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18th July - Ancient Art

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Lot 1 - Sculpture of Barbarian; Rome; I-II century A.D. Marble. It presents flaws caused by the passage of time. Measurements: 63 x 16 x 15 cm. The standing figure is dressed in a long tunic and pants, suggesting that it is a barbarian. The head, neck, upper part of the bust and hands are missing, which were made separately, probably of white marble. The forearms rest on the thighs; the hands may have been bound, although similar figures sometimes hold a ladle. The right leg is crossed over the left. Aesthetically it has similarities with the Barbarian prisoner Thusnelda, Loggia dei Lanzi, FlorenceEarly 2nd century. Discovered in Rome, in 1541 already part of the Capranica della Valle collection in Rome. Since 1584 in the Villa Medici in Rome, in Florence since 1787. In the Loggia since 1789. The inspiration for this sculpture probably comes from the series of bound captive dice that decorated the Forum of Trajan. The Romans brought two important novelties to the world of sculpture: portraiture and historical relief, neither of which existed in the Greek world. However, they followed the Greek models for much of their sculptural production, a base that in Rome would be combined with the Etruscan tradition. After the first contacts with the Greece of classicism through the colonies of Magna Graecia, the Romans conquered Syracuse in 212 BC, a rich and important Greek colony located in Sicily, adorned with a large number of Hellenistic works. The city was sacked and its artistic treasures taken to Rome, where the new style of these works soon replaced the Etruscan-Roman tradition that had prevailed until then. Cato himself denounced the sacking and decoration of Rome with Hellenistic works, which he considered a dangerous influence on native culture, and deplored the Romans' applauding of statues from Corinth and Athens, while ridiculing the decorative terracotta tradition of ancient Roman temples. However, these oppositional reactions were in vain; Greek art had subdued Etruscan-Roman art in general, to the point that Greek statues were among the most coveted prizes of war, being displayed during the triumphal procession of the conquering generals.

Estim. 23 000 - 24 000 EUR

Lot 3 - Column crater. Attica. Athens, 5th century BC. Attributed to SYRISKOS (475-450 B.C.) Black ceramic with red figures. Restored Measurements: 36 x 36 x 31 cm. The column krater, the oldest sub-type of the krater, is characterised by its vertical handles like column shafts, topped by horizontal projections. In this case, the decoration features three figures in the red-figure technique. One of them seems to identify Dionysos. Syriskos worked as a vase-painter and potter in Athens in the 470s and 460s BC. Syriskos' vases include a wide variety of forms and even some unusual ones. As a vase painter, he worked mainly with the red-figure technique, but occasionally painted vases with white backgrounds. He painted scenes from myth and everyday life. Like other artists who were both painters and potters, Syriskos' days as a painter may have preceded those as a potter. The case of Syriskos provides an insight into the social status of potters in Athens. Changes in the way he signed his works can trace his rise in Athenian society. The name Syriskos means "little Syrian" and probably indicates that he was a slave, as many potters and painters seem to have been. The "Syriskos" signatures of this artist appear early in his career. Later vases were signed as Pistoxenos Syriskos, "Trusted Stranger, the little Syrian" and finally just Pistoxenos. The change of name may indicate a new status of freedom for a former slave. Red-figure pottery was one of the most important figurative styles in Greek ceramics. It was developed in Athens around 530 BC, and was used until the 3rd century BC. It replaced the previous predominant style of black-figured pottery within a few decades. The technical basis was the same in both cases, but in the red figures the colouring is inverted, the figures being highlighted against a dark background, as if illuminated by a theatrical light, following a more natural pattern.

Estim. 20 000 - 25 000 EUR

Lot 4 - Ushebti for Khaemwaset. Ancient Egypt, New Kingdom, 19th dynasty, reign of Ramses II, 1279 - 1213 BC. Faience. Restored neck. Provenance: Private collection A. Alonso, Salamanca. Formed between 1960 and 1980 / Galería Arqueológica J. Bagot, Spain, 2015; Exhibited: Museo Colección Ifergan, Málaga (2018-2020); Feriarte, IFEMA (Madrid, 12-20 November 2022). Measurements: 15.5 cm. This khaemwaset ushebti is depicted as a laborer, as he wields two hoes to work in the fields of Osiris of the Hereafter. He wears a short wig from which a braid protrudes on the right side. He wears a curly Osirian beard, ending in a tight forward curve. From his mummiform shroud, which covers the whole body, only the hands protrude, crossed on the chest, holding the aforementioned agricultural tools. On the body there is a vertical register of hieroglyphic writing. This horizontal inscription translates: "May the Osiris, Son of the King, (priest) Shem, Khaemwaset, righteous of voice, be enlightened". Khaemwaset was a prince of Egypt. Fourth son of Pharaoh Ramses II and second son of his second Great Royal Wife, Queen Isis-Nefert. He is the best known of Ramses' sons, as his contributions to Egyptian society were remembered for centuries. He has been described as the first Egyptologist due to his work in identifying and restoring historic buildings, tombs and temples. He was high priest of Ptah and, at the end of his life, governor of Memphis and crown prince. He died at the age of 56, in the 55th year of his father's reign. His tomb is probably located in Saqqara, where some remains were found that could belong to him."

