New York, acquired from Axel Weber, Cologne, in June 1996.
103 APULIAN GNATHIAN PHIALE In the tondo, a Gorgon head in high relief surrounded by ivy maeander.
Late 4th Century BC. Diam. 7 7/8 in. (20 cm). Ex J.M.E. collection, New York, acquired from Me. de
Ricqles, Paris, Oct. 2000.
68
104 APULIAN XENON GROUP POTTERY
KANTHAROS Applied red decoration.
Triple dog-headed Cerberus to right.
Reverse: Hooded female (Amazon?) to left.
The Cerberus motif is very rare.
Choice. Ca. 350 BC.
H. 4 1/2 in. (11.4 cm.)
Ex J.M.E. collection, New York, acquired
from C. Ede, London, in October 1990.
105 APULIAN XENON GROUP POTTERY

KANTHAROS with applied red decora-
tion: two male goats butting, vine
between. Vine meander around waist.
Reverse: Two palmettes. Choice.
Late 4th Century BC.
H. 4 3/4 in. (12.1 cm.)
in Basel, February 1994.
106 APULIAN APPLIED RED-FIGURE

CHOUS; TWO CARIAN MUSICIANS
one playing the auletes is preceded by a
another playing clappers; a dog to the rear.
A rare depiction.
4th Century BC. H. 4 3/4 in. (12 cm.)
from H. Cahn, Basel, in October 1984.
Probably a gift for the second day of the

Anthesterian which was one of the four
Athenian festivals in honor of Dionysos.
It was held each year from the 11th to
the 13th of the month of Anthesterion,
around the time of the January or
February full moon. The three days of the
feast were called Pithoigia, Choës, and
Chytroi. It celebrated the beginning of
spring, particularly the maturing of the
wine stored at the previous vintage, which
was now consumed. During the feast,
social order was flexible, slaves being
allowed to participate The Anthesteria
also had aspects of a festival of the dead:
either the Keres or the Carians were enter-
tained, freely roaming the city with feath-
ers attached to their headwear, until they
were expelled after the festival.
For many more Classical vases

