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Click here to subscribe* Attic Greek krater, probably 4th century BC, the terracotta two handle vessel of baluster form decorated in black with figures, one side showing a warrior with sword and shield, the other with a satyr chasing a woman, each bordered with Greek key and geometric decoration, one handle restored, 28 cm high QTY: (1)NOTE:A large two-handled shape vase used as a mixing vessel in Ancient Greece, usually for mixing wine with water.
Group of Ancient Greek / Roman style ceramics, 5 pieces, to include two 800 BC style terracotta amphoras with hand painted geometric decoration (painted by P. Vaglis, tallest approx 37cm), an Attic Period (480 BC) style amphora (painted by C Karhiris), a conical vase with relief figural decoration and a vase/storage vessel of baluster form
A LURISTAN 'MASTER OF ANIMALS' BRONZE STANDARD FINIAL, IRAN, CIRCA 1000-650 BCThe tubular base surmounted by a stylized Janus-headed figure flanked on both sides by mythical beasts whose paws are placed together on the central figure's chest. The figure is boldly cast with detail work along the waist and legs. The face has a broad nose, large eyes, and prominent ears. The bronze has a naturally grown patina with malachite and cuprite encrustations.Provenance: Galerie Persepolis, Brussels, exhibited from 28 October to 13 November 1971. Collection of Monsieur H., Brussels, Belgium, acquired from the above. Collection Madame D.T., acquired from the above. Condition: Good condition, commensurate with age. Extensive wear, few nicks, light scratches, minor losses, signs of weathering and corrosion, and encrustations.Weight: 263.2 g Dimensions: Height 14.7 cm (incl. stand), 12.2 cm (excl. stand) Luristan bronzes are small cast and decorated objects from the Early Iron Age (first millennium BC) which have been found in large numbers in Lorestan province and Kermanshah in western Iran. They include a great number of ornaments, tools, weapons, horse fittings, and a smaller number of vessels including situlae and are characterized by a wide range of idiosyncratic forms and a highly stylized conception of human and animal representation. Those from recorded excavations were generally found in burials. The ethnicity of the people who created them remains unclear, though they may well have been Indo-European, possibly related to the modern Lur people who have given their name to the area. Luristan bronze objects came to the notice of the world art market from the late 1920s onwards. They were excavated in considerable quantities by local people and are found today in many of the world's most important museums.The Master of Animals is a motif in ancient art showing a human between and grasping two confronted animals. The subject is widespread in the art of the Ancient Near East and Egypt. Although such figures are not all deities, the term may be a generic name for several deities from a variety of cultures with close relationships to the animal kingdom or in part animal form (in cultures where that is not the norm). These figures control animals and are responsible for their continued reproduction and availability for hunters. The Greek god shown as 'Master of Animals' is usually Apollo, one of the gods of the hunt. Shiva has the epithet Pasupathi meaning the 'Lord of animals', and these figures may derive from an archetype. Chapter 39 of the Book of Job has been interpreted as an assertion of the deity of the Hebrew Bible as Master of Animals.Literature comparison: Compare a closely related Luristan bronze standard finial, 19.2 cm high, also dated circa 1000-650 BC, in the Los Angeles County Museum of Art, accession number M.76.97.91. Compare a closely related Luristan bronze standard finial, 20.5 cm high, also dated circa 1000-650 BC, in the Los Angeles County Museum of Art, accession number M.76.97.94.Auction result comparison: Type: Closely related Auction: Christie's New York, 9 June 2022, lot 24 Price: USD 31,500 or approx. EUR 29,000 converted for inflation at the time of writing Description: A Luristan bronze goddess, circa 9th-7th century BC Expert remark: Note the size (13.7 cm)Auction result comparison: Type: Related Auction: Christie's New York, 4 June 2015, lot 154 Price: USD 23,750 or approx. EUR 27,000 converted and adjusted for inflation at the time of writing Description: A Luristan bronze goddess finial, circa 9th-7th century BC Expert remark: Note the slightly larger size (18.4 cm)
Barbour (John). The Bruce; and Wallaces; published from two ancient manuscripts..., 2 volumes, Edinburgh: printed by James Ballantyne and Co., 1820, Ditton Park bookplates to the front pastedowns, gutters slightly cracked, some spotting & toning contemporary uniform gilt decorated full calf, boards & spines slightly rubbed, hinges cracked, loss to the head of spine to volume 1, 4to, together with:Spenser (Edmund), A View of the State of Ireland as it was in the reign of Queen Elizabeth, Dublin: printed for Lawrence Flin, 1763, period inscriptions to the head of the front pastedown & title page, some light toning throughout, contemporary spotted full calf, boards & spine rubbed with some minor loss to head & foot, loss to the spine label, 8vo, plusRichard Phillips, printed for, Translations Chiefly from the Greek Anthology, with tales and miscellaneous poems, London: 1806, period inscription to the front endpaper by T. Estcourt, Estcourt bookplate to the front endpaper, some minor spotting, contemporary gilt decorated full calf, boards & spine slightly rubbed, lacking spine label, 8vo, and other mostly 19th century literature, all contemporary leather bindings, some odd volumes, overall condition is generally fair/good, 8vo/4toQTY: (6 shelves )
FIVE ANCIENT POTTERY VESSELS CIRCA 800 B.C. - 2ND CENTURY A.D. Including a Cypriot Iron Age Bichrome Ware oinochoe with high-arched handle and concentric circle decoration, 17cm high; a Greek black glazed askos, 11cm high; a Hellenistic ribbed two-handled kantharos on short hollow base, 14cm high; a buff pottery aryballos with spherical body, disc rim and slightly raised circular base, the body decorated in added umber and wine coloured slip depicting a standing winged creature with a central shield with cross design, a shield-bearing figure and other motifs in the field, 13cm high, and a Roman pottery jug with encircling ridges around the body and a ribbed handle, 20.2cm high. Provenance:Robert Kime (1946-2022) Collection