Estim. 4 500 - 5 000 EUR

Lot 5 - Cratera of Campana; Apulia, Magna Grecia, 4th century BC. Ceramic with the technique of red figures. Attached thermoluminescence certificate. It presents reconstruction in the part of the foot and restorations on fracture lines of the original fragments. Measurements: 35 x 34 cm (diameter). Apulian crater of red figures with two lateral handles. Flared body, upturned twin handles and flared rim, all on a concave, stepped and rounded foot. Red designs on a black background, with white and yellow accessories. Above the designs, a laurel wreath; below each, a wavy band. Large palmettes under the handles. Obverse with a young male figure seated left on vegetation, with embroidered fillet, long hair, himation bordered over lower limbs and offering a circle of withe, perhaps a phiale. Opposite, a standing youth holding a tirsos and a mantle over the left arm. On the reverse, two young men facing each other, dressed in himation, are engaged in conversation, one of them holding a staff. The type known by its shape as "bell-shaped" has small horizontal handles, protruding and directed upwards, and with an inverted bell-shaped vessel; it is a late-use type. The chalice krater is a more modern type than the columnar and scroll type, though earlier than the bell krater, and its shape, with an almost inverted trapezoid profile, is reminiscent of the flower chalice. Red-figure pottery was one of the most important figurative styles of Greek pottery. It was developed in Athens around 530 B.C., and was used until the 3rd century B.C. It replaced the previous predominant style of black-figured pottery within a few decades. The technical basis was the same in both cases, but in the red figures the coloring is inverted, the figures being highlighted on a dark background, as if they were illuminated by a theatrical light, following a more natural scheme. Painters working with black figures were forced to keep the motifs well separated from each other and to limit the complexity of the illustration. In contrast, the red-figure technique allowed greater freedom. Each figure was silhouetted against a black background, allowing painters to portray anatomical details with more accuracy and variety. The technique consisted of painting the motifs on the still wet piece, using a transparent varnish that, when fired, acquired an intense black hue. Therefore, the motifs were invisible before firing, which meant that the painters had to work entirely from memory, without being able to see their previous work. Once the piece was fired, the areas not covered by the glaze remained with the reddish tone of the clay, while the glazed areas, the "painted" ones, took on a dense and shiny black color. Attached thermoluminescence certificate. It presents reconstruction in the part of the foot and restorations on fracture lines of the original fragments.

Estim. 9 500 - 10 500 EUR

Lot 7 - Parietal relief with a dignitary with poliomyelitis. Egypt, New Empire, 18th Dynasty, Reign of Pharaoh Amenhotep III co-ruler Amenhotep IV, 1417-1352 BC. Limestone. Provenance: -Private collection Max-Pol Pouchet, France. Offered by the Egyptian authorities in gratitude for his work in Nubia. The reverse is inscribed 'n.8791/10 n.61' - Acquired from the heirs. Publications: enclosed is a study on the antiquity of the piece. Conservation: good state of conservation. It has some scratches of its own on the surface. Measurements: 23 cm. length; 19 cm. height. Egyptian bas-relief, parietal fragment, in which we can see a high dignitary with his torso uncovered and placing one hand on a staff of command. This piece is of great value not only because of its quality and antiquity in Egyptian art, but also because it bears witness to a disease, polio, which was already taking the lives of many people at that time. The thicker left arm than the right and the rubbery-looking fingers can only allude to the ravages of the disease, which made no distinction in terms of social rank. This official, probably a magistrate or tyaty, retains a peaceful face depicted in profile, as was usual in Egyptian art. By the Ptolemaic period, however, the rigorous hieratism and strict geometry of earlier periods had been left behind. The slightly protruding belly is an unusual solution in the more hieratic style of earlier Dynasties. In this case, it is intended to indicate the high social status and affluent life of the personage. An Egyptian stele dated to between 1580 and 1350 BC, showing a priest with an atrophied leg due to polio, is considered to be the earliest plastic trace of the disease. It was found in the Temple of Astarte in Memphis.

Estim. 12 000 - 14 000 EUR

Lot 8 - God Attis. Rome, 2nd century A.D. Marble. Measurements: 52 x 16 x 14 cm. Round sculpture representing the torso of Attis, Greek god adopted from the Phrygians and who was also venerated by the Romans. God of the lost and rediscovered vegetation, he personifies the ephemeral and revived spring. Attis represents the nature that dies in autumn and that rises again in spring. This oriental divinity has its origins in Phrygia and several versions of the mythological legend are known, always highlighting his death due to self-castration and his subsequent resurrection. He was considered the lover of the goddess Cybele. In the Roman world we find representations of Attis in all kinds of artistic manifestations, among which we want to highlight the sculpture. Its iconography is very varied, since this divinity is presented in different attitudes, sometimes alone and sometimes in the company of Cybele. This diversity is due to the desire to show the god in the most relevant moments of his myth or to express through his image ideologies of symbolic-religious content. We must highlight those figures that represent him as the protector deity of the dead and their resurrection, in this case without any relation to Cybele, since he had also known suffering and death and had overcome them. Precisely, Roman sculpture stood out from Greek sculpture in the creation of the sculpture-portrait. The Roman portrait has its roots in Etruscan art, but also in the Hellenistic Greek world and in the "masks mayorum", that is, wax masks that were applied to the faces of the deceased for their memory and later worship. The materials most commonly used in Roman portraiture were bronze and marble. At the beginning, Roman portrait sculpture only represented the head and part of the neck. Later, progress was made in the representation of the entire bust, including shoulders and chest. However, full body sculptures were also sculpted, as in the one presented here.