visit our website
www.royalathena.com
69
107 CANOSAN LARGE CIRCULAR POTTERY PYXIS with a cylindrical body and splayed foot, the domed
lid molded in relief with an embracing couple seated on a stool, the man nude, his mantle below, the drap-
ery hanging from the chair, his right arm crossing the woman with his hand on her shoulder; to the right a
large winged Eros. 3rd Century BC. Diam. 9 3/4 in. (24.8 cm.) Ex Sotheby’s London, July 1987; New
York collection, acquired at Sotheby's, New York, December 1996.
108 LARGE CANOSAN POTTERY KANTHAROS The buff body with the interior, foot, handles, central
band, and short neck in black slip. The lip with palmettes, and the shoulder with a frieze of grape vines
also in black slip. Ca. 330-300 BC H. 13 3/4 in. (34.1 cm.); diam. 10 1/4 in. (26.1 cm.) Choice.
Ex collection of Dr. V. Z., Switzerland, acquired between 1950 and 1965. Exhibited: Archaeological
Collection, University of Zurich, 1986-2001.
109 CANOSAN YELLOW GLAZED POTTERY OLPE The upper register decorated with relief masks, the
lower register with reliefs of Herakles fighting two centaurs and the Lernean hydra. Ca. 3rd Century BC.
H. 11 7/8 in. (29 cm.) Rare. Ex French collection. Published: J. Eisenberg, Art of the Ancient World,
vol. XXI, 2010, no. 155.
110 CAMPANIAN RED-FIGURE BELL KRATER PROBABLY BY THE LIBATION PAINTER
Two fighting warriors. Reverse: Two draped youths in conversation. Ca. 360 BC. H. 12 in. (30.5 cm);
Diam. 12 1/4 in. (31.1 cm) Ex old Austrian collection, acquired before 1970.
111 CAMPANIAN LARGE RED-FIGURE SKYPHOS BY THE VPH PAINTER Bearded male in profile to
left/Female wearing saccos, in profile to left. Ca. 350 BC. H. 5 in. (12.7 cm.) Choice.
Ex J.M.E. collection, New York, acquired from Pino Donati, Lugano, in February 1994.
112 CAMPANIAN RED-FIGURE SKYPHOS BY THE PAINTER OF THE LEIDEN SKYPHOI A strutting
Pan carrying a thyrsos, a large cloak over his left arm. Reverse: A young woman holding a wreath.
Ca. 340 BC. H. 6 in. (15.4 cm.); W. 9 in. (23 cm.) Ex German private collection, A.L., acquired in the
1970s. This painter is part of the larger Frignano Group.
71
113 SICILIAN RED-FIGURE CALYX KRATER BY THE CHEQUER PAINTER A komos procession led by
a nude youth holding a grain sheaf, followed by a draped female playing the double-flute and followed by
another nude youth holding a torch and staff. Reverse: two youths, one holding a strigil and the other an
aryballos, standing on either side of a meta. Ca. 410-400 BC. H. 14 1/8 in. (35.9 cm.) Ex German
collection. The Chequer Painter and his follower the Dirce Painter are considered by Trendall to be the
chief forerunners of both early Campanian and Paestan vase painting. Published: J. Eisenberg, Art of the
Ancient World, vol. XXI, 2010, no. 145.
114
SICILIAN GNATHIAN LEKANIS
FROM THE VINE GROUP
the lid with vine of grapes, tendrils,
and flowers; wave meander around rim.
at Chritie’s New York, in December 1993.
Cf. K. Hamma, ed., The Dechter
Collection of Greek Vases, San
Bernardino, 1989, no. 47.
72
Etruscan Vases
115
CASTELLUCCIO CULTURE RED
POTTERY CONICAL CUP
with a board-like handle, the outside
painted in brown with highly organized
and carefully worked geometric decoration,
and inside with vertical lines.
Ca. 2000-1400 BC.
H. 4 1/8 in. (10.5 cm.) Ex collection of Dr.
V. Z., Switzerland, acquired between 1950
and 1965. Exhibited: Archaeological
Collection, University of Zurich, 1986-
2001. A very rare type in fine condition.
The prehistoric civilization of Sicily, origi-
nally identified by Paolo Orsi (d. 1935) on
the basis of a particular ceramic style, in the
homonymous village, between Noto and
Siracusa.
116
DAUNIAN POTTERY TREFOIL OINOCHOE The body
with panels of concentric rectangles in brown slip, the neck with
wavy lines, and the edges of the vase heightened with brown
slip. Ca. 625-575 BC. H. 9 1/8 in. (23.4 cm.) Choice.
Ex collection of Dr. V. Z., Switzerland acquired between 1950
and 1965. Exhibited: Archaeological Collection, University of
Zurich, 1986-2001.
117
ETRUSCAN BUCCHERO CHALICE
of typical form, with a frieze of five seated
felines in a relief around the bowl; a zig-
zag meander and bands around the lip.
6th Century BC.
H. 5 3/4 in. (14.6 cm.);
Diam. 5 1/2 in. (14 cm.)
in Freiburg, Germany, in January 1984.
73
118 VILLANOVAN BLACK GLAZED STAMNOS, the lid surmounted by two conjoined rams; of dome-form
divided into quarters by raised ridges. The body biconical with a stem and spreading foot. Two loop handles
attached to the waist. Ca. 8th Century BC H. 8 1/4 in. (21 cm.) Ex French collection; J.M.E. collection,
New York, acquired at the Drouot, Paris, September 2008.
119 VILLANOVAN BLACK IMPASTO WARE CHALICE The body incised with Phoenician palmettes, the
bowl base with radiating grooves; with four handles in the form of stylized dogs; on a spool foot.
Early 7th Century BC. Diam. 6 1/2 in. (16.5 cm.) Ex collection of M. Studer, Lugano; J.M.E. collection,
New York, acquired from H. Cahn, Basel, June 1998. The palmettes are influenced by styles popular in
Capena, most notably Veii, but much more refined in this example.
74
120
ETRUSCAN RED-FIGURE
STAMNOS BY THE VOLTERRA
CAERETAN PAINTER
A seated Artemis (the Etruscan
Artumes) in biga drawn by stags,
a hare in front. Reverse: A female
holding a large basket.
Caere, ca. 350-325 BC.
H. 13 5/8 in. (35 cm.)
Ex Patricia Kluge collection,
Charlottesville, Virginia, acquired
from Royal-Athena in 1991.
Cf. M. Del Chiaro, Etruscan Red-
Figured Vase Painting at Caere,
Berkeley, 1974, 29-33.
An unusually fine work by this
artist. Published: J. Eisenberg, Art
of the Ancient World, vol. VI,
part 2, 1991, no. 78.
75
121
ROMAN GREEN LEAD-GLAZED CHALICE
with three rows of applied pine cone scales;
Twin ribbed handles; interior glazed honey-brown.
Ca. 50 BC/AD. H. 4 1/16 in. (10.3 cm.)
A choice example. Ex French private collection,
from Tunisia, 1960s, J.M.E. collection, New York,
acquired at Christie’s New York in June 2004.
122
EARLY ROMAN GREEN GLAZED POTTERY
SKYPHOS with two ring handles surmounted by a
molded thumbpiece, the body has relief decorations
in the form of pine cone scales and covered with a
silvery iridescence; ochre glazed interior.
1st Century AD. H. 3 1/2 in. (9cm.);
Diam. 3 7/8 in. (10 cm.); W. 6 3/8 in. (16 cm.)
Ex van Driesum collection, France. Published: J.
Eisenberg, Art of the Ancient World, vol. XVII,
2006, no. 124.
123
ROMAN MINIATURE GRAY TERRACOTTA
BARBOTINE CUP of cylindrical form with flaring
lip and a small rounded handle, body decorated
with inscription LEOIEM. 2nd-3rd century AD.
H. 1 1/2 in. (3.8 cm.) Very rare.
Ex J.M.E. collection, New York, acquired in
Freiburg, Germany, in March 1997. Traces of
incrustation on the interior.
124
ROMAN MINIATURE GRAY
TERRACOTTA BARBOTINE
SKYPHOS with inscription AQVILO
VACINISCE VA. 2nd-3rd century AD.
H. 1 1/2 in. (4 cm.) Very rare.
in Freiburg, Germany, in March 1997.
76
Ancient Jewelry
125
ROMAN GOLD FINGER RING WITH
CARNELIAN INTAGLIO OF ASKLEPIOS,
god of healing, wearing a himation, holding
a patera, and leaning upon a staff with snakes.
2nd-3rd Century AD. Size 5;
circumference 47 mm.; wt. 3 gr.
Ex K.G. collection acquired in Germany in
the 1990s.
126
BANDED AGATE INTAGLIO: HEAD OF
SERAPIS, in profile , wearing a modius
2nd-3rd Century AD. Size 7 1/2;
circumference 55 mm.; wt. 5.25 grs.
Ex A. G. collection, acquired in the 1990s.
127
BANDED AGATE INTAGLIO OF A EWE
between branches. 2nd-3rd Century AD.
Size 7 1/2; circumference 55mm.; wt. 8.55 grs.
Ex A. G. collection, acquired in the 1990s.
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77
