Archaeology – Antiquity

Plaquette en os sculpté en bas-relief de forme bombée représentant un jeune homme nu, un animal à ses pieds, adoptant la pose de l'Apollon Lycien, appuyé sur un bâton. Belle facture. Egypte, style hellénistique, III/IVe siècle Hauteur : 10,8 cm - Largeur : 4,3 cm (restaurations et manques) La sculpture de l'Apollon Lycien qui a vraisemblablement servie de modèle à cette plaquette et à la suivante est conservée au Musée du Capitole. Plusieurs exemplaires de plaquettes en os reprenant ce sujet en le dérivant sont conservées dans des musées tels que le Walter Art Museum (inv. 71.43, 71.1099, 71.57, 71.23) ou encore le Metropolitan Museum of Art (inv. 1993.516.1, 37.75.3) et également au Louvre (inv. AF 6571).

Situla (Thap) in bronze, truncated cone shape with two side handles. Decorated with geometric motifs. Archaeological piece with beautiful green patina and burial oxidation. Vietnam, Dong Son (Dông S'on) culture, 5th B.C. - 2nd A.D. Height: 22 cm. Width: 22 cm.

Basalt FRAGMENT with hieroglyphic decoration. Egyptian archeological work, probably from the Ptolemaic period. Former provenance: LANFRY collection in ROUEN. H.8 L.3.

Large wooden sarcophagus mask with traces of black pigment and white slip from Egypt, Late Period - Ptolemaic period, 664-30 BC. Weight: 3.10 kg Shipping unavailable Region: Egypt Sizes: H 320 MM L 190 MM Condition: At first glance: normal wear / patina of use

Convolute 4 Roman rings,from old collection,together

Convolute 2 Roman drawer latch keys,together

Palette cosmétique Schiste vert foncé Égypte prédynastique ? H. 10 cm - L. 6,5 cm

Convolute 4 Roman rings,together

Convolute ca.77 roman and celtic jewelry parts, thereof ca. 27 rings,together

Convolute 4 medieval rings,together

STUNNING APULIAN RED-FIGURE BELL KRATER - 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.

EGYPTIAN FAIENCE PAPYRUS SCEPTRE AMULET (WADJ SCEPTRE) - Late Period, ca. 664-332 BC. An amulet formed in the shape of a papyrus column known as a papyrus sceptre or Wadj sceptre. This delicately formed piece has been crafted from a rich light blue glazed faience with a suspension hole. It depicts a rolled papyrus scroll and was used as a protective amulet to provide the deceased with eternal youth in the afterlife. These were found in the wrappings of the deceased and were used to prepare the deceased for their journey providing the magic of youth for eternity. Cf. Andrews C., 1994. Amulets of Ancient Egypt. Pl. 83; Petrie, W.M. Flinders. 1914. Amulets. Pl. II. Size: L:40mm / W:12mm ; 5g Provenance: From the collection of a London gentleman; formerly acquired in early 2000s; previously in 1970s UK collection.

Convolute ca.6 Roman ring plates with engraving,together

Roman senatorial ring with portrait of woman

Medieval signet ring,silver

Roman ring with senator portrait

Convolute 4 rings for stones, medieval, together

Open,Celtic ring

LARGE ROMAN MARBLE FIGURE OF CUPID HOLDING GRAPES- EX R.SORGE COLLECTION - Ca. 200 AD. A finely carved in extremely high relief – virtually in the round – section of a marble sarcophagus depicting the god Eros (Roman Cupid) or one of the Erotes (Roman Cupids) holding a large bunch of harvested grapes in his left hand. Eros, depicted as a nude cherub, is posed standing in contrapposto, with his weight shifted to his left leg, one arm angled to carry the fruit of the vine, the other missing its forearm, perhaps once carrying more grapes (a common theme of Hellenistic and Roman art) or his bow. In addition to possessing an impressive understanding of anatomy and an ability to render flesh from stone, the sculptor of this piece was skilled in communicating naturalism in Cupid’s facial features – generously lidded, almond-shaped eyes, apple cheeks, pudgy nose, and full lips – framed by a wavy coiffure adorned by a leafy crown. Eros was the mischievous yet endearing god of love and, according to some classical writers, a son of the goddess Aphrodite. Size: L:700mm / W:260mm (with stand) ; 37.35kg Provenance: Property of a Central London Gallery, acquired by a British private collector, formerly in a NYC collection, ex. R. Sorge collection, Germany, 1980s, ex. German collection, Munich, 2000s. Exhibited: Olympia Art & Antiques fair, London June 2022.