Estim. 12 000 - 13 000 EUR

Lot 12 - Globular Huaco; Moche Culture, Peru, 400-700 AD. Terracotta. It has a stirrup handle from a later period. Presents restoration in fracture line located in the area of the head and losses in the mouth. Measurements: 21,5 x 17,5 x 12,5 cm. Huaco with body in globular form that presents a modeled ornamentation in the superior zone that finishes with a head of jaguar with the open jaws. As for the body this one presents a decoration based on the polychrome, where geometric elements are combined with anthropomorphic figures of stylized aesthetics. The modeling of the piece has been made with great realism that can be appreciated in the details of the jaguar. Settled in the northern coast of Peru, the Moche culture developed in the valleys of Lambayeque, Chicama, Moche and Viru, between 1 and 800 AD. This region is characterized by a desert crossed by several watercourses, which flow into an ocean particularly rich in marine resources. The Moche artisans achieved masterpieces in ceramics, weaving, and gold and silver work. Their characteristic style encompasses the most diverse materials, such as pyrography gourds, mural painting, feather art, and body painting and tattooing. The decoration of the ceramics demonstrates a mastery of pottery work rarely surpassed, resorting to the techniques of incising, bas-relief by means of stamping and painting on smooth surfaces. An important part of these objects were made in specialized workshops controlled by the state, in which pieces were made in series with molds. These vessels not only show a great variety of shapes and decorative styles, but also bear representations of myths and rituals. Among the ceramic forms, the so-called "portrait bottles" or vessels where the face of an important personality in society is portrayed stand out. In them, the characteristic facial features, the use of facial paint or tattoos and the use of complicated headdresses can be observed in great detail. This "portrait" capacity of Moche pottery can also be observed in the representations of possibly daily scenes or in erotic scenes, as well as in the effigies that show hunchbacks, blind people, harelips and other illnesses. It presents restoration in fracture line located in the area of the head and losses in the mouth.

Estim. 1 100 - 1 300 EUR

Lot 15 - Priapus. Hellenism, Greece, 2nd - 1st century BC. Marble. Provenance: Private collection, London, acquired between the 1960s and 1980s. Good state of preservation, no restorations. It has lost the left forearm and the lower part of the legs. Measurements: 24 cm high. This sculpture entirely made of marble represents Priapus, carved in round bulk. He was a minor god, a rustic divinity of fertility. His main attribute is a large erect phallus, symbol of the fertilizing force of nature. Here he is shown smiling and wrapped in an open tunic that slides down his shoulders and exposes his genitals. During the Hellenistic period, Greek sculpture underwent a major transformation, and this was particularly noticeable in the capture of emotions. This is magnificently expressed in the laughing countenance of our Priapus. Hellenistic sculpture represents the final period of the evolution of Greek sculpture, and developed in the period between the death of Alexander the Great, in 323 B.C., and the conquest of Egypt by the Romans, between 30 and 31 B.C. It is an eclectic, secular and historicist language, which takes as its starting point the heritage of classical sculpture of the previous period, to which new oriental influences are added. It also meant the improvement of the representation of the anatomy and human emotional expressiveness, as well as a fundamental change in aesthetics, which leaves aside the ideal to represent the individual, moving from the generic to the specific. Thus, the previous ethical and pedagogical ideal is abandoned in favor of a new emphasis on everyday human aspects, in an art that will have the aesthetic as its main purpose, although occasionally it will also be propagandistic. This new interest in man and his inner life, his emotions, problems and longings, will result in a realistic style that has to emphasize the dramatic, the prosaic and movement. In addition, Hellenism brought the first individualized and plausible portraits of Western art. The subject matter will also be expanded to include depictions of old age and childhood, minor non-Olympian deities and secondary characters from mythology, as well as popular figures in their daily work. Good state of preservation, without restorations. It has lost the left forearm and the lower part of the legs.

Estim. 14 000 - 18 000 EUR

Lot 20 - Hades. Roman Culture. II - III Century A.D. Marble. Provenance: private collection D. A., Belgium. Formerly in a Spanish collection, acquired in the 1980s. Conservation: Good state of conservation, missing the left arm and the part of the crown. Broken and recomposed at the waist. Measurements: 30 cm high. Sculptural set of two figures, one lost, only the feet are preserved, in round bulk. The sculpture is formed by the image of Hades, located to the left, and the one that probably was Persephone, to the right. Between them, and as a support for both figures, an architectural element with a geometric shape that could remind us of a funerary stele typical of Roman art. Although it could also be a tomb, a more than characteristic element that may refer to both protagonists, the god of the underworld and his consort. Hades is represented as a middle-aged individual, bearded and with abundant hair above his shoulders. He is dressed in a tunic. He appears in the sculptural set erect with the right foot slightly more advanced than the left, the face looks to the right. He has his arms separated from the body with the left one wrapping and holding his scepter or cane finished in two points, which originally would have reached his feet, today only the upper part is preserved. At his side two fragments of two feet that surely belonged to Persephone. Hades for the Greeks, and Pluto for the Romans. He is the son of Cronus and Hera, brother of Zeus, Poseidon, Hera and Demeter. With Zeus and Poseidon, he is one of the three rulers who divided the empire of the Universe after their victory against the Titans: Hades was attributed the underworld, the Hells, or Tartarus. According to legend, Hades, in love with the young Persephone, abducted her while she was picking flowers with some nymphs on the plain of Enna, in Sicily. The abduction was carried out in complicity with Zeus and in the absence of Demeter. Finally, Zeus ordered Hades to restore Persephone to her mother, but by inadvertence or perhaps tempted by Hades, the young woman had eaten a pomegranate seed, since she could not take any food in the underworld, this was enough to chain her forever to Hell. However, to mitigate her sorrow, Zeus arranged for her to distribute her time between the underworld and the terrestrial world. The Romans brought two important innovations to the world of sculpture: portraiture and historical relief, neither of which existed in the Greek world. However, they followed Greek models for a large part of their sculptural production, a base that in Rome would be combined with the Etruscan tradition. After the first contacts with the Greece of classicism through the colonies of Magna Graecia, the Romans conquered Syracuse in 212 BC, a rich and important Greek colony located in Sicily, adorned with a large number of Hellenistic works. The city was sacked and its artistic treasures taken to Rome, where the new style of these works soon replaced the Etruscan-Roman tradition that had prevailed until then. Cato himself denounced the sacking and decoration of Rome with Hellenistic works, which he considered a dangerous influence on native culture, and deplored the Romans' applauding of statues from Corinth and Athens, while ridiculing the decorative terracotta tradition of ancient Roman temples. However, these oppositional reactions were in vain; Greek art had subdued Etruscan-Roman art in general, to the point that Greek statues were among the most coveted prizes of war, being displayed during the triumphal procession of the conquering generals. Shortly thereafter, in 133 BC, the Empire Good state of preservation, missing the left arm and part of the crown. Broken at the waist but recomposed. recomposed