128
ROMAN SILVER FINGER RING IN THE
FORM OF A COILED SNAKE Details of the
snake’s head are gilded. 2nd-3rd Century AD.
Size 13; circumference: 68 mm.
Ex A.T. collection, Munich, acquired in 1985.
129
ROMAN SILVER FINGER RING WITH A
BUST OF KYBELE, THE GREAT MOTHER,
wearing a kalathos on her head, within a
circular beaded frame, flanked by lions’ heads.
2nd-3rd Century AD. Size 7;
circumference: 52 mm.. Ex A.T. collection,
Munich, acquired in 1985.
130
LATE ROMAN GOLD FINGER RING WITH
GREEN, RED, AND BLUE GLASS RING-
STONES Open gold work with swirls.
4th-5th Century AD. Size 5;
circumference: 43 mm.; wt. 7.71 grs.
Ex A.G. collection, acquired in the 1990s.
131
EARLY CHRISTIAN OPENWORK GOLD
FINGER RING WITH FOUR CROSSES
in a rectangular projection from one side of
the band of ivy leaves. 4th-5th Century AD.
Size 5 1/2; circumference: 49 mm.; wt. 4.3 grs.
Ex M.P. collection acquired in Germany in the
1990s. Cf. A. Yeroulanou, Diatrita, 1999, p.
261, no. 340.
78
132
EARLY CHRISTIAN GOLD FINGER RING WITH BANDED AGATE CARVED WITH A CHI-RHO
4th-5th Century AD. Size 6 1/2; circumference: 51mm; wt. 4.40 grs Ex I.I. collection, Somerset, England,
since 1995.
133
BYZANTINE GOLD RING WITH JERUSALEM CROSS IN NIELLO inlaid into the discus; granulation
where the discus joins the shank. Ca. 11th-12th Century AD. Size 10; circumference: 60 mm.; wt. 4 gr.
Ex B.R. collection ca. the 1990s. The design originates with the coat of arms worn by Godfrey of Bouillon during
the First Crusade, and it remained in use as the arms of the King of Jerusalem throughout their duration (1099–
1291).
134
PAIR OF LATE ROMAN OR EARLY BYZANTINE GOLD EAR RINGS On a finely beaded circular wire, an
inverted volute of twisted wire above an openwork disk, above a ring to suspend a jewel. 5th-6th Century AD.
Diam. 1 1/8 in. (2.9 cm.) Ex J.R. collection, Portugal, acquired in Spain in the 1980s, previously from the
Munich art market in the early 1970s.
135
BYZANTINE SILVER GILT EARRINGS On a twisted hanger centering a polyhedron with pyramidal
elements as well as two smaller balls which are decorated with globules and twisted wires.
9th-10th Century AD. Diam. 1 5/8 in. (4.3 cm.) Ex A.T. collection, Munich, acquired in 1985.
79
136 BYZANTINE LARGE BRONZE PENDANT CRUCI-
FORM ENKOLPION Incised with Maria orans,
crosses, and PANAGIA above her head. Rev: John the
Baptist in a richly decorated garment, with OAGIOH
OANIC incised above. Green-brown patina.
10th-12th Century AD. H. 4 3/4 in. (12 cm.) Byzantine Art
Ex M. P. Collection., Germany, since 1990s.
137 BYZANTINE LARGE BRONZE PENDANT CRUCIFORM ENKOLPION On the front St. Nikolaus,
arms raised in blessing, with the inscription: O AGHOC N/HKOLAC; at the back St. John, arms raised
in blessing, with the inscription HOANHC. 10th-12th Century AD. H. 3 3/4 in. (9.5 cm.)
Ex M. P. Collection., Germany,
since the 1990s.
138
BYZANTINE BRONZE LAMP
WITH A REFLECTOR OF A
CROSS within an open-work ivy leaf
The oil cover in the form of a bull’s
head. A rare type. Green patina.
6th-7th Century AD.
L. 6 1/2 in. (16.1 cm.);
H. 5 3/4 in. (14.8 cm.) Ex M.O.
collection, Germany, acquired from a
Bavarian dealer in 2000.
139
BYZANTINE GRAY-PAINTED
TERRACOTTA CHALICE crisply
carved with a festooned rim and
around the body geometric motifs
within circles, leaf-crosses, etc., in the
Kerbschnitt technique.
Ca. 8th Century AD.
H. 4 1/2 in. (11.4 cm.)
Ex French collection; C.H. collection,
Ann Arbor, Michigan, acquired from
Royal-Athena in 1992. Rare.
80
Ancient Varia
140
PAIR OF EUROPEAN MIDDLE
BRONZE AGE BRONZE SPIRAL
ARM GUARDS with spiral termini
and finely incised decoration.
Fine green patina.
Late 2nd Millennium BC.
Ls. 15 1/4 in. (38 cm.)
Ancient World, vol. XXI, 2010, no.83.
141
PAIR OF CENTRAL EUROPEAN BRONZE
AGE BRONZE SPIRAL ARMLETS with nine
windings, and ending in spirals bent inward, ritu-
alistically. Ca. 1200-1000 BC.
Ls. 5 1/4 in. (13.5 cm.) & 5 1/2 in. (14 cm.)
Ex German collection. Published: J. Eisenberg, Art
of the Ancient World, vol. XXI, 2010, no.84.
142
HELLENISTIC MARBLE AMPHORISKOS
WITH A BRONZE CHAIN, with a long
cylindrical neck ending in a rolled lip, bulbous
body with two loop handles rising at an acute
angle, and a small torus foot.
3rd-1st Century BC. H. 3 3/4 in. (9.7 cm.)
Ex private South German collection;
J.M.E. collection, New York, acquired in Munich
in December 2005.
81
143 EGYPTIAN LARGE OLD KINGDOM
POLYCHROME LIMESTONE RELIEF showing four
Egyptian bronzed males wearing white kilts processing to the right,
Stone balancing on their shoulders and extended left hand trays
with offerings of vases, provisions, and a small calf;
Sculptures extensive red, black, green, and yellow pigment remain-
& Reliefs ing. Magnificent! Saqqara, Vth-VIth Dynasty, ca.
2498-2181 BC. H. 16 1/2 in. (42 cm.);
w. 29 1/2 in. (75 cm.); depth 2 5/8 in. ( 6 cm.) 82
Ex old French collection; M.B. collection, Woodland Hills,
California, acquired from Royal-Athena in 2002; K.O collection,
New York, acquired from Royal-Athena in 2012. For a related
relief probably from the same tomb and also from an old French
collection, see Art of the Ancient World, vol. IX, 1997, no. 153;
also see: Frederick Stafford, Odyssey of an Art Collector, 1966,
no. 66, p. 41, for another related relief probably from the same
tomb. Published: J. Eisenberg, Art of the Ancient World, vol. XIII,
83 2002, no. 144.
144
EGYPTIAN OLD KINGDOM LIMESTONE RELIEF
DEPICTING A HALF-FIGURE OF A MALE wearing a
short wig composed of twenty tiers of tight curls. He is bare
to the waist and both arms are raised; broken and repaired
at the brow line and shoulder line.
Vth-VIth Dynasty, ca. 2498-2181 BC.
H. 10 1/2 in. (26.7 cm.) Ex American private collection,
acquired from Mathias Komor, New York, in the 1960s.
XX, 2009, no. 168.
145
EGYPTIAN OLD KINGDOM LIMESTONE BREWER
depicted tilted forward over her vat and wearing a long
dress and typical wig of the period with a stripe in the
middle, letting her hair appear as small wisps on the front
of the forehead. Vth-VIth Dynasty, ca. 2498-2181 BC.
H. 6 7/8 in. (17 cm.) Ex old French collection.
Cf. Cyril Aldred, Le Temps des pyramides: de la préhistoire
aux Hyksos, Paris, Gallimard, 1978, p. 201, no. 198.
XX, 2009, no. 169. 84
146
EGYPTIAN NEW KINGDOM LIMESTONE
BUST OF AN OFFICIAL wearing a short braided
wig and a short beard. The reverse has an inscribed
back pillar, of which only the top remains, carved
with two lines of hieroglyphic text: 'Two arms
under...' and '...whom the sacred barque has passed.'
XVIIIth-XXIst Dynasty, 1550-1070 BC.
H. 5½ in. (14 cm.) Ex Swiss private collection,
acquired from Charles Ratton, Paris, in 1959.
vol. XX, 2009, no. 175.
147
EGYPTIAN NEW KINGDOM ALABASTER
USHABTI OF THE PRINCE MONTOU-HER-
KHEPESHEF ("Montu is above his powerful
arm"), son of Ramesses IX, mummiform, holding
hoes, and wearing an usekh necklace in red. Faintly
painted with columns front and back with hiero-
glyphic text from Chapter VI of the Book of the
Dead; details in black.
XXth Dynasty, reign of Merenptah-Siptah,
ca. 1194-1188 BC. H. 7 1/2 in. (19 cm.)
Ex collection of G.F. Burgh, The Hague, The
Netherlands, 1984.
This example is very similar to those of the series
made for Merneptah-Siptah, both stylistically and
for the distribution of texts. His beautifully painted
tomb, KV19, was discovered by Belzoni in 1817. It
was originally intended for another prince, Sether-
Khepeshef. The tomb of this latter prince has never
been found, nor has the mummy of Prince Montou-
her-Khepeshef.
85
Egyptian
Bronze Sculptures
148 EGYPTIAN BRONZE OSIRIS mummiform, holding the