ETRUSCO-CORINTHIAN CERAMIC OLPE PITCHER - EX. MUSEUM - Ca. 700-600 BC. A pottery vessel formed in brown, black, and red with incised decoration, the ovoid body with linear bands and rays emerging from the base, the central register with incised scale pattern, the neck with rosette, the strap handle connects the shoulder with a flat, flaring rim. For a similar example, see The Museum of Fine Arts, Budapest, Inventory number 97.3.A. Size: L:195mm / W:110mm ; 368g Provenance: Property of London Ancient Art Gallery; EX. Private Collection, Pennsylvania; acquired from the University of Pennsylvania Museum of Archaeology in 1965.

Roman "rider" ring

EGYPTIAN FAIENCE SHROUD WITH FOUR SONS OF HORUS - Late Period, ca. 664-332 BC. A captivating funerary shroud, crafted with meticulous precision and adorned with a distinctive net pattern composed of shimmering faience beads. At the heart of this intricate design lies a representation of the deceased, rendered with exquisite attention to detail. The light green beads gracefully trace the contours of the face, while the prominent features are brought to life with darker beads. The rich shades of brown, red and beige evoke the visage's broad nose and parted lips, while the eyes and eyebrows give the impression of a serene and peaceful countenance. At the centre of the composition stands a magnificent winged scarab, a symbol that invokes the ancient Egyptian deity of Khepri - the god of creation, rebirth, and the rising sun. In the mythological beliefs of ancient Egypt, Khepri was believed to guide the sun across the sky each day, renewing the world's cycle of life and death. The presence of this winged scarab thus evokes a sense of hope and renewal, even in the face of the ultimate transition from life to death. Below the scarab, four sons of Horus - Imsety, Duamutef, Hapi, and Qebehsenuef - are positioned, serving as protectors of the deceased's internal organs. This representation speaks to the ancient Egyptian belief in the afterlife and the importance of funerary rituals, as it was believed that the preservation of the organs was crucial for the deceased's journey into the next world. This funerary shroud represents a fascinating blend of artistic and religious symbolism, a testament to the enduring legacy of ancient Egyptian culture. Its intricate design, rich symbolism, and craftsmanship make it a true masterpiece of ancient art, one that is sure to captivate and inspire generations to come. Restrung. Size: L:225mm / W:120mm ; 60g Provenance: From the collection of a London gentleman; formerly acquired in early 2000s; previously in 1970s UK collection.

Celtic ring with fluted rail

Roman Drawbar Key and Drawbar,Together

EGYPTIAN FAIENCE WEDJAT-EYE AMULET - Late Period, ca. 664-332 BC. A pale blue glazed faience amulet depicting the Eye of Horus with detailed modelling on both sides. The amulet is distinguished by its delicate craftsmanship and exquisite detailing, with the suspension hole running through the center of the amulet providing additional functionality. The Eye of Horus, also known as the Wedjat Eye, was a powerful symbol in ancient Egyptian religion, representing the god Horus' right eye, which was said to have been torn out during his battle with the god Set. The Eye of Horus was associated with healing, protection, and regeneration, and was often depicted as a powerful, all-seeing eye. Amulets featuring the Eye of Horus were popular in ancient Egypt, particularly during the Late Period, and were believed to offer the wearer protection and good fortune. For a similar, see The Metropolitan Museum of Art, Accession Number: 10.130.1900. Size: L:20mm / W:25mm ; 2.7g Provenance: From the collection of a London gentleman; formerly acquired in early 2000s; previously in 1970s UK collection.