AN ATTIC RED-FIGURE POTTERY KYLIX PROBABLY THE PAINTER OF ATHENS 1237, CIRCA 470-460 B.C. The tondo decorated with an inquisitive satyr bending forward, his heels raised, with his head and shoulders immersed in an open chest with lion paw foot, the lid propped open, set within a meander border 8cm high, 16cm diameter Provenance: European art market. European private collection, acquired in 1995. Christie's New York, 8 June 2005, lot 90, where purchased by Robert Kime Exhibited: Walters Art Gallery, 5 November 1995 - 7 January 1996; Dallas Museum of Art, 4 February - 31 March, 1996, and at the Antikenmuseum Basel und Sammlung Ludwig, 28 April - 23 June 1996Literature: Ellen D. Reeder et al, Pandora, Women in Classical Greece (Baltimore, 1995), p.100, fig.15. François Lissarrague La cité des satyres: Une anthropologie ludique (Athènes, VIe-Ve siècle avant J-C), (Paris 2013), p.209, fig.181. Beazley Archive no.20361, unillustrated and unattributed. The decoration on this drinking cup has been newly attributed as likely to be a work by the Painter of Athens 1237 (ARV2 865), a follower of the Pistoxenos Painter.Chests such as the one depicted in this scene have appeared on vases representing a scene from the life of Perseus, a Greek hero known for slaying the Gorgon Medusa. He was the son of the god Zeus and the mortal Danae, whose father Acrisius of Argos had been warned by an oracle that he would be slain by his grandson. So, when Danae had given birth to her son Perseus, his grandfather Acrisius, arranged for his daughter and grandson to be set adrift in a wooden casket. Cf. Beazley Archive no. 202466, for a hydria in the Museum of Fine Arts Boston: 13.200, with a similar casket from the scene of the banishment of Perseus and Danae. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Repaired from multiple fragments with infill along the cracks and some over-painting. Some evidence of ancient repair holes on the rim and on the stem. Some repair and over-painting across the back of the satyr and affecting the top of the tail. A vertical crack running through the meaner and through the hinge of the chest lid, through the chest and down through the meander beneath. A further crack runs almost horizontally through the middle of the lid, and this line extends through the top of the back of the satyr. The motif at the centre of the tondo where it joins the top of the foot has a hole restored, with one some over-painting of the foliate motif affecting three petals. See black & white image of the tondo from the publications for pre-restoration condition of the tondo. Other lines of repair on the black glaze and the foot stem. Foot re-attached with infill across the repaired area. The handles have been re-attached and are partially infilled and over-painted. Please see additional images for visual references to condition which form part of this condition report. Dreweatts thank Joanna van der Lande for her help cataloguing and condition reporting for this sale All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. There is some infill in the cracks and black wash/varnish, on the surface, more evident on the exterior. Condition Report Disclaimer
AFTER THE ANTIQUE, A CARVED MARBLE GRAND TOUR FIGURE OF THE EPHESIAN ARTEMIS POSSIBLY ITALIAN OR FRENCH, 19TH CENTURY Depicting Artemis (or Diana) as a deity of nature, protection and of fertility, wearing a mural crown emblematic of her city protection, with multitude of breasts or egg shaped nodules, an enveloping tight sheath skirt with panels of heads of animals, plinth base 118cm high Provenance: Robert Kime (1946-2022) Collection "All cities worship Artemis of Ephesus, and all individuals hold her in honour" Pausanias "Guide to Greece", 2nd Century A.D. The Temple of Artemis was a Greek temple dedicated to an ancient, local form of the goddess Artemis located in Ephesus near the modern town of Selçuk in present day Turkey. The worship was centred around the Goddess Artemis- not as the virgin huntress but rather as a goddess of fecundity and protection akin to the Phrygian goddess Cybele. By around 150 B.C., coins of the period show a figure much like this example. Most characteristic are the rows of gourd egg like objects around her upper midriff. Sometimes thought of as breasts (where the figure is then referred to as Polymastros), scholars have posited that they are instead gourds or pouches called kurša - others have suggested bees' eggs, dates and bull testes. The finest examples of mostly Roman statues of this are found in the Ephesus Archaeological Museum in Selçuk titled 'Artemis the Beautiful' and 'Artemis the Colossal'. Stylistically this example, with the distinctive exaggerated building above a plain swept veil, natural curled hair, suggests a later derivation- perhaps from the 18th century and 19th century prints produced depicting what was then referred to as Diana of Ephesus (see for example Le Magasin pittoresque, book 26, publ. Paris 1833). Examples produced by Righetti and others at this period tend to depict her more in the traditional fashion with disc like headpiece and a Polos crown. Another comparison should be made with the plaster cast version in The Sir John Soane's Museum (Museum number: SC51) as described by Soane in his 1835 "Description of the house and museum on the north side of Lincoln's Inn Fields, the residence of Sir John Soane"; 'A few steps up the staircase leading to the Attic story, in a niche, is a bust .... and in the niche above is a plaster Cast of the Ephesian Diana or Prolific Nature, presented to me by Messrs. Rundell & Co.' In the Curatorial Notes for the Soane example- it is commented that: "It is fascinating that the original letter sent to Soane with the statue refers to its being a cast from a Greek marble formerly in the possession of Rundell and Bridge because in fact this figure has rather a 'Regency' look and former Director, Tim Knox, has speculated that it might in fact be an early 19th century sculptor's version of the Ephesian Diana rather than a cast after the antique." As with this example from The Kime Collection, both share a softened more idealised presentation of the form with a face that is more suggestive of a Regency approach to Classical beauty. Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. The reverse shows clearly that this has been broken into several pieces at the upper end of the figure and repaired- also visible to the front. There's a clear line also across slightly lower which may be from construction suggesting use of sectional composition. Edge loss and wear- some scuffing around nose and mouth and what appears to be some deposition of material to her left cheek. old iron inserts at wrists- surface dirt which has become engrained. Wear to base edges Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.As catalogued this is 118cm high overall Condition Report Disclaimer