crook and the flail, and wearing the Atef-crown; eyes
inlaid with silver. Late Period, 712-30 BC.
H. 7 in. (17.8 cm.) Ex Lequeu collection, acquired in
Egypt at the beginning of the 20th century.
XXIII, 2012, no. 184.
149 EGYPTIAN BRONZE ENTHRONED OSIRIS IAH

Mummiform, wearing tripartite wig with uraeus,
he is surmounted by a crescent moon and sun disk.
He holds the crook and flail crossed over his chest.
XXVIth Dynasty, 664-525 BC. H. 4 in. (10 cm.)
Ex French collection. Published: J. Eisenberg, Art of the
Ancient World, vol. XXIII, 2012, no. 184.
150 EGYPTIAN BRONZE NEFERTUM, GOD OF

PERFUMES, striding, wearing a tripartite wig surmounted
by a blue lotus with menat supports and two incised feathers.
He wears the shendjit-kilt. In his right hand he holds the
khepech-scepter. Late Dynastic Period, 664-343 BC.
H. 6 1/2 in. (16.5 cm.)
Ex American collection, acquired in 1980.
151 EGYPTIAN BRONZE BES, the grotesque dwarf with

lion-like features and a feathered crown, who evolved into
a protector of the household in the Roman pantheon.
Roman Period, 1st-3rd Century AD. H. 3 in. (7.5 cm.)
Ex D.M. collection, London, England, acquired in 1980s.
86
152 EGYPTIAN BRONZE STANDARD FINIAL
OF HORUS depicted as a falcon wearing the
Double Crown and standing on a papyrus
column fronted by a column of hieroglyphic text.
Late Dynastic Period, 712-343 BC.
H. 7 1/4 in. (18.5 cm.) Ex French collection.
153 EGYPTIAN BRONZE CAT INSCRIBED FOR

HOR-IRY. She is the embodiment of the goddess
of joy, Bastet, seated in the traditional pose on an
integrally cast hm-shaped integral plinth with
hieroglyphic invocation to Osiris written twice.
Late Dynastic, 664-343 BC. H. 4 in. (10 cm.)
Ex Belgian collection, acquired in the 1980s.
154 EGYPTIAN BRONZE BASTET, the cat-headed

goddess of joy and patroness of women, wearing a
close fitting, long sheath and holding aegis, frag-
mentary sistrum, and a basket; on integral plinth.
H. 4 5/8 in. (11.8 cm.) Ex Francois Antonovich,
Paris, 1984; M.A. collection, Harrison, New York,
1984-2014.
87
155
Egyptian Wood Sculptures PAIR OF EGYPTIAN OLD KINGDOM
POLYCHROME WOOD FEMALE SERVANT
FIGURES The standing figures lean forward,
preparing to strain mash for beer or prepare
dough, wearing knee-length white skirts, bodies
painted in yellow ochre, facial detail and hair in
black. VIth Dynasty, ca. 2345-2181 BC.
Hs. 8 3/4 in. (22.2 cm.) Ex collection of
Edouard Louis Joseph, Baron Empain (1852-
1929), France. Published: J. Eisenberg, Art of
the Ancient World, vol. XXIII, 2012, no. 191.
156
EGYPTIAN WOOD NUDE CONCUBINE OR
SERVANT standing with her feet together on an
integral plinth, her right arm lowered, her left
bent with the hand below the breasts, wearing a
short wig of echeloned curls that frame her face
and cover her ears. XXVth Dynasty, 712-664 BC.
H. 8 1/4 in. (20.9 cm.) Ex Luigi Vassalli
collection (1818-1887); Horace L. Mayer
collection; gifted to the Museum of Fine Arts,
Boston, in 1957. Published: J. Eisenberg, Art of
the Ancient World, vol. XXIII, 2012, no. 191.
157
EGYPTIAN UPPER SECTION OF AN
ANTHROPOMORPHIC WOOD COFFIN
LID The face is framed by a voluminous tripar-
tite wig. The eyes and eyebrows once inlaid with
bronze and stone, traces of which are preserved.
H. 37 3/8 in. (95 cm.) Ex Belgian collection.
Cf. S. Ikram and A. Dodson, The Mummy in
Ancient Egypt, London, 1998, pp. 236-241.
World, vol. XXII, 2011, no. 181. 88
Egyptian
Stone Vessels
158
EGYPTIAN EARLY DYNASTIC
PEGMATITIC DIORITE BOWL
The tapering body on a small flat
base, with inward-curving rim with
rounded shoulders.
Ist-IIIrd Dynasty, ca. 3000-2600 BC.
Diam. 4 1/2 in. (11.4 cm.)
H. 2 1/4 in. (5.7 cm.)
acquired from Nicholas Wright,
London, in September 1982.
159
BLACK AND WHITE
GRANODIORITE BOWL
The tapering body on a small flat
base, with slightly rounded lip.
Ist-IIIrd Dynasty, ca. 3000-2600 BC.
Diam. 4 5/8 in. (11.7 cm.)
H. 2 1/8 in. (5.4 cm.)
acquired in May 1983 from Rabi
Gallery, London; label no. 289 on
base.
160
BRECCIA BEAKER with round
lip, the body tapering slightly to a flat
base with rounded edges. Ist-IIIrd Dynasty, ca. 3000-2600 BC. H. 3 1/8 in. (7.7 cm.)
Ex old Belgian collection; J.M.E. collection, New York, acquired in the early 1980s.
161
EGYPTIAN OLD KINGDOM FOSSILIFEROUS STONE COSMETIC JAR with two lug handles.
IVth-VIth Dynasty, ca. 2613-2160 BC. H. 3 in. (7.6 cm) Ex collection of Chester T. Tripp, Chicago;
J.M.E. collection, New York, acquired in a Chicago auction in 1988.
89
Egyptian Varia
162 EGYPTIAN TERRACOTTA HARPOKRATES