EGYPTIAN ALABASTER VESSEL - New Kingdom, ca. 1550-1070 BC. An alabaster vessel featuring a conical-shaped body and circular flat base. The vessel showcases a graceful flaring towards the opening, with the mouth adorned by a deep circumferential groove and an everted rim, enhancing its aesthetic appeal. In ancient Egypt, alabaster vessels held great significance and served various functions within the cultural and religious contexts of the time. Alabaster, a translucent and delicately veined stone, was highly valued for its beauty and perceived spiritual qualities. These vessels were often utilized for offerings, libations, and as containers for precious oils, perfumes, and other sacred substances. The exquisite craftsmanship and smooth, polished surface of alabaster vessels exemplified the meticulous attention to detail prevalent in Egyptian art. Size: L:65mm / W:105mm ; 240g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

BACTRIAN BLACK STONE SEAL - Ca. 2nd millennium BC or later. A beautiful black stamp seal from the region of Bactria/Turkmenistan. It depicts male and female deer. Studied by PD Dr. habil. Pieter Gert van der Veen, Johannes Gutenberg-Universität Mainz. Size: L:7.3mm / W:26.3mm ; 8.62g 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.; ex. 1970s/early80s UK art market.

ROMAN GLASS DOUBLE BALSAMARIUM - Ca. 300 AD. A beautiful double balsamarium crafted from greenish glass. The vessel is composed of two conjoined tubular phials with slightly flared and thickened rims and framed with applied decorative handles that adds a sense of texture and depth to the piece. The double design of the balsamarium also adds a functional aspect to its form, allowing it to hold two different oils or perfumes at once. Balsamariums were a common item in the Roman world, and they were used to hold and dispense various oils and perfumes for personal hygiene and religious purposes. These vessels were often made from glass, which was a popular material in the Roman world due to its transparency, durability, and versatility. For a type, please see The Museum of Fine Arts, Budapest, Inventory number: 52.271. Size: L:115mm / W:55mm ; 85g Provenance: Property of central London gallery; formerly acquired on the US art market; previously in the Estate of a North Carolina doctor.

GANDHARA SCHIST PANEL WITH HEAD OF BUDDHA - Ca. 200-300 AD. A stone schist panel featuring a central relief depicting the head of Buddha, showcasing distinctive iconographic elements prevalent in Gandharan art. The round face of the Buddha exhibits a sense of serenity and spiritual grace, with delicately sculpted features that convey a profound sense of inner peace. The small, piercing eyes exemplify the focused gaze of the Buddha, symbolizing his profound wisdom and transcendent insight. The finely rendered nose and small lips contribute to the overall harmony of the facial expression, representing the balanced nature of the enlightened state. Notably, the earlobes are naturally depicted, symbolizing the Buddha's renunciation of worldly attachments and his detachment from material desires. The curly hair, meticulously gathered in a topknot, is a characteristic hairstyle associated with depictions of the Buddha in Gandharan art, signifying his spiritual elevation and attainment. Surrounding the head of the Buddha is a halo, adorned with a radiating arrangement of leafy branches. This halo represents the divine and enlightened aura surrounding the Buddha, emphasizing his transcendent nature and his role as a guiding light for spiritual seekers. Gandhara, situated in present-day Pakistan and Afghanistan, was an important center for Buddhist art and philosophy during the first few centuries AD. The Gandharan style of Buddhist art emerged as a unique fusion of Hellenistic and indigenous artistic traditions, incorporating elements from Greek, Roman, and Indian cultures. The depiction of the Buddha in Gandharan art reflects the syncretic nature of the region, blending Hellenistic sculptural techniques with Indian religious symbolism. These artworks played a significant role in disseminating Buddhist teachings and conveying the ideals of compassion, enlightenment, and the path to liberation. This item comes with a custom-made stand. Size: L:135mm / W:220mm ; 2.01kg Provenance: Private London collection; formerly in Belgium 1970s collection.