Diodorus Siculus. Bibliothecae historicae Libri XV. Hoc est, quotquot Graece extant de quadriginta quorum quinque nunc primum Latine eduntur, de quibus in praefatione edoceberis. Adiecta his sunt ex iis libris qui non extant, fragmenta quaedam... Mit Holzschnitt-Druckermarke am Schluss und einigen figürlichen Holzschnitt-Initialen. Basel, Petri, 1559. 18 Bll., 715 S. 4°. Späterer HLdr. mit RVergoldung (berieben, beschabt und bestoßen, etwas wurmstichig). VD16 D 1829. - Adams D473. - Graesse II, 395. - Diodorus Siculus war ein antiker griechischer Geschichtsschreiber der ersten Hälfte des 1. Jh. v. Chr. Er verfasste eine Weltgeschichte in 40 Büchern, vom mythischen Uranfang bis zur Eroberung Britanniens durch Cäsar. Unter den benutzten Quellen befinden sich alle bekannten und bedeutenden Vorgänger der Geschichtsschreibung. Das Werk ist heute nur noch in Teilen erhalten. - Vorsatz mit Exlibris und zeitgen. Besitzeinträgen. Titelbl. mit zeitgen. Besitzvermerk. Anfangs mit einigen Marginalien. Etwas gebräunt und teils leicht (wasser-)fleckig. Insgesamt wohlerhalten. With woodcut printer's mark at the end and some figural woodcut initials. Later half cloth (rubbed, scuffed and bumped, somewhat worm-holed). - Diodorus Siculus was an ancient Greek historian of the first half of the 1st c. B.C. He wrote a world history in 40 books, from the mythical primordial beginning to the conquest of Britain by Caesar. Among the sources used are all the known and important predecessors of historiography. Only parts of the work are preserved today. - Endpapers with bookplate and contemporary ownership inscriptions. Title page with contemporary ownership note. In the beginning with some marginalia. Marginalia. Somewhat browned and partly lightly (water-)stained. Overall well preserved.
Pietro Labruzzi (1739-1805) A Full-Length Portrait of Nicholas I of Russia in a classical setting 1802. Oil on canvas. Signed, located, and dated, lower left: Pietro Labruzzi Roma Pinx Anno 1802. Lot Essay: Nicholas I (Russian: Nikolay Pavlovich) (1796-1855), Russian Emperor (1825 - 1855), is often considered the personification of classic autocracy. It is clear that even at the age of 6, Nicholas was being cultivated as a future potential Emperor. The surrounding tropes in the present image reflect this, with Nicholas' setting rich in both accessories and emblematic references. For example, the pan flute, which alludes to the Greek god Pan, the patron of pastoral poets, evokes Nicholas' classical education as a royal, along with the numerous Classical references such as the Pegasus in the background. The portrait bust on the right of the image is inscribed with 'Alexander the first, of all of the Russian Empire', referring to Nicholas' elder brother Alexander I (Emperor of Russia 1801-1825). In this image, Alexander is immortalised as Imperator, explicitly linking the strength and glory of the Russian Empire to that of Ancient Rome through the use of the portrait bust. Moreover, the positioning of the portrait bust above Nicholas indicates the hierarchy of the royal lineage, with his brother Alexander I majestically surveying from above. The laurel wreath upon which Nicholas rests his hand is another nod to Greek mythology (this time to Apollo) as a universal symbol of triumph and peace, demonstrating the Russian Empire's role as a bringer of peace to the Greeks. Finally, the epee and globe, and the words 'Victor' on the plinth, collectively point to a triumphant military campaign. Dressed in traditional Greek dress, Nicholas wears Greece's blue and white national colours. His type of trousers, gilet and slippers were likely commissioned to commemorate the establishment of the oligarchic Septinsular Republic under nominal Russian and Ottoman sovereignty in the Ionian Islands in 1800. When Alexander I came to the throne in March 1801, Russia was in a state of hostility with most of Europe, though its armies were not actually fighting; its only ally was its traditional enemy, the Ottomans. As such, the establishment of the Septinsular Republic marked a victory in an increasingly unsettled time during Russian foreign policy. The Republic was established after a joint Russo-Ottoman fleet captured the islands and ended a two-year rule by the French Republic, marking the first time Greeks had been granted self-government since the fall of the last remnants of the Byzantine Empire to the Ottomans in 1460. Pietro Labruzzi's elder brother, Carlo Labruzzi (1748 - 1817), was also a well-known artist achieving official recognition, boasting several international and high-profile patrons. Carlo Labruzzi executed a number of commissions for the Russian court: for example, his View of The Colosseum from the Palatine (signed and dated 1780) is in the Pavlovsk Palace, near St. Petersburg (p. 8, Dickinson). Pavlovsk Palace is an 18th-century Russian Imperial residence built by the order of Catherine the Great for her son Grand Duke Paul, in Pavlovsk, within Saint Petersburg. After Grand Duke Paul's death, it became the residence of his widow, the Empress Maria Feodorovna (1759-1828), the mother of both Emperor Alexander I of Russia and Emperor Nicholas I of Russia. As such, there is plausible evidence to suggest that Carlo's brother would have been surrounded by the young Nicholas I, and if Pietro himself was not painting Nicholas from life, it is likely he would have been painting from sketches his brother made while at the Russian court.Dimensions: Canvas) 53.5 in. (H) x 38.75 in. (W) (Frame) 59.75 in. (H) x 45.5 in. (W)
A set of six silver City of Bath Hanoverian picture-bowl teaspoons depicting notable architectural landmarks, Sheffield 1979 by Roberts & Belk & retailed by Mallory of Bath, in fitted case; & a Christopher Milton Stevens “Theatre Royal” spoon with lyre terminal, the oval bowl with heavy cast ancient Greek theatrical mask, 19.5cm long, London 1983, in fitted case. (2 oz).