RIDING A DROMEDARY CAMEL Seated side-
ways in Amazon style and wrapped in a himation.
He wears a fillet around his brow and holds his fin-
ger to his mouth. Alexandria, 1st Century BC/AD.
H. 5 1/8 in. (13 cm.) A very rare type.
Ex English collection; J.M.E. collection, New York,
acquired at Christie’s London, December 1993.
163 EGYPTIAN TURQUOISE FAIENCE USHABTI

OF A WNR-PRIEST, OUAHIBRE-EM-HEB,
high priest of Letopolis, born of Knabes, holding
hoes and seed bag. The body is incised with nine
lines of hieroglyphic text from Chapter VI of the
Book of the Dead. Late Period, 525-30 BC.
H. 6 7/8 in. (17.5 cm.)
Ex old collection, Lyon, France; Parisian private
collection.
164 EGYPTIAN TURQUOISE FAIENCE AMULET:
HARPOKRATES, nude, wearing sidelock.
Late Period Dynastic 715-343 BC.
H. 1 7/8 in. (4.8 cm.)
Ex J.M.E. collection, New York, acquired from
Richard Gill, London, in November 1993.
165 EGYPTIAN GLASSY TURQUOISE FAIENCE BES standing with

hands on hips, leonine features, and four-plume headdress. Choice.
Early Ptolemaic Period, ca. 300 BC. H. 2 1/8 in (5.4 cm.)
Ex J.M.E. collection, New York, acquired on the London art market in
the early 1980s.
90
Near Eastern Antiquities
166 ANATOLIAN MARBLE VIOLIN IDOL
OF THE KUSURA TYPE with incised ‘V-collar’.
Bronze Age II, ca. 2700-2400 BC.
H. 4 1/4 in. (11 cm.) Ex private French collection.
vol. XVII, 2006 no. 218.
167 CANAANITE BLACK BASALT HEAD OF A GOD, the oval face with once inlaid eyes. He wears a conical
tiara edged with three rows of bulls’ horns certifying his high rank in the divine pantheon. Rare.
Ca. 1600 BC. H. 6 in. (15 cm.) Ex collection of Moncure Deardorf (1883-1968), Santa Barbara,
California; Maurice Bonnefoy (1920-1999), New York, acquired in the 1960s. Cf. E. Gubel, Les Phéniciens
et le monde méditerranéen, Brussels, 1986, p. 87; H. Spycket, The Sculpture of the Ancient Near East,
Leiden, 1981, p. 266, pl. 181.
168 CANAANITE BRONZE JOINED COUPLE, the male figurine with raised arms and protruding genital is
taller and holds a flat, s-curved weapon, resembling a sickle-sword; the female figurine on the right.
3rd-2nd Millennium BC. H. 3 in. (7.8 cm.) Ex M.H. collection, United States. since 1990.
Cf. H. Seeden, The Standing Armed Figurines in the Levant (PBF I,1), Munich, 1980, p. 15 ff. pl. 10.
169 SOUTH ARABIAN BRONZE APPLIQUE: WINGED
SPHINX with cold-worked details, walking on a ground
line to the left, his right front paw raised.
Ca. 2nd-1st Century BC. H. 3 3/8 in. (8.5 cm.)
Ex French collection; J.M.E, collection, New York,
acquired at the Drouot, Paris, May 2011.
91
170 WESTERN ASIATIC EGYPTIANIZING BRONZE DISK A bearded adorant wearing a long hairdo
stands on the ground and raises his hands in worship towards a large six-pointed star, a winged solar disc,
a crescent moon, and the Pleiades (believed to be the home of Osiris); probably from a mirror.
Most probably unique. Ca. 7th Century BC. Diam. 3 3/4 in. (9.7 cm.) Ex French collection.
It has been suggested by Dr. Andis Kaulins that it represents the Archilochus’ Eclipse of 6 April 647 BC.
Published: J. Eisenberg, Art of the Ancient World, vol. XX, 2009, no. 206.
171 PARTHIAN BRONZE PRIESTESS WEARING AN ATTRIBUTE HEADPIECE, chiton, and necklace.
She stands upon an integrally cast tripodal platform. 2nd Century AD. H. 11 1/8 in. (28.5 cm.)
A rare type, apparently unpublished, most probably of eastern Mediterranean origin. Ex French collection.
Published: J. Eisenberg, Art of the Ancient World, vol. XX, 2009, no. 57.
172
SCYTHO-SARMATIAN LARGE
OPENWORK BRONZE HORSE
TRAPPING. Shield shaped with
three registers of animals, the
lowest with two pairs of rearing
horses confronted against a
central pole standard.
East of Colchis, 3rd-2nd Century BC.
H. 7 1/8 in. (18.1 cm.);
W. 6 3/8 in. (16.3 cm.)
Ex French collection.
Cf. V. Nauka, Archéologie de
l’Union Soviétique, 1992, p. 10, no
13.
Similar bronzes were found in the
Caucasus, west of the Caspian Sea in
Dagestan (See Agayev, Belt Buckles
from Dagestan, Soviet Archeology.)
Ancient World, vol. XXI, 2010, no.
240.
92
173 EURASIAN GOLD BELT ORNAMENTS, each of shaped rectangular outline, with entwined motifs
ending in a pair of confronting griffins heads. The Steppes, 4th Century BC. Total weight 6 grams
W. 1 7/8 & 1 15/16 in. (4.7 cm. & 4.9 cm.); Ex private French collection. For identical examples in
bronze, see E. Bunker, Nomadic Art of the Eastern Eurasian Steppes, 2002, p. 97, no. 63.
174 ORDOS BRONZE OPEN WORK BELT APPLIQUE: WILD CAT ATTACKING A DOE, lying
on its back trying to fend off the feline; suspension loop on its back. 6th-4th Century BC.
L. 4 1/8 (10.5 cm.) H. 2 1/8 in. (5.5 cm.) Ex Rabi Gallery, London, in 1980. Cf. T.
Demirjian, Treasures of the Eurasian Steppes - Animal Art from 800 BC to 200 AD. Exhibition
catalog, New York, 1998, p. 110, no. 114.
175 WESTERN ASIATIC RED-VEINED MARBLE CHALICE The tall cylindrical stem splaying at the
base, the spool-shaped bowl slightly concave, with an annular lip. Late 3rd-2nd Millennium BC. H. 9
1/4 in. (23.5 cm.) Acquired on the London market in 1995.
176
WESTERN ASIATIC
BRONZE AND GOLD
MIRROR, Set with six gold
figures of running ibexes
with back-curving horns,
their forelegs outstretched.
On a modern wooden
papyrus-style handle.
Ca. 2nd-1st Millennium BC.
Diam. 4 1⁄2 in (11.5 cm.)
Ex Australian private
collection, 1940s to 1970s;
thence by descent.
Published: J. Eisenberg, Art
of the Ancient World,
vol. XX, 2009, no. 207.
We are now issuing an