Open ring with cross stone,roman

ATTIC PAINTED SKYPHOS - Ca. 5th-4th century AD. A pottery skyphos created from a fine clay material, reflecting the exceptional craftsmanship of ancient Greek potters. It features a deep cup shape, which is symmetrically flanked by protruding handles on opposite sides, allowing for a comfortable grip and ease of handling. The skyphos is further characterized by a low, concave foot adorned with concentric circles as decorative elements. Notably, the basin's interior, as well as the bottom of the cup, rim, and handles, are coated with a black glaze, imparting a visually striking contrast to the vessel's overall appearance. Skyphoi held significant importance in ancient Greek society, serving various functions both in daily life and during communal activities. As drinking vessels, they were commonly used for the consumption of wine, a staple beverage in Greek culture. The deep cup shape and double handles allowed for a secure grip and facilitated the sharing of wine among individuals. The vessel's design also helped maintain the temperature of the wine, allowing it to be enjoyed at its optimal condition. Size: L:90mm / W:220mm ; 440g Provenance: Property of a London Ancient Art gallery, formerly English private collection, according to the heirs possibly purchased in some auction or Art Gallery during 1970s-1980s.

ROMANO-EGYPTIAN SILVER EAGLE PENDANT - Egypt, ca. 30 BC-300 AD. A silver eagle with its wings gracefully folded, exuding a sense of regality and composure. Resting upon an integral and flat base, the amulet captures the commanding presence of the eagle, accentuating its association with authority and power. The simplified representation of the bird strikes a harmonious balance between artistic expression and its inherent recognizability. Completing the amulet is a suspension loop that extends from the back, allowing for convenient attachment to a chain or cord. In the context of the Romano-Egyptian world, eagles held profound significance as symbols of both Roman imperial power and Egyptian religious beliefs. The silver eagle amulet evokes a fascinating amalgamation of Roman and Egyptian cultural influences, immortalizing the interconnectedness of these ancient civilizations. Size: L:16mm / W:6mm ; 2g Provenance: Private London collection, pre-2000s.

APULIAN RED-FIGURE EPICHYSIS - Ca. 325 BC. A very fine pottery pouring vessel known as an epichysis, possessing a characteristically spool-shaped base with a curved low body leading to a tubular neck and a slender spout joined to the shoulder by a high, raised handle with applied matching animal heads (perhaps lions adorning the areas where the upper handle end meets the spout. The domed shoulder is finely painted with red-painted depiction of seated Eros holding a phiale in his right hand. The God of love is surrounded by vegetal motifs including large palmettes. The lower body embellished with a register of laurel leaf tendrils. For a similar, please see The William R. and Clarice V. Spurlock Museum, 1922.01.0061. Size: L:155mm / W:105mm ; 260g 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.

BACTRIAN SCHIST DECORATED BOWL - Ca. 3rd-2nd millennium BC. Crafted with meticulous intention, this vessel bears the distinctive attributes of a rather shallow composition, its base impeccably flat, while the walls bestow a delicately tapering ascent towards its graceful opening. Yet, it is the sumptuous embellishments that bestow upon this bowl an ethereal aura. Adorning the side wall of this vessel, a symphony of low-relief carvings evokes a tableau of aesthetic splendour. Two stylized birds, meticulously rendered, engage in a silent duet as they face one another, their forms invoking an air of serenity. Between these avian sentinels, a tree or bush emerges. Each carving, hewn with precision, encapsulates an exquisite narrative within the stone canvas. As light plays upon the undulating surface, the subtle chiaroscuro of the relief creates a dance of shadows, enriching the narrative quality of the composition. This bowl, once a vessel of functional significance, now stands as an embodiment of the aesthetic aspirations of ancient artisans, a bridge between time and form. Size: L:65mm / W:150mm ; 1480g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

9 diverse bronze objects of the antiquity - different cultural areas, consisting of 4 (ointment and oil) vessels, probably Bactrian and Etruscan, h 4-11cm, 1 probably Afghan bell, h 3,5cm and 4 Indo-Persian and Roman animal figures, h 3-8cm, age and origin undetermined and without guarantee, sale only within the EU

Collection of antique clay pendants/ amulets in bowls - probably Egypt, New Kingdom, clay/fayence, altogether 15 pieces, different shades of blue and turquoise, different forms and sizes (D ca 1,5-4,5cm), in addition 1 small conical shaped bowl with serrated rim, inside glazed in turquoise and partially painted in black, cracked, h 3cm, d 9,5cm, from private collection in North Germany