Ca. 400-300 BC.A beautiful red-figure terracotta krater with a broad rim, bell-shaped body flanked by two lug handles, and a pedestalled ring foot. Side A depicts a cloaked female figure holding a patera and a mirror, she seats in fornt of a nude male, who holds a bucket and a wreath. Side B features two youth males clad in chlamydes facing each other. The scenes are separated by vegetal motifs and are framed by a wreath of laurel around the rim, and a geometric frieze below running around the whole of the vessel. Kraters were ancient Greek vessels used for diluting wine with water; they usually stood on a tripod in the dining room during a symposium (drinking party), where wine was mixed. Ancient wine was considerably stronger than its modern counterparts and often had to be mixed with water, honey, and spices. Kraters were made of metal or pottery and were often painted or elaborately ornamented. In Homer's Iliad, the prize offered by Achilles for the footrace at Patroclus's funeral games was a silver krater of Sidonian workmanship. The Greek historian Herodotus describes many enormous and costly kraters dedicated at temples or used in religious ceremonies to hold libations. Cf. Christie's, Live Auction 1915, Antiquities, 6 December 2007, Lot 133. Size: L:305mm / W:300mm ; 2.46kg Provenance: Property of a central London Gallery; formerly in a South English estate collection; acquired in the 1990s from Andre de Munter, Brussels, Belgium; previously in and old European collection.
Ca. 100-200 AD.A hollow bronze phalera adorned with a relief face of Medusa, a mythological figure of ancient Greek and Roman lore. Medusa, known for her mesmerizing beauty and snake-like hair, is depicted with her serpentine locks cascading in rich curls around her head. The intricately rendered relief showcases a pair of wings emerging from the top of her head and spreading outwards to the sides. The portrayal of Medusa in this phalera reveals distinctive facial features. Her eyes are recessed, drawing attention to their penetrating gaze, while her broad nose and slightly parted lips add to the overall expression of the sculpture. Phalerae were decorative plaques that were worn as prestigious military decorations. They were often awarded to soldiers and military leaders for their valour and achievements in battle. The depiction of Medusa, a powerful and legendary figure associated with protection and warding off evil, on a phalera would have served as a potent symbol of strength and invincibility. Size: L:52mm / W:50mm ; 70g Provenance: Private London collection; formerly acquired in the US in the 1990s.
Ancient Greece, Attic (Athens), ca. 5th century BC.An astounding terracotta column krater finely decorated with black-figure scenes of a mythological processions for animal sacrifices featuring Dionysus, Hermes, and Persephone, all with incised detailing and fugitive white pigments. Side A shows Hermes, the psychopomp and protector of travelers, dressed traditionally in winged shoes and a petasos or wide-brimmed cap, as he leads an ox to slaughter. The animal walks alongside Persephone, queen of the underworld, who was periodically led up from Hades by Hermes. The goddess wears a diadem and holds a flower bud, a symbol of her status as a vegetation deity. Bearded Dionysus, the god of wine, stands to the right, holding out a kantharos, a vessel for wine drinking. Alternatively, side B displays a pair of nude satyrs, depicted with the bodies of men and ears and tails of horses, surrounding Dionysus who again holds a kantharos, but this time stands beside a goat. In addition to this marvelous iconography, the artist included an impressive decorative program. Each panel is framed by a pair of ivy vine motifs travelling up the sides with a tongued pattern above and a design of hanging lotus buds below. Another band of ivy vine encircles the rim while 2 palmettes adorn the tops of the handles. Used for mixing wine and water at a symposium, the form and imagery of the column krater combine to communicate strong messages on the relation of sacrifice, vegetation, regeneration, and the euphoric nature of wine. Persephone - queen of the underworld, daughter of Zeus and the harvest goddess Demeter, and wife of Hades - is associated with spring as the vegetation goddess. Furthermore, Persephone and her mother Demeter were central figures in the Eleusinian mysteries. These were elaborate festivals that took place every five years. Unfortunately, scholars know little about them as those who attended the Eleusinian Mysteries were sworn to secrecy. This said, most agree that the central theme of these Mysteries was that just as the grain returns every spring following its harvest and the winter hibernatory period, the soul returns after the death of the human body, reincarnated for the next life. The Eleusinian Mysteries were not the only Mysteries of the Greco-Roman world. There were also the Mysteries of Dionysos depicted in a famous fresco just outside Pompeii at Herculaneaum (the so-called Villa of the Mysteries) as well as Mysteries of various imported eastern gods such as Sabazios and Isis. Virtually no ancient Greek paintings have survived the tests of time. This makes the painted compositions found on ceramic vessels like this example invaluable sources of information about ancient Greek visual art. Ancient Athenian painters, including the painter of this vessel, took advantage of the large size of Attic vases which gave them more room to explore their techniques, overlap figures, present complex interactions between figures, create depth and attempt renderings of perspective. This piece has been tested using thermoluminescence (TL) analysis by Laboratory Kotalla and has been found to be ancient and of the period stated. A printed report from November 16th, 2015 is available to the buyer upon request. Professionally repaired with restoration and areas of repainting with figures liberally enhanced. Some minor chips to rim, as well as expected surface wear, commensurate with age. Otherwise, vessel has an excellent presentation with strong imagery and nicely preserved detail and pigments. Arte Primitivo collection label on interior. TL holes under handle and top rim. Size: L:320mm / W:380mm ; 4.4kg Provenance: Property of a London Ancient Art gallery, formerly East Coast collection, New York Gallery, New York City, New York, USA, acquired before 2010.