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Why Collect Ancient Art? his objects of art, rather than depositing them in a
There are several reasons for collecting fine works vault or holding receipts. Also, art is not as volatile
of ancient art: as stocks and bonds, the coin, gem, and collectibles
• The excitement of owning a beautiful work of art markets, and especially the gold and silver markets.
that has survived for perhaps some 2,000 years or Sylvia Porter in her New Money Book recommends
more. classical antiquities as one of the best types of art for
• The decoration of one's home or office with unique rapid growth. Dr Eisenberg was first quoted on the
objects whose beauty and desirability have withstood investment value of ancient art in the February 9,
the test of time. 1966 issue of Newsday - 50 years ago! - and most
• The creative satisfaction, enjoyment, and pride recently in Business Week.
in forming a truly fine collection.
• The probable appreciation in value. Royal-Athena Galleries
Jerome M. Eisenberg, Ph.D., the founder and
How to Collect Ancient Art director of Royal-Athena Galleries, is usually at the
Sylvia Porter lists ten sound rules as a guide in art New York gallery and visits the London gallery sev-
collecting: eral times each year. He is available by appointment
1. Study the field which interests you as much as for consultation, expertise, and appraisals; or for a
possible. telephone conference. At no obligation he will
2. Buy cautiously at first. arrange a private viewing with guidance on a sophis-
3. Make sure that your work of art has quality. ticated long term program of collecting and invest-
4. Deal with a top gallery or art dealer. “Some dealers ing in the fine arts. He also is in attendance at all
and major galleries will guarantee the authenticity of the fairs in which we exhibit.
the art works they sell, so check this point as well." Over the past 60 years we have sold more than 800
(Not only have we been guaranteeing our ancient art works of ancient art to many of the country's lead-
for over fifty years, but to the best of our knowledge ing museums, including the Metropolitan Museum
our two-day auction sale conducted by Parke-Bernet of Art, the Boston Museum of Fine Arts, the Sackler
Galleries (now Sotheby's) in 1964 was the first auc- Art Museum at Harvard University, the Yale
tion sale by several years in which every piece was University Art Gallery, the Princeton University Art
guaranteed - but by us!) Museum, the Newark Museum, the Walters Art
5. Have an understanding with your dealer or gallery Gallery, the Detroit lnstitute of Arts, the Cincinnati
about trading up - so he’ll repurchase or resell your Art Museum, the Minneapolis Institute of Arts, the
works as you have more money to invest in high qual- Milwaukee Public Museum, the New Orleans
ity art. (We normally allow full credit for the exchange Museum of Art, the Virginia Museum of Fine Arts,
or upgrading of objects purchased from us.) the Los Angeles County Museum of Art, and the J.
6. Do not buy art works just because they are a cur- Paul Getty Museum. In addition to the British
rent rage. Museum and the Louvre, we have sold ancient
7. Ask the advice of museum directors or curators works of art to the Benaki Museum (Athens), the
whenever possible. Egyptian Museum (Barcelona), the Musée du
8. Decide upon your investing limit before you buy. Cinquantenaire (Brussels), the Museum of Fine Arts
If you fall in love with a more expensive object try to (Budapest), the Römisch-Germanisches Museum
arrange for a time payment. (We certainly encourage (Cologne), the Rijksmuseum van Oudheden
this and offer flexible time payments!) (Leiden), the Museo Archeológico Nacional
9. Spread your financial risks by buying a variety of (Madrid), the Montreal Museum of Fine Arts, the
art unless you are an expert in a particular field. Royal Ontario Museum (Toronto), the Papyrus
10. “Buy the best examples you can afford in any Museum (Vienna), and a number of other museums
category.” in Australia, Belgium, Chile, France, Germany,
We would add two other important rules: Japan, and Switzerland. The new Mougins Museum
11. Ask for the provenance of any potential acqui- of Classical Art in Mougins, France, has acquired
sitions. nearly 200 antiquities from us. The catalogs of clas-
12. Do not buy objects that have been significant- sical marble sculptures from the Museum of Fine
ly restored. Beware of overly restored faces in both Arts, Boston, and from the J. Paul Getty Museum
vase painting and sculpture. illustrate no less than 39 pieces acquired from our
galleries. In addition, over one thousand objects
Ancient Art as an lnvestment purchased from us have been donated to many other
Historically, ancient art investments have yielded museums, including the Freer Gallery of Art, the
excellent long-term capital appreciation, usually 8% Sackler Gallery (The Smithsonian Institution), and
to 10% annually. Any investment in tangibles, espe- the Brooklyn Museum of Art.
cially works of art, should be projected for at least Dr. Eisenberg travels overseas several times annu-
five to ten vears. Normally one should not hold more ally to visit collectors, museums, clients, and many
than 10% of their investment portfolio in art. of the nearly 150 private sources, agents, dealers,
Collecting fine art is a pleasurable way of hedging and auction houses with whom he is in frequent
against inflation because the investor can enjoy contact. Since 1954 he has made over 260 overseas
94
trips, purchasing over forty thousand antiquities for Appraisers Association of America in 1964 and has
many tens of millions of dollars. This aggressive pur- participated in several episodes of the Antiques
chasing policy, perhaps without parallel in the field, Road Show. He served on the vetting committee of
enables us to offer an extraordinary number of choice the European Fine Art Fair at Maastricht from 1993
objects at very reasonable prices. Our willingness to to 2001 and was the Chairman and co-organizer of
buy in volume and to purchase our inventory out- the New York Antiquarian International Fine Art
right, rather than to take it on consignment, results Fair held in November 2001.
in extremely competitive pricing, often considerably Dr. Eisenberg has been a leader for many years in
below that of other galleries. the promotion of the ethical acquisition of antiqui-
Furthermore, exchanges and purchases are fre- ties by museums and collectors and has delivered
quently made from many past and present clients papers on this subject at the Archaeology Section of
who may be upgrading their collections or liquidat- the U.K. Institute for Conservation in 1993 and at
ing some of their holdings in order to collect in other the 1998 International Congress of Classical
areas. Exchanges or purchases are sometimes carried Archaeologists. He gave an address by invitation
out with museums both in the United States and in on the international trade in antiquities at the
Europe for their duplicate accessions or for objects UNIDROIT Convention in Rome in 1993.
not in their recent or current fields of specialization. He organized two symposia in New York in 1994
on public policy and the movement of antiquities
Expertise and Ethics and in 1998 on the acquisition of antiquities by
Ancient art has been the specialty of our director museums for the International Association of
for over 60 years, and numismatics for 75 years. His Dealers in Ancient Art, of which he is a founding
many publications on ancient art and numismatics member and was a member of the executive board
span over six decades. He published his first antiq- from 1993 to 2002.
uities catalog, A Catalog of Egyptian Antiquities, in In 1999 he presented testimony to the United
1959. The first volume of Art of the Ancient World States Cultural Properties Committee on the legal
by Dr. Eisenberg was published in 1965. Since 1968 and illegal trade in ancient art in Italy.
Dr. Eisenberg has concentrated on expertise in the In 2003 he was a featured speaker and panel partic-
ancient arts, having lectured on this subject at New ipant in the U.S. Government Conference on
York University and presented several scholarly Stolen Mideast Antiquities in Washington, D.C.
papers at the annual meetings of the Archaeological Also in 2003 he featured on the European TV chan-
Institute of America, most recently on the ‘Roman’ nel Arte and on BBC Radio’s File on Four in in-
Rubens Vase. His wide range of expertise is further
depth interviews on the antiquities trade. He ap-
revealed through other recent papers: on Egyptian
peared on television on CBS News, Dateline NBC,
bronzes at a Congress of the International
Association of Egyptologists, on Etruscan bronze PBS Jim Lehrer News Hour, and CBC Television
forgeries at an International Bronze Congress, on the (Canada), and was interviewed on the BBC and
‘Greek’ Boston and Ludovisi thrones at the Magna PBR Radio, and in print in the New York Times,
Graecia Symposium in Venice, on Roman bronze Wall Street Journal, Boston Globe, Philadelphia
forgeries at the 1999 International Bronze Congress, Inquirer, Washington Post, The Times, and a dozen
and on the Portland Vase as a Renaissance work of other publications. In 2004 he was featured on a
art at the 2003 International Congress of Classical Discovery Channel program and on Fox News on
Archaeology. He chaired a conference in London on the antiquities trade. Also in 2004 he presented a
the Phaistos Disk in 2008. paper on ‘The Mesopotamian Antiquities Trade and
In 1996 he was a Visiting Professor at the Institute the Looting of the Iraq Museum’ to the American
of Classical Archaeology of the University of Leipzig, Bar Association. In 2005 he was interviewed on the
Germany. He was elected a Fellow of the Royal antiquities market and the collecting of antiquities
Numismatic Society in 1952; a member of the on National Public Radio in the US and in 2006 on
Archaeological Institute of America in 1960 (and a National Public Television in Athens, Greece.
Life Member in 1988); a Patron of the American In 2007 he delivered a paper on ‘Perspectives on
Numismatic Society in 1955 (and a Life Associate in the Antiquities Trade and the Collector: Past,
1998); a Fellow for Life of the Metropolitan
Present, and Future’ at the symposium ‘The Future
Museum of Art in 1966; and most recently, a
of the Global Past’ at Yale University. He was inter-
Benefactor of the Museum of Fine Arts, Boston, and
an Honorary Fellow of the Egyptian Museum in viewed in depth for his expertise on Greek televi-
Barcelona, Spain. sion in 2008 and on Artfinding in 2009.
Dr. Eisenberg has appeared as an Expert in the In June 2012 Dr. Eisenberg was awarded the title
Courts of several states and has conducted appraisals of officiale in the Order of the Star of Italy by the
for the U.S. Internal Revenue Service, the U.S. President of the Republic of Italy for having provid-
Treasury Department, the U.S. Customs Service, the ed a meaningful contribution to the prestige of Italy
Metropolitan Museum of Art and the J. Paul Getty in his many publications on Etruscan and Roman
Museum, as well as many other prominent institu- art.
tions. He was elected a Qualified Appraiser by the
95
Ancient Coins
We carry a fine stock of select Greek silver and bronze coins from $100, Roman silver and bronze coins
from $75, and Byzantine coins. We began our business as ‘Royal Coin Company’ in January 1942, 75
years ago, and Dr Eisenberg, co-founder of the firm, has specialized in ancient coins, as sole proprietor,
since 1952.
Acknowledgements
Dr. Eisenberg wishes to express his gratitude to F. Williamson Price who has again diligently prepared
and co-authored the catalog, to Ramon Perez who did nearly all of the photography, to the scholars who
attributed and reattributed some of the sculptures and vases, especially Kees Neeft and the late Konrad
Schauenburg, and to the several others who prefer to remain anonymous.
Wanted to Purchase: Fine Antiquities of All Periods