Estim. 8 000 - 9 000 EUR

Lot 21 - Sarcophagus fragment. Greek culture, Clazomenae, mid 6th - 5th century BC. Terracotta and pigments. Provenance: Private collection of a nobleman, London. Purchased at Galerie Cybele, Paris, France. Auctioned at Christie's New York in 2016. Previously in a private collection in England. Thermoluminescence test attached. Conservation: good condition, no restorations. Measurements: 42.5 x 12.5 cm. The interlacing motif developing on the front face corresponds to a decorative pattern that can be seen in the clazomenian sarcophagi of classical Greece, such as the one preserved in the Altes Museum in Berlin or in the museums of Smyrna: they are bordered with grooved fretwork as the one shown here running along the long sides, while on the short sides there are representations of divinities, shells and homoerotic scenes of young aristocrats. The side preserves Greek geometric fretwork decoration. Clazomenes or Clazomene was an ancient port polis of Ancient Greece, located on the coast of Anatolia bordering the Aegean Sea. The painted terracotta sarcophagi discovered in the necropolis of the local archaeological site are the most prized works of Ionian painting of the 6th century B.C. Many of them are kept in the neighboring museums of Smyrna. Clazomenes was an ally of the Ionian League (or Dodecapolis, which was the confederation of the twelve cities). During the Ionian revolt against the Persians in the early 5th century BC, Clazomenes was moved to an island barely separated from the coast. According to tradition, Alexander the Great connected the island to the mainland by means of an artificial ramp. The city of Urla, which is also a district of the province of Smyrna in Turkey, is located on the site where it once stood. Thermoluminescence test attached.

Estim. 8 000 - 9 000 EUR

Lot 22 - Rider on panther. Batak culture, Sumatra Island, Indonesia. XIX century. Limestone. Provenance: Private collection, Paris, France. Conservation: good condition. Presents two restored break lines at the waist. Measurements: 85 x 97 x 25 cm. Sculpture of a horseman riding a panther or a shinga, probably made by the Toba culture, the most numerous group of the Batak people, in the north of Sumatra. These statues were generally carved in the likeness of a chief. The strange animal playing the role of the steed could be a panther or a singha, a hybrid monster that was often depicted as half reptile and half buffalo. In the pre-Christian era, priest-mages called datu made wooden, or occasionally stone, sculptures for their villages and families. The function of these sculptures was always magical and religious, never merely decorative. Among the Batak, all ancestor figures, mythological creatures and ritual objects were carved exclusively by the datu. Even so, carvings were also highly prized for their beauty, kept as sacred heirlooms in families for many generations. The Batak are one of the peoples of Indonesia. Their core area is in North Sumatra with their center at Lake Toba. Before their pacification under Dutch colonial rule of the East Indies, the Batak were known as fierce warriors and cannibals. Later, Christianity was widely embraced and the Batak church is now the largest Christian congregation in Indonesia. Batak society is patriarchal and there is a dowry system. The Batak culture excels in weaving, wood carving and especially in their ornate stone tombs. Their burial culture is very rich and complex and includes a ceremony in which the bones of one's ancestors are reburied several years after death. The Batak speak a variety of closely related languages, all members of the Austronesian language family. It is believed that Batak ancestors sailed across the Indian Ocean and colonized Madagascar. Good condition. It has two restored tear lines at the waist.

Estim. 7 000 - 8 000 EUR

Lot 24 - Bust of Sol Invictus; Rome, II-III centuries. Bronze. Presents mineral deposits, green and red patina and loss of rays. Measurements: 7 x 4, 5 x 3 cm. Rare Roman bronze bust of Sol Invictus. It represents the young sun god with a crown of seven rays (now disappeared) on his voluminous curls and a mantle buckled on the right shoulder. The Romans brought two important novelties to the world of sculpture: portraiture and historical relief, neither of which existed in the Greek world. However, they followed Greek models for much of their sculptural production, a base that in Rome would be combined with the Etruscan tradition. After the first contacts with the Greece of classicism through the colonies of Magna Graecia, the Romans conquered Syracuse in 212 BC, a rich and important Greek colony located in Sicily, adorned with a large number of Hellenistic works. The city was sacked and its artistic treasures taken to Rome, where the new style of these works soon replaced the Etruscan-Roman tradition that had prevailed until then. Cato himself denounced the sacking and decoration of Rome with Hellenistic works, which he considered a dangerous influence on native culture, and deplored the Romans' applauding of statues from Corinth and Athens, while ridiculing the decorative terracotta tradition of ancient Roman temples. However, these oppositional reactions were in vain; Greek art had subdued Etruscan-Roman art in general, to the point that Greek statues were among the most coveted prizes of war, being displayed during the triumphal procession of the conquering generals. It shows mineral deposits, green and red patina and lightning loss.