Ca. early 5th century BC.A rare terracotta protome, featuring a breathtaking visage of a goddess with ethereal beauty. This masterful creation showcases well-modelled facial features that testify to the skill and finesse of its creator. The goddess's face is a captivating sight, with her eyes imbued with a sense of depth and mystery that draws the viewer in. Her gaze seems to evoke a longing for a forgotten age of myth and legend. The nose is finely chiselled and adds a delicate balance to the overall harmony of the piece. The lips, gently closed, hint at a sense of calm and serenity, while the ears are depicted with a subtle yet lifelike realism. The goddess's coiffure is adorned with a headdress that conveys a sense of majesty and power. A protome is a type of bust made by pressing a thin layer of terracotta into a single mold. These were first made in Rhodes, but from the early fifth century BC onwards they spread throughout Greece and the Mediterranean world, becoming a staple of ancient Greek artistic expression. Cf. The Metropolitan Museum of Art, Accession number: 26.164.8. Size: L:210mm / W:150mm ; 1.12kg Provenance: Private UK collection; From an old London collection formed in the 1990s.
Ca. 2900 BC.Cylinder seal of black stone. Two registers: crossing looping bands in one; rosette and elaborate Greek cross in the other. Condition very good. Accompanied by a signed scholarly note by Professor Wilfrid George Lambert. Size: L:43mm / W:10.4mm ; 7.33g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collections 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.
Ca. 3000 BC.Cylinder seal of dark stone. Linear design of a kind of Greek cross enclosed within wide V-shaped bands on each side. Very good condition. Accompanied by a signed scholarly note by Professor Wilfrid George Lambert. Size: L:41.3mm / W:9mm ; 5.73g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collections 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.
Ca. 500-400 BC.A terracotta guttos, adorned with a lustrous black glaze, presents its distinctive form. This Greek vessel features a long spout with a wide out-turned rim, allowing for controlled pouring. The guttos showcases a squat and globular body, adorned with vertically ribbed edges and resting on an elevated foot, with a portion of the foot intentionally left unglazed for visual contrast. Adding to its functionality, a single lug handle is attached to the shoulder, providing a secure grip during usage. Notably, the central disc of the guttos' body exhibits a meticulously molded low relief depicting a portrait of a female. In the realm of ancient Greek pottery, the guttos served a specific function. Its design, featuring a narrow mouth or neck, allowed for the precise pouring of liquids in drops. This particular pouring technique was commonly employed during various religious and sacrificial ceremonies, where the controlled distribution of liquid was essential. The guttos acted as a vessel for libations, ensuring that the offerings were made with precision and reverence. Size: L:95mm / W:105mm ; 145g Provenance: Property of a central London Gallery; formerly in a South English estate collection; acquired in the 1990s from Andre de Munter, Brussels, Belgium; previously in and old European collection.
Ca. 1700-1800 AD.A stunning cameo, featuring a carved depiction of three graces in a dancing stance, holding hands. The figures are delicately rendered, with flowing garments and intricate hairdos. The overall effect is one of ethereal beauty and grace, capturing the essence of the three graces. The cameo is mounted on a simple yet elegant gold brooch setting, complete with a pin and safety chain. This classic design is reminiscent of the neoclassical period, which was characterized by a revival of ancient Greek and Roman motifs. The brooch setting complements the cameo perfectly, allowing the carving to take center stage while providing a secure and functional way to wear the piece. In Greek mythology, the three graces were considered the daughters of Zeus and the goddess of memory, Mnemosyne. They were known as Aglaea, Euphrosyne, and Thalia, and were believed to be the embodiment of beauty, charm, and grace. In art, they are often depicted in a dance-like pose, holding hands, and embodying harmony and elegance. Size: L:42.3mm / W:34.6mm ; 7g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Ca. 5th-4th century BC.A silver fibula featuring a broad and hollow bow with an elegant catchplate. The pin, crafted with great precision, tapers to a sharp point, attesting to the skill and artistry of the ancient Greek metalworkers who fashioned it. Fibulas were an essential accessory for ancient Greek attire, serving both practical and decorative functions. They were used to fasten garments such as cloaks, robes, and tunics, and also served as a status symbol, indicating the wealth and social status of the wearer. Greek fibulas were crafted in a wide range of styles, from simple and functional designs to highly ornate and intricate works of art. They were made from a variety of materials, including bronze, silver, and gold, and were often adorned with decorative motifs such as animals, mythological figures, and intricate patterns. Size: L:20mm / W:38mm ; 2.57g Provenance: Property of a London Ancient Art gallery, formerly a Swiss private collection, 1970s-1980s.