We are prepared to travel world-wide to acquire select works of legally acquired ancient art
for our continually expanding clientele.
We will purchase collections of any size, act as your agent to sell your objects on commission, or
exchange them for other select pieces from our extensive inventory.
Send photographs and full details with your letter or e-mail.
International Association of Confederation Internationale des Art and

Dealers in Ancient Art Negociants en Oeuvres d’Art Antique Dealers League
In the Mougins Museum of Classical Art, opened in 2011, in the French Riviera, a few kilometers away
from Cannes, among the four floors of works of Classical and Egyptian art there are nearly 200 antiqui-
ties acquired from Royal-Athena including many marble statues and heads, bronze helmets, and other
ancient treasures. They have an excellent website and a superb catalog has been issued.
See www.mouginsmusee.com.
MINERVA
Minerva, the bi-monthly, international review of ancient art,
archaeology, and numismatics, published in England, was
established by Dr Eisenberg, its publisher and editor-in-chief
from 1990 to 2009. It features the most extensive and timely
coverage by any magazine of worldwide excavations, auctions and
exhibitions emphasizing Greece, Etruria, the Roman Empire,
Egypt, and the Near East.
The book reviews are concise and objective. It also includes the
most extensive annotated listings of international museum exhibi-
tions, meetings, and symposia in ancient art and archaeology.
Sample copies: $11 or £8 postpaid.
[email protected] www.minervamagazine.com
Subscription (6 issues per year): U.S.A., Canada, and rest of world:

U.K.: 1 year £30 Surface: 1 year £38
Europe: 1 year £33
96
Recent Royal-Athena Catalogs: • Art of the Ancient World (Vol. VIII, 1995) illustrates in
• Art of the Ancient World (Vol. XV, 2004) illustrates full color 244 objects. (48 pages, $10)
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• Gods & Mortals: Bronzes of the Ancient World (2004, color 264 objects. (64 pages, $10)
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• Ancient Arms, Armor, and Images of Warfare (2004, illus- color 264 objects. (64 pages, $10)
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• Mythologies of the Classical World & Ancient Egypt (2006, 48 full color 410 objects; 30 pages of glossaries and mythologies.
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• Art of the Ancient World (Vol. XVII, 2006, illustrates in full • Art of the Ancient World (Vol. XIII, 2002) illustrates in
color 233 objects, 96 pages, $10) full color 203 objects. (80 pages, $10)
• Art of the Ancient World (Vol. XVIII, 2007, illustrates in full • Art of the Ancient World (Vol. XIV, 2003) illustrates in
color 259 objects, 96 pages, $10) full color 225 objects. (80 pages, $10)
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• Art of the Ancient World (Vol. XXI, 2010, illustrates in full Trade lnquiries
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We can supply special presentations with further infor-
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• Art of the Ancient World (Vol. XXIV, 2013, illustrates in full
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Terms and Conditions of Sale
with price lists of the most recent catalogs: $100. (Add $75 for
All items are offered subject to prior sale. All prices are sub-
overseas airmail.)
ject to change without notice, otherwise, the current price list is
valid through 2017. The following credit cards are honored:
Other Royal-Athena Catalogs Available American Express,Visa, Mastercard. A deferred payment plan is
• Art of the Ancient World also available. New York residents must add the appropriate sales
(Vol. IV, 1985) illustrates in full color over 600 works of art. 208 taxes (currently 8 7/8%). No cash refunds may be made after 10
pages, 192 color plates: $30 days of receipt; however, full credit is allowed on all objects pur-
• Gods & Mortals: Bronzes of the Ancient World (1989) chased from our galleries with the exception of a few consigned
illustrates in full color 180 objects. (52 pages, $10) items. All shipping and insurance charges will be billed to the
• One Thousand Years of Ancient Greek Vases from purchaser. Title remains with Royal-Athena Galleries until pay-
Greece, Etruria, & Southern Italy (1990) illustrates in full ment is made in full.
color 186 vases. (48 pages, $10)
royal-athena galleries
established 1942
Jerome M. Eisenberg, Ph.D., Director F. Williamson Price, Associate Director
New York
Richard M. Novakovich Associate Director & Alan J. Eisenberg Associate Director
Manager Andrew England Gallery Associate
Betty W. Eisenberg Comptroller Ramon Perez Photographer
Suzanne George Office Manager
London (Seaby Antiquities)
Anthony Law Administrator Peter Clayton Consultant

royal-athena galleries
new york london

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Art of the Ancient World

Greek, Etruscan, Roman, Byzantine, Egyptian, & Near Eastern Antiquities

Celebrating our Volume XXVIII - 2017

©2016 Jerome M. Eisenberg, Inc. Text and catalog design by

royal-athena galleries Jerome M. Eisenberg, Ph.D.

153 East 57th Street Royal-Athena at Seaby

Volume XXVIII - 2017

We are pleased to announce the reacquisition of an important group of classical

Jerome M. Eisenberg, Ph. D.

Greek Marble Sculptures

1 HELLENISTIC MARBLE HALF STATUE OF A GODDESS, PROBABLY DEMETER, goddess of

3 GREEK MARBLE HEAD OF A GODDESS

5 HELLENISTIC MARBLE STELE

inscription: ΙΩΑ ΜΗΝΙΟΥ ΧΑΙΡΕ.

The inscription translates: Zoa, daugh-

6 ROMAN MARBLE RELIEF SECTION FROM A

13 ROMAN MARBLE STATUE OF

The forehead is engraved with horizontal and

19 ROMAN SMALL MARBLE PORTRAIT HEAD OF A FLAVIAN MALE

Cf. Marie-Louise Vollenweider, Musées de

Published: J. Eisenberg, Art of the Ancient

39 ROMAN BRONZE NUDE APOLLO

40 ROMAN BRONZE THRACIAN APOLLO

42 ROMAN BRONZE ASKLEPIOS, THE GOD OF

43 ROMAN BRONZE HERAKLES BIBAX The nude

46 ROMAN BRONZE NUDE DIOSCUROS

After his death Alexander was often associated

53 ROMAN BRONZE COMIC ACTOR The hollow

54 ROMAN BRONZE APHRODITE (VENUS), her

56 ROMAN BRONZE DEEP APPLIQUE

57 ROMAN BRONZE APPLIQUE BUST OF

Our stock of ancient

Ex collection of Dr. V. Z.,

75 HELLENISTIC POLYCHROME TERRACOTTA

76 HELLENISTIC TERRACOTTA OF A DANC-

77 ROMAN LARGE TERRACOTTA APHRODITE

90 ATTIC BLACK-FIGURE SIANA-CUP

98 ATTIC RED-FIGURE LEKYTHOS BY THE

99 APULIAN GNATHIA LARGE

105 APULIAN XENON GROUP POTTERY

106 APULIAN APPLIED RED-FIGURE

Probably a gift for the second day of the

For many more Classical vases

We are now publishing

148 EGYPTIAN BRONZE OSIRIS mummiform, holding the

149 EGYPTIAN BRONZE ENTHRONED OSIRIS IAH

150 EGYPTIAN BRONZE NEFERTUM, GOD OF

151 EGYPTIAN BRONZE BES, the grotesque dwarf with

153 EGYPTIAN BRONZE CAT INSCRIBED FOR

154 EGYPTIAN BRONZE BASTET, the cat-headed

162 EGYPTIAN TERRACOTTA HARPOKRATES

163 EGYPTIAN TURQUOISE FAIENCE USHABTI

165 EGYPTIAN GLASSY TURQUOISE FAIENCE BES standing with

We are now issuing an

Wanted to Purchase: Fine Antiquities of All Periods

International Association of Confederation Internationale des Art and

Subscription (6 issues per year): U.S.A., Canada, and rest of world:

London (Seaby Antiquities)

Anthony Law Administrator Peter Clayton Consultant

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