Estim. 700 - 800 EUR

Lot 31 - Figure of a female polo player. China, Tang dynasty, circa AD 618-906. Terracotta. In good condition. Provenance: Acquired from F. Gallery, Spain, Madrid, 2022. Attached thermoluminescence test (TL). Measurements: 28 x 34 cm. Sculpture made in terracotta and decorated with engobes. It represents a polo player on horseback, galloping, with the captured animal in the middle of the jump. The human figure is dressed in loose-fitting red clothes with long sleeves; her hair is carefully combed, her hands are raised and her cheeks and lips are highlighted. The player shows the movement and tension of the moment, and turns her torso to face the viewer. In the Tang dynasty, polo was a sport played mainly by the aristocracy and especially by women, despite its roughness. The Tang dynasty is considered by historians to be a period of splendour in Chinese civilisation, equal or even superior to the Han period. Emerging from a period of despotism under the cruel Yang Di, it was established by Li Shimin who, out of filial piety, put his father on the throne before assuming the role of emperor himself and founding the Tang dynasty. Stimulated by contact with India and the Middle East via the Silk Road, the Tang empire experienced a creative boom in many fields. Buddhism, which had emerged in India at the time of Confucius, continued to flourish during this period and was adopted by the imperial family, becoming an essential part of traditional Chinese culture. The development of the printing press also extended the dissemination of written works, giving rise to the golden age of Chinese art and literature. The great cultural opening will result in a fundamentally colourful, expressive and very eclectic art, although it is still mainly for funerary use, where the artist remains an anonymous craftsman. However, from this time onwards, high-fired ceramics, decorated with enamels, would come to be used as a status symbol, with typologies such as vessels for the table of the litterateur and all types of tableware. Terracotta, on the other hand, continued to be used for grave goods, although stoneware would also be used from now on, especially for the tombs of nobles and scholars. In funerary pieces, the group to which this amazon belongs, an important new feature is introduced: three-coloured lead glazes (sancai), although pieces decorated with engobes continue to be made. Among the grave goods, there are six typological groups, each with a great variety: tomb guardians, with warriors and protective beasts; ceremonial figures with their servants; animals of all kinds, such as oxen, camels and horses; musicians and court ladies; utensils and vessels; and finally, architectural models. Three periods can also be distinguished. The first period, between 581 and 683, is dominated by figures decorated with engobes, even without glazes. The second period, between 683 and 779, was the great Sancai period, with a predominance of enamels. Finally, until the beginning of the 10th century, pieces with Sancai enamels continued to be made, albeit of lower quality than those of the previous period.

Estim. 3 500 - 4 000 EUR

Lot 32 - Lekythos for cosmetics. Attic Greece, 5th century BC. Ceramic with the red-figure technique. It has fracture line restorations on the neck and foot. Size: 11 x 4 cm. Lekythos that stands out for its great rarity, since as ornamentation it presents the figure of a winged mermaid located in the central body. The lekythos or lekitos is a type of Greek pottery used to store perfumed oil for body care. This type of vessel was also often used as funerary vessels, not only in Greek cities, but also by other peoples who had contact with this culture. They are characterised by their elongated shape, narrow neck and wide mouth, which both limits the flow of oil and facilitates its application. Red-figure ware was one of the most important figurative styles of Greek pottery. It was developed in Athens around 530 BC, and was used until the 3rd century BC. It replaced the previous predominant style of black-figured pottery within a few decades. The technical basis was the same in both cases, but in the red figures the colouring is inverted, with the figures highlighted against a dark background, as if illuminated by a theatrical light, following a more natural scheme. Painters working with black figures were forced to keep the motifs well separated from each other and to limit the complexity of the illustration. The red-figure technique, on the other hand, allowed greater freedom. Each figure was silhouetted against a black background, allowing the painters to portray anatomical details with greater accuracy and variety. Over time these decorations became more complex, incorporating numerous details in both black and white, which enhanced the narrative and decorative sense of the depictions. The value placed on these works meant that they were the subject of a flourishing trade and industry. Pottery painters and the masters who made the pieces in clay were highly prized in ancient Greece, and works in both the black-figure and red-figure techniques were created throughout the Mediterranean, both in Greek cities of population and foundation and in the potteries of those peoples who had contact with these same nuclei.

Estim. 3 500 - 4 000 EUR

Lot 33 - Male head. Late Roman Empire, 2nd-3rd century AD. Marble stone. Measurements: 36 x 19 x 20 cm. The protagonist of this sculpture, a middle-aged man, looks at the viewer in a calm attitude. His eyes completely open, expectant and directed to a concrete point, reveal the restlessness of the character and stand out for their naturalistic character. The detail in its execution, especially reflected in the individualized hair and the expressive firmness of his face, demonstrate the skillful ability of an artist fully trained in sculptural instruction. The Lower Roman Empire or Late Roman Empire is the historical period extending from the rise of Diocletian to power in 284 to the end of the Western Roman Empire in 476. It succeeds the High Roman Empire begun by Caesar Augustus in 27 BC. The Romans brought two important innovations to the world of sculpture: portraiture and historical relief, neither of which existed in the Greek world. However, they followed the Greek models for much of their sculptural production, a base that in Rome would be combined with the Etruscan tradition. After the first contacts with the Greece of classicism through the colonies of Magna Graecia, the Romans conquered Syracuse in 212 BC, a rich and important Greek colony located in Sicily, adorned with a large number of Hellenistic works. The city was sacked and its artistic treasures taken to Rome, where the new style of these works soon replaced the Etruscan-Roman tradition that had prevailed until then. Cato himself denounced the sacking and decoration of Rome with Hellenistic works, which he considered a dangerous influence on native culture, and deplored the Romans' applauding of statues from Corinth and Athens, while ridiculing the decorative terracotta tradition of ancient Roman temples. However, these oppositional reactions were in vain; Greek art had subdued Etruscan-Roman art in general, to the point that Greek statues were among the most coveted prizes of war, being displayed during the triumphal procession of the conquering generals.

Estim. 3 500 - 4 000 EUR

Lot 35 - Torso of a military man with a clamid. Roman Empire, 2nd century AD. Marble. Provenance: - Gorny & Mosch, Munich, Auktion 137, 15 December 2004, lot 144. - Fortuna Fine Art, Ltd., New York, 2009. - Private collection, New York (USA), acquired from the above, 12 May 2011. In good condition, no restorations. Measurements: 71.2 cm (height). Torso of a life-size round sculpture, carved in marble, representing a male figure. He wears trousers, leather armour and a clamid, an unusual combination only found in the representations of high-ranking military men in historical reliefs from the times of Trajan and Antoninus Pius, in the first half of the 2nd century AD. The sculptural work is magnificent, although the most delicate parts of the work, such as the head and hands, have been lost. The folds of the chlamys are heavy, very expressive, and curve in parallel over the chest and in a V-shape towards the knees, lending monumentality to the figure, a solemn and heroic air typical of the personage represented. Perhaps the reference for this way of representing the chlamys, falling vertically and concealing the body completely, is certain Greek representations of the god Hermes, of which Roman copies have survived. The breastplate is hidden beneath the cloak, although it is worked with care and detail, with great attention to the play of volume. Above the surviving knee, the fine trousers are creased, accentuating the slight movement of the leg. The back of the sculpture has only sketched volumes and an unpolished surface, indicating that it is a work to be seen from the front, intended to be placed in front of a wall or in a niche or niche. Roman military commanders traditionally wore the cuirass together with the clamid, a garment that was already worn by the cavalry in Greece. The use of trousers, however, was much later. Although in Cicero's time this garment was rejected by the Romans as barbarian (it was identified with the Gauls), with the expansion of the empire its use began to spread among Roman troops for practical reasons, especially on the battlefields of the north.

Estim. 60 000 - 65 000 EUR

Lot 36 - Portrait of a young naiskos. Greece, late Classical period-early Hellenistic period, 4th century BC. Marble. Good state of preservation, although the nose is missing and there is some abrasion on the surface. Provenance: - Private collection of Nicolas Koutoulakis (1919 - 1996), Paris and Geneva. - Private collection, Madrid. Measurements: 20.4 cm (height). Head carved in marble practically in the round, although without reaching it, given that it conserves a break in the back part, where the union with the background plane would be. It would therefore belong to a high-relief composition, probably a funerary naiskos, a type of commemorative funeral monument typically attic in the form of an architectural façade. The head is visibly asymmetrical, suggesting that it would have been worked to be viewed from a single point of view, three-quarters to the right of the composition. It is also possible that the piece was intended to be viewed from below, as large naiskoi were often placed on terraces well above street level, as can be seen at the site of Kerameikos in Athens. During the Classical period, between the 5th and 4th centuries BC, several streets in Athens were lined with cemeteries and were flanked by relief-decorated funerary monuments of prominent families. These were dominated by naiskoi, architectural settings topped by an entablature and a triangular pediment, which housed the figure of the deceased alone or accompanied by family members and servants. The naiskoi ranged from stelae carved in relief with an architectural frame to three-dimensional temples with round sculptures inside. The representation they housed always included the deceased depicted in a solemn style, with restrained emotionality and great formal elegance, essential characteristics of the classical period of Greek art that found special expression in funerary art. Although many stelae, especially those dedicated to women, present scenes that reflect to some extent the intimacy of the deceased, on other occasions there is a clear intention to heroify the deceased, with compositions that even incorporate multiple characters on several planes.

Estim. 35 000 - 40 000 EUR

Lot 40 - Archer; China, Han dynasty, 1st century BC- 2nd century AD. Polychrome terracotta. Attached thermoluminescence photocopy. It has slight damage caused by the passage of time. Measurements: 79 x 45 x 18 cm. Figure of an archer standing in polychrome terracotta, made to be placed in a tomb. He is standing raising his hands in such a way that it is possible to see that originally he was holding a bow stretched between his hands. It has a severe face with thin eyebrows, thin eyes, wide nose and closed lips, as is usual in the aesthetics of Han statuary. The Han dynasty ruled China between 206 B.C. and 220 A.D., more than four centuries during which the political, social and economic structures of China were consolidated, leading the country to the most glorious stage of its history. Regarding the art of this time, it is still eminently funerary, although it reflects the very high artistic level that will be reached both in the capitals and in the provinces. These preserved objects provide us with information on the daily life and customs of the time, since the art becomes much more mundane than the bronzes of the Zhou and Shang periods. The structures of the tombs also changed: the Shang tombs were vertical, while the Han tombs were built as subway palaces. They were decorated with reliefs stamped with scenes from the life of the deceased, and a new material was incorporated as an artistic support, lacquer. However, the most famous today is the production of Han ceramics, in terracotta and generally decorated with cold-applied engobes, mainly black and red. Attached photocopy of thermoluminescence. It presents slight flaws caused by the passage of time.

Estim. 5 000 - 6 000 EUR

Lot 41 - Archer; China, Han dynasty, 1st century BC- 2nd century AD. Polychrome terracotta. Attached thermoluminescence photocopy. It has slight damage caused by the passage of time. Measurements: 79 x 45 x 18 cm. Figure of an archer standing in polychrome terracotta, made to be placed in a tomb. He is standing raising his hands in such a way that it is possible to see that originally he was holding a bow stretched between his hands. It has a severe face with thin eyebrows, thin eyes, wide nose and closed lips, as is usual in the aesthetics of Han statuary. The Han dynasty ruled China between 206 B.C. and 220 A.D., more than four centuries during which the political, social and economic structures of China were consolidated, leading the country to the most glorious stage of its history. Regarding the art of this time, it is still eminently funerary, although it reflects the very high artistic level that will be reached both in the capitals and in the provinces. These preserved objects provide us with information on the daily life and customs of the time, since the art becomes much more mundane than the bronzes of the Zhou and Shang periods. The structures of the tombs also changed: the Shang tombs were vertical, while the Han tombs were built as subway palaces. They were decorated with reliefs stamped with scenes from the life of the deceased, and a new material was incorporated as an artistic support, lacquer. However, the most famous today is the production of Han ceramics, in terracotta and generally decorated with cold-applied engobes, mainly black and red. Attached photocopy of thermoluminescence. It presents slight flaws caused by the passage of time.

Estim. 5 000 - 6 000 EUR

Lot 45 - Sculptural ensemble of Love and Psyche. Rome, 1st-2nd century A.D. Marble. Provenance: Former private collection, Poitiers, France. The torsos and the lower parts of the figures are preserved in good condition and without restorations. They have lost the heads and part of the forearms. Measurements: 73 cm (height). Important sculptural group from the Roman period with the theme of love between Eros and Psyche. According to the classical canons inherited from Greece, the two bodies have turned and flexible thighs. They are adolescent, almost infantile bodies, with short, rounded limbs. Probably, their faces melted in a kiss. Their posture conveys great complicity in a candid and innocent way. Eros subtly brings his left knee forward and his body flexes in a Praxitelian curve. Psyche joins her body to that of her lover, with a delicate gesture but without languor. The drapery and the feet show great technical mastery. The story of Eros and Psyche was narrated by Apuleius in his Metamorphosis (The Golden Ass): Psyche was the youngest and most beautiful of three sisters, daughters of a king of Anatolia. Aphrodite, jealous of her beauty, sent her son Cupid to shoot her with an arrow that would make her fall in love with the most horrible man she could find. However, Cupid fell in love with her and threw the arrow into the sea; when Psyche fell asleep, he flew her to his palace. The myth of Psyche, heavily influenced by mystical religions, symbolizes the overcoming of trials and sufferings of the human soul to achieve immortality. In classical mythology, Cupid fell in love with the beautiful young woman and married her, keeping her identity a secret. She, on the advice of her sisters, tried to discover the secret, awakening the god, who fled. Enamored, she sought him out and, after passing a series of tests imposed by the mother of the God of Love, Venus, she was reunited with him.

Estim. 40 000 - 45 000 EUR

Lot 46 - The priest Padiamonnebgutauy's sign for his father Minnusensebeur. Ancient Egypt, Lower Epoch, 664 - 332 BC. Bronze. Provenance: - Private collection, Annie Trotter, London. - Private collection, Ingrid McAlpine (1939 - 2018), London and Epsom, acquired from the above on October 22, 1993. - Art Market, England, 2019. - Lady Meux (1847-1910). - Sotheby's 5 July 2022, lot 146. Good condition, excellent patina of the bronze, retains original handle. Presents a blow and lack on the right side of the stipule. Attached a study on the antiquity of the piece issued by the Egyptologist and architect Fernando Estrada Laza. Author of "Los Obreros de la Muerte" and "Entender y Amar el Arte Egipcio". Advisor to the architectural team Lamela, for the project of the future Grand Egyptian Museum in Cairo (GEM). Advisor to the architectural team of Arata Isozaki (Tokyo), for the organization and selection of pieces for the new National Museum of Egyptian Civilization (NMEC) and the Grand Egyptian Museum in Cairo (GEM). Measurements: 15 cm (height) and 25 cm (height with handle raised); 31 cm (height with pedestal). The tendered situla features fourteen vertical registers of writing, between two figures engraved at the ends of the text, all framed by a rectangle drawn by a thin incised line. A priest dressed in a tunic is the only character in this scene. Both the animal skin covering him and his shaved head indicate that he is a funeral priest of the wab, pure, and sem groups, prestigious grades of the clergy whose acolytes practice the posthumous funeral rites to the dead, mainly that of the "opening of the mouth". While with his right hand he pours water (libation), on a container vessel, by means of a glass that, his other hand makes a fumigation of incense with a wooden censer whose front tip is a small container, lined internally with bronze, where the combustion of the grains of incense takes place. The grains are stored in the intermediate cylindrical area and finally the rear part ends with the design of a falcon's head, probably of the god Horus. The four registers of writing on his head, are translated: "Made by his brother to live his name. The director, the son of the god." After the priest, his proper name: Padiamónnebgutauy. Name that can be translated as: "He who makes (an offering) to Amun, Lord of the Crowns of the Two Lands". Next, following the scheme of vertical registers is the text: "Make a libation of fresh water to this Osiris who presides over the West. Make a libation of fresh water to this Osiris. The priest of Amun in Ipet Setu (the harem of the South of Amun), the scribe of the temple, to fulfill the office of his half-month in this temple, he who is at the head of the congregation of priests of this liturgical office of the half-month in the confraternity of Ipet Setu, Desefmer, Son of the priest of Amon in the temple of Ipet Setu, the scribe bearer of the seal of Amon in the temple, the head of the priestly congregation for the office of his half month in the temple, the one who is in the knowledge (the secrets?) of the temple, the one who is at the head of the confraternity of the pure priests of Ammonet (Goddess wall of Amon, is the version of this god in Karnak. Later, it will be Mut the first wife of the god), director in the heart of the Ipet Setu, the one who is at the head of the congregation of the priests of Amonet (Goddess wall of Amon, it is the version of this god at Karnak. Make a libation of fresh water to this Osiris. The priest of Amun in Ipet Setu (the harem of the South of Amun), the scribe of the temple, to fulfill the office of his half-month in this temple, he who is at the head of the congregation of priests of this liturgical office of the half-month in the confraternity of Ipet Setu, Desefmer, Son of the priest of Amon in the temple of Ipet Setu, the scribe bearer of the seal of Amon in the temple, the head of the priestly congregation for the office of his half month in the temple, the one who is in the knowledge (the secrets?) of the temple, the one who is at the head of the confraternity of the pure priests of Ammonet (Goddess wall of Amon, is the version of this god in Karnak. Later, it will be Mut the first wife of the god), director in the heart of the Ipet Setu, the one who is at the head of the congregation of the pure priests of Amon, the director of the confraternity of the pure priests. This one, the one who is important in the priestly congregation: Padiamonnebgutauy, son of Minnusensebeur, fair of voice. Born of the singer of Amon Ra, Dity. Your son appears, Horus appears. You bring freshness to your heart and you put the Two Lands (Egypt) under your plants (?) for you, to be called to the embalming room without any danger (or without any risk) for your heart, besides your name appears...". Desefmer, is the son of Padiamónnebgutauy, who in turn is the son of the late Minnusensebeur, now deceased. In the Lower Epoch, very long proper names abou

Estim. 35 000 - 40 000 EUR

Lot 48 - Upper part of a concubine. Ancient Egypt, New Kingdom, 18th Dynasty, reign of Amenhotep III, 1390/1 to 1353/2 BC. Hardened limestone. Provenance: Private collection, James Gordon Hanes Jr., North Carolina (USA), acquired from Mathias Komor Gallery, New York, late 1950s-early 1960s. With Komor gallery label, n. 943. Private collection Eldridge C. Hanes, North Carolina (USA), acquired by inheritance from his father James G. Hanes Jr. Hanes Jr. in 1995. An old photo is preserved in the Getty archive. In good condition, with no restorations. There are dents on the back right side and a groove on the lower left side, caused by erosion in contact with the desert sand. The limestone has a solid shiny surface, which has hardened over time, becoming compacted. Attached is a letter of provenance signed by Mr. Eldridge C. Hanes. Parallels: -Pierre Bergé & Associés. Archéologie. Paris. 15 December 2009. Lot 155. -Pierre Bergé & Associés. Archéologie. Paris. 17 June 2010. Lot 147. -Petrie Museum. University College London. London. N. UC28687. Measurements: 22 x 18 x 13 cm. Upper part of an Egyptian sculpture representing a woman with a back plate, carved in a rectangular shape. The woman has both palms of her hands outstretched, holding her wig on both sides. This accessory is of a very specific type, a wide and thick tripartite wig, with a lot of volume, somewhat short, typical of the productions of the New Empire. The shape of the eye sockets so perfectly slit, together with the headdress, fits in with the marked style of female representation during the reign of the pharaoh Amenhotep III, taking as a model the sculptures of Queen Tiy. In addition, the face, although spherical, is accentuated by the pronounced chin, another distinctive element of the statuary of this period. In ancient Egypt, from the time of the pyramids, burials were richly adorned with grave goods. Among the multitude of elements, obviously all with a symbolism that was by no means casual, there were some fine sculptures, not always represented, of nude female silhouettes, carved in wood, later in the Middle Empire modelled in faience and in the New Empire in stone, with a marked physical attractiveness, with a halo of sensuality. Above all, this comes from their sparse decoration, nude with dots drawn on the body in the form of chokers and translucent dresses. This marked sexual character, so rarely seen in the Egyptian artistic imagination, soon attracted the attention of scholars and collectors. They are concubines or concubines of the dead. Their role is not very well defined: are they intended to ensure the sexual activity of the deceased in the Afterlife and the resulting procreation. The sculpture present here, in terms of its physiognomic style as described above and its stone carving, dates to the New Kingdom. The clearest examples, although not common, as they are pieces that are not frequently seen, especially in terms of quality and considerable dimensions such as this one, although there are numerous examples in terracotta or faience of small dimensions, are the ones in which the beautiful lady is lying on a bed. The later support is possibly the representation of a bed, as can be seen in the best complete example on the market at Pierre Bergé & Associés, in the Archéologie catalogue of 15 December 2009, lot 155. Some other limestone monuments with only the reclining woman are preserved in Brussels (E. 2591), Florence (2142) or Dublin (E. 72:77).

Estim. 32 000 - 35 000 EUR

Lot 49 - Female bust; Cyprus century, V-IV BC. Limestone. It shows superficial wear and losses of material on the nose, cheek and chin. Provenance: Alexandre Iolas, (1908-1987), Paris, acquired on the Parisian art market in the 1960s/1970s. Measurements: 17,5 x 9 x 11,5 cm. Beautiful head of a veiled woman made in Cypriot limestone. Probably belonging to a larger sculpture. It shows a feminine face with very characteristic features, like almond-shaped eyes, big nose and thick lips, a serene face with a hint of smile. She wears a hairstyle with a veil that reveals her curly hair-finished in front. This work belonged to the collection of Alexander Iolas (1908 - 1987), a famous Greek-American art gallery owner of Egyptian origin and great collector of modern art, who launched the careers of René Magritte, Andy Warhol or Max Ernst among other artists. He established the modern model of the world art business, managing successful galleries in Paris, Geneva, Milan and New York. Ancient Cypriot art refers to all works of visual art originating from Cyprus in the Eastern Mediterranean, from about 10,000 B.C. to about 330 A.D. During this period, various types of objects such as domestic tools, weapons, jewelry and decorative figures were produced. This range of art attests to the mixture of both native and foreign influences from ancient Egypt, Greece and Rome as they successively occupied the country. Works of art produced in ancient Cyprus incorporate almost every visual art medium worked in ancient history, including terracotta, stone, metals, glass, and precious stones. There is superficial wear and loss of material on the nose, cheek and chin.

Estim. 10 000 - 11 000 EUR

Lot 54 - Ancient Egypt. Ptolemaic period, 300 - 30 B.C. Sycamore wood, painted and stuccoed. Conservation: Good condition. It has lost the polychrome in wood and stucco, as can be seen in the images. With certificate of authenticity of the judicial expert Fernando Bernaldez. Measurements: 15 x 20 cm. Sculpture made of sycamore wood from ancient Egypt. The Ptolemaic dynasty is the one founded by Ptolemy I Sóter, general of Alexander the Great. This dynasty ruled Egypt during the Hellenistic period from the death of Alexander until 30 BC, when it became a Roman province. It is also known by the name of the Lagarid dynasty, as Lagos was the father (or presumed father) of Ptolemy I. Ptolemy I established