Ca. 350 BC.A breathtaking gold earring with its highly decorative shank, comprised of twisted and ribbed wires. At one end of the shank is a harpy terminal, which is a mythical creature from Greek and Roman mythology. It evokes a sense of mystery and enchantment, while also highlighting the earring's intricate and expertly crafted details. The other end of the shank tapers to a point, creating a sense of balance and harmony in the overall design. The harpy is a fascinating figure in ancient mythology, often depicted as a bird with the head and torso of a woman. In some stories, harpies were said to be agents of punishment, sent to torment individuals who had offended the gods. In others, they were simply powerful and enigmatic beings that commanded awe and respect. Size: L:33.2mm / W:26mm ; 5.88g Provenance: Private London collection; British art market 1990s.
Hebe is a goddess in ancient Greek mythology, and she is primarily associated with youth, beauty, and the serving of nectar and ambrosia to the gods on Mount Olympus. She was the daughter of Zeus, the king of the gods, and Hera, the queen of the gods, making her a member of the Olympian pantheon.Key aspects and attributes of Goddess Hebe include:1. Goddess of Youth: Hebe is often depicted as the personification of youth and youthful vigor. She is portrayed as a youthful maiden, often shown in the prime of her beauty and innocence.2. Cupbearer of the Gods: One of Hebe's primary roles was to serve as the cupbearer of the gods on Mount Olympus. She was responsible for pouring nectar, the divine drink of the gods, and ambrosia, the food of the gods, during their feasts and gatherings.3. Marriage: Hebe's role in serving the gods also extended to facilitating their marriages. According to some myths, she helped prepare Hera's chariot for her wedding to Zeus.4. Iconography: In art, Hebe is depicted as a young woman wearing a flowing robe and often holding a cup or a pitcher, symbolizing her role as the cupbearer. She is typically shown in a graceful and elegant manner, embodying youthful beauty.5. Marriage to Heracles: In some versions of the myths, Hebe becomes the wife of the hero Heracles (Hercules) after he achieved his divine status. Their union is considered to be a symbol of the hero's elevation to godhood.6. Immortality: Hebe is immortal, like the other gods on Mount Olympus. She does not age or suffer from any mortal weaknesses.7. Family Connections: Hebe was one of the few divine offspring of Zeus and Hera, along with Ares (the god of war) and Eileithyia (the goddess of childbirth).As a minor goddess, Hebe's role in mythology is not as prominent as that of the major Olympian deities. However, her attributes of youth and vitality were considered important aspects of the divine order, and she was a beloved figure among the gods. In Greek culture, Hebe's name was invoked in toasts and celebrations as a symbol of eternal youth and the joy of life.Measures 16 x 13 x 63.5.350 lbs.2 month ship time.
Santorini, also known as Thira, is a stunning and picturesque island located in the southern Aegean Sea, part of the Cyclades archipelago in Greece. It is famous for its breathtaking sunsets, white-washed buildings with blue-domed roofs, crystal-clear waters, and dramatic landscapes shaped by volcanic activity. Santorini is a popular travel destination, attracting millions of visitors each year from all over the world.Key features and aspects of Santorini, Greece, include:1. Caldera: Santorini is a volcanic island formed by a massive volcanic eruption that took place around 3,600 years ago. The eruption caused the center of the island to collapse, forming a large caldera, which is now flooded with the Aegean Sea. The caldera's cliffs offer some of the most dramatic and beautiful views on the island.2. Unique Architecture: Santorini's traditional architecture is characterized by whitewashed buildings with blue-domed roofs and colorful doors and shutters. The island's iconic architecture is one of the most photographed and recognized in the world.3. Sunset Views: Santorini is renowned for its breathtaking sunsets, particularly from the towns of Oia and Fira, where visitors gather each evening to witness the stunning sight as the sun sets over the caldera.4. Beaches: The island has several beautiful beaches with unique characteristics. Some beaches have black volcanic sand, such as Kamari and Perissa, while others have red or white sands.5. Wine: Santorini is known for its excellent wines, particularly its white wines made from indigenous grape varieties such as Assyrtiko. Visitors can explore local wineries and vineyards, taste different wines, and learn about the island's winemaking traditions.6. Akrotiri Archaeological Site: Santorini boasts a rich history, and one of the significant archaeological sites is Akrotiri, a Minoan Bronze Age settlement that was buried by the volcanic eruption. The well-preserved ruins offer insights into the ancient civilization that once thrived on the island.7. Cuisine: Santorini offers a delectable array of traditional Greek cuisine, including fresh seafood, Greek salads, moussaka, and local specialties. Many restaurants and taverns offer dining with stunning views of the caldera.8. Outdoor Activities: Besides enjoying the island's beauty and culture, visitors can partake in various outdoor activities, such as boat tours, hiking, water sports, and exploring the island's charming villages and historic sites.Santorini's stunning vistas, unique architecture, rich history, and inviting atmosphere make it a dream destination for travelers seeking a mix of natural beauty, cultural experiences, and unforgettable moments. Whether relaxing on the beach, savoring local cuisine, or taking in the island's breathtaking sunsets, Santorini offers a memorable and enchanting experience for all who visit.Measures 24 x 36.Mounted to linen.