8 antique glass vessels - probably Roman and eastern Mediterranean, age and origin but undetermined and without guarantee, various sizes and shapes, partly iridescent, clay patina, some vials bumped or cracked, h 4-12.5cm, from northern German private collection for antiques, sale only within the EU

Antique probably Etruscan bucchero bowl - Mediterranean area, ca. 500-600 B.C. (age but undetermined and without guarantee), dark clay, black patina, deepened bowl on short stand ring, h 11cm, d 22cm, clay patina, traces of age, from North German Islamic Art Collection

Indigenous, probably pre-Columbian bottle vessel with "grimace" decoration - terracotta, red patina, age and origin undetermined, of round, conical form, shoulder part with faces (grimaces) in relief, narrow neck with flat muzzle rim, black (collection?) stamp at the bottom, h 28cm, from North German collection, several bumps

Antique probably Mesopotamian double-handled vessel - terracotta, deep-bellied amphora form with 2 lateral handles, at the bottom 2 small pouring holes, indented neck, on the shoulder applied cord bands in snake form, h 18.5cm, bumped at the mouth rim, restored, age undetermined and without guarantee, from North German collection for Islamic art

Chapiteau d'applique avec la partie supérieure de son fût de colonne en pierre calcaire sculptée à décor de palmettes dressées. Fin du XIe siècle Hauteur : 70 cm Largeur : 29 cm Profondeur : 26 cm (épaufrures)

Plaquette en os sculpté à décor d'un éphèbe. Egypte, style hellénistique, III/IVe siècle Hauteur : 11,5 cm - Largeur : 3,6 cm Etiquette de collection Soclée (restaurations)

Plaquette en os sculpté représentant un jeune homme nu reprenant la pose de l'Apollon Lycien, un griffon (?) à ses pieds. Egypte, style hellénistique, IIIe/IVe siècle Hauteur : 9,8 cm - Largeur : 5,5 cm Ancienne étiquette de collection (petits accidents)

Plaquette en os sculpté représentant un homme nu poussant un char. Egypte, style hellénistique, IIIe/IVe siècle Hauteur : 7,5 cm - Largeur : 4,8 cm Ancienne étiquette de collection (petit accidents et repercée)

Lot de deux plaquettes en os sculpté en bas-relief : - de forme bombée, figure féminine nue, la tête tournée sur sa gauche. Egypte, style hellénistique, III/IVe siècle Hauteur : 7,4 cm Largeur : 4 cm (manques) - de forme rectangulaire, personnage tournant la tête vers la gauche et tenant un voile. Egypte, époque byzantine, IVe/VIIe siècle Hauteur : 6,9 cm Largeur : 4 cm (restaurations)

Amulet depicting the god Mayhes (protector of the sun during its nocturnal journey). His clasped hands pressed against his torso (holding an object?) Egypt, Late Period (664-332 B.C.) Height: 3 cm

Pitcher with handle decorated with a stylized palm. Terracotta and ochre polychromy. Missing lip. Egypt, Nagada II period (3500-3300 B.C.) Height: 9.5 cm Provenance: Former Kobayashi collection built up in the 1970s.

Amphore grecque Étiquette de fouille LEPTIS MINOR H. 9 cm - Diam. 3,5 cm

ARCHAEOLOGICAL terracotta SET including a small pot with flared neck, an Oushebti-style statuette and two small groups. From 7 to 12 cm

Amphore à fond plat probablement pour le garum Terre cuite orange Afrique du Nord, IIe - IVe siècle H. 20 cm DL On y joint une fiole balsamaire à panse globulaire moulue et ornée de cercles concentriques et motifs géométriques Verre violine irisé Art romain d'Orient, IIIe siècle H. 13 cm DL Restaurations au col et manque important à la panse Provenance : Madame Suzanne Gozlan puis par descendance. [2] Madame Suzanne Gozlan (1921-2022), Docteur en Histoire et en Archéologie, professeur à l'Ecole Normale d'Instituteurs de Chartres et chargée d'enseignement à l'Université Paris 4 Sorbonne.