Athens, the capital of Greece, and one of the oldest and most historically significant cities in the world:1. History: Athens has a rich and illustrious history that dates back over 3,000 years. It was a powerful city-state and a major center of arts, philosophy, and learning in ancient times. The city played a pivotal role in the development of Western civilization.2. Acropolis: The Acropolis of Athens is an ancient citadel located on a rocky hill overlooking the city. It is home to several iconic structures, including the Parthenon, the Temple of Erechtheion, the Propylaea, and the Temple of Athena Nike. The Acropolis is a UNESCO World Heritage Site and a symbol of ancient Greek architecture and culture.3. Democracy: Athens is credited with being the birthplace of democracy. In the 5th century BC, Athens experimented with direct democracy, where citizens (excluding women, slaves, and foreigners) had the right to participate in the decision-making process.4. Philosophers and Thinkers: Athens was a center of philosophical and intellectual activity. Renowned philosophers such as Socrates, Plato, and Aristotle lived and taught in the city, making significant contributions to philosophy, ethics, and political thought.5. Ancient Agora: The Ancient Agora was the central marketplace and the heart of public life in ancient Athens. It served as a political, social, and commercial center where citizens gathered to discuss matters of governance.6. Parthenon: The Parthenon, located on the Acropolis, is one of the most famous ancient Greek temples and a masterpiece of classical architecture. It was dedicated to the goddess Athena, the patron deity of the city.7. Modern Athens: Today, Athens is a bustling and modern metropolis, with a population of over 3 million people. While the city retains its historical charm, it is also a dynamic urban center with a vibrant art scene, contemporary architecture, and a lively nightlife.8. National Archaeological Museum: The National Archaeological Museum in Athens is one of the most important museums in the world, housing a vast collection of ancient Greek artifacts and treasures.9. Olympic Games: Athens is the birthplace of the modern Olympic Games. The first modern Olympics were held in Athens in 1896, reviving the ancient tradition of athletic competition.10. Mediterranean Climate: Athens enjoys a Mediterranean climate, characterized by hot summers and mild winters, making it an attractive destination for visitors throughout the year.Athens remains a city of immense historical and cultural significance, attracting travelers from all over the world to explore its ancient landmarks, learn about its philosophical heritage, and immerse themselves in its unique blend of past and present.Measures 30 x 24.Mounted to linen.
Texier, Charles and Richard Popplewell Pullan Byzantine Architecture Illustrated by Examples of Edifices Erected in the East During the Earliest Ages of Christianity with Historical & Archaeological Descriptions. London: Day & Son, 1864. First English edition, folio, chromolithographed additional title and 70 tinted lithographed or chromolithographed plates, many printed with gold tissue guards, 2 double-page plates and numerous woodcut illustrations, original maroon decorative cloth gilt, gilt edges, binding lightly faded Note: Note: A very good copy of this lavishly illustrated survey of the early Christian architecture of Greece and the Near East. Pullan was architect to the Bodrum Expedition sent to survey the Mausoleum of Halicarnassus in 1857 and also carried out various excavations as agent for the Society of Dilettanti. The Lion of Knidos was found in 1858 by Pullan as he walked the cliffs near where he was helping Charles Thomas Newton to excavate the ancient Greek city of Knidos. Royal Engineer Robert Murdoch Smith was given the task of assisting. He was presented with the lion statue that had fallen onto its front face. The limestone core of the monument was still there but the marble cladding and other details had either been stolen or lay around where it had fallen. Smith was able to replace and move each of the remaining stones which allowed the engineer to write a detailed report on the structure. Pullan created an orthographic drawing of the building which is thought to be a good reproduction of what the whole structure would have looked like. The Lion of Knidos was loaded onto the naval ship HMS Supply and shipped to London. It is now in the British Museum.Texier was in Asia Minor much earlier, but the two collaborated to produce this interesting work. Atabey 1213; Blackmer 1647
Leibniz, Gottfried Wilhelm (1646-1716) Autograph letter signed to William Wotton, Hanover, 25th April 1702 in Latin, signed 'Godefridus Gulielmus Leibnitius', 30 lines, written in brown ink on both sides of single sheet of laid paper (19.8 x 15.8cm), spotted, lightly creased from folding, attached to a later blank (probably 18th century) Note: Note: The last universal genius sends his thanks to fellow polymath William Wotton (1666-1727) for the gift of a copy of his History of Rome from the Death of Antoninus Pius, to the Death of Severus Alexander (1701), which he praises as a fine example of the mirrors-for-princes genre, declaring no other work to set forth with such colour the virtues and vices of the caesars, and professing his astonishment that the author should be the same as that of Wotton's Reflections upon Ancient and Modern Learning (1694). In a fascinating aside Leibniz furthermore reveals that he had hastened to show the work to Georg Ludwig, Elector of Hanover, only to find that the future George I was already reading a copy with great enjoyment, a pleasure which he regrets was not permitted to the recently deceased William III.Wotton was a child prodigy who was proficient in Latin, Greek and Hebrew by the age of five, admitted to St Catherine's College, Cambridge at nine, and upon his graduation as BA at the age of thirteen was considered knowledgeable in six further languages including Arabic, as well as logic, philosophy, mathematics, geography, chronology and history. His History of Rome was later used as a source by Gibbon, while his Reflections, which in the long-running debate was a defence of the moderns and of the achievements of the Royal Society, survived the satire of Swift in A Tale of Tub to be remembered as 'one of the first historical accounts of the growth of scientific ideas' (ODNB). His clerical career was marked by scandal and financial embarrassment, which in the eyes of his biographer 'may explain why his considerable achievements in a range of disciplines are not better known' (ibid.). Published: Gottfried Wilhelm Leibniz, Sämtliche Schrifte und Briefen (Berlin: Akademie-Verlag, 2012), Reihe I, Band 21, No. 137, pp. 191-2.
Greek Antiquity, A collection of volumes on Ancient Greece, to include: Smith (William D D), Xenophon's History of the Affairs of Greece, London: J. Walker et al, 1812, 8vo, full calf boards with gilt tooling and raised bands to spine; Verrall (Margaret de G), Mythology and Monuments of Ancient Athens, London: Macmillan and Co, 1890, 12mo, quarter Morocco and marbled boards, top edge gilt; Gardner (Ernest Arthur), A Handbook of Greek Sculpture, London: Macmillan and Co, 1909, 12mo, full tree calf with gilt tooling and raised bands to spine; Smith (William), A Dictionary of Greek and Roman Antiquities, London: Taylor and Walton, 1842, 8vo, full calf gilt with raised bands to spine, marbled endpapers and page edges; Ellis (Henry), The Elgin and Phigaleian Marbles of Classical Ages in the British Museum, London: M A Nattali, 1846, 2 volumes, 16mo, decorative tooled red leather boards; Wordsworth (Christopher), Greece: Pictorial, Descriptive and Historical, London: William S. Orr, 1853, George Scharf illus, 4to, full calf gilt, engraved title and frontis, foldout map, among other related volumes/Provenance: From the Library of Paul Stickler, a Gloucestershire collector of books and maps. CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
A collection of Folio Society books, all in their original slipcases, primarily relating to ancient and medieval history, titles including: The History of the Decline and Fall of the Roman Empire, by Edward Gibbon, 8 vols; The Greek Myths, by Robert Graves, 2 vols; The Lives of the Mongol Warlords boxset; Tanglewood Tales, by Nathaniel Hawthorne; and others, one box.
Santorini, also known as Thira, is a stunning and picturesque island located in the southern Aegean Sea, part of the Cyclades archipelago in Greece. It is famous for its breathtaking sunsets, white-washed buildings with blue-domed roofs, crystal-clear waters, and dramatic landscapes shaped by volcanic activity. Santorini is a popular travel destination, attracting millions of visitors each year from all over the world.Key features and aspects of Santorini, Greece, include:1. Caldera: Santorini is a volcanic island formed by a massive volcanic eruption that took place around 3,600 years ago. The eruption caused the center of the island to collapse, forming a large caldera, which is now flooded with the Aegean Sea. The caldera's cliffs offer some of the most dramatic and beautiful views on the island.2. Unique Architecture: Santorini's traditional architecture is characterized by whitewashed buildings with blue-domed roofs and colorful doors and shutters. The island's iconic architecture is one of the most photographed and recognized in the world.3. Sunset Views: Santorini is renowned for its breathtaking sunsets, particularly from the towns of Oia and Fira, where visitors gather each evening to witness the stunning sight as the sun sets over the caldera.4. Beaches: The island has several beautiful beaches with unique characteristics. Some beaches have black volcanic sand, such as Kamari and Perissa, while others have red or white sands.5. Wine: Santorini is known for its excellent wines, particularly its white wines made from indigenous grape varieties such as Assyrtiko. Visitors can explore local wineries and vineyards, taste different wines, and learn about the island's winemaking traditions.6. Akrotiri Archaeological Site: Santorini boasts a rich history, and one of the significant archaeological sites is Akrotiri, a Minoan Bronze Age settlement that was buried by the volcanic eruption. The well-preserved ruins offer insights into the ancient civilization that once thrived on the island.7. Cuisine: Santorini offers a delectable array of traditional Greek cuisine, including fresh seafood, Greek salads, moussaka, and local specialties. Many restaurants and taverns offer dining with stunning views of the caldera.8. Outdoor Activities: Besides enjoying the island's beauty and culture, visitors can partake in various outdoor activities, such as boat tours, hiking, water sports, and exploring the island's charming villages and historic sites.Santorini's stunning vistas, unique architecture, rich history, and inviting atmosphere make it a dream destination for travelers seeking a mix of natural beauty, cultural experiences, and unforgettable moments. Whether relaxing on the beach, savoring local cuisine, or taking in the island's breathtaking sunsets, Santorini offers a memorable and enchanting experience for all who visit.Measures 24 x 36.Mounted to linen.
Ancient Greek Attic painted terracotta lekythos depicting Heracles fighting the Cretan bull, ca. 5th century BCE. With a catalogue number on base.Height: 7 in x width: 2 1/2 in.Condition: Chips, scratches, and wear throughout consistent with age and use. Some mineral deposits throughout the piece, especially along the neck and shoulder. Some losses to the pigment throughout. There is a sticker affixed along the underside; there is a small patch of sticker residue along the underside.
A RARE SWEDISH GOLD-MOUNTED PORPHYRY SNUFF BOX WITH INSET MICROMOSAIC PANEL DEPICTING PLINYS DOVES ATTRIBUTED TO GIACOMO RAFFAELLI (ITALIAN, 1753-1835), CIRCA 1810 the inset micromosaic panel Roman, marks rubbed, of rounded rectangular form, the top with an inset micro panel. 8.6cm by 5.3cmGiacomo Rafaelli was trained as a painter and sculptor early, becoming a master in Florentine hardstone mosaics and Roman micromosaics. His family had supplied the Vatican Mosaic Workshop with smalti, the material used for micromosaics. In 1775, he gave the first exhibition, which led to a brilliant career in which he produced many works, ranging from mosaic floors, tables, and monumental clocks to miniature mosaics small enough to fit on a snuffbox or brooch. One of his earliest known examples is a small round plaque, signed and dated 1779, depicting 'The Doves of Pliny' (now at the British Museum).The doves appear frequently as the subject of micro mosaics. The image comes from a Roman floor mosaic discovered in 1737 at Hadrian's Villa in Tivoli, which is believed to be a copy of a lost ancient Greek mosaic at Pergamon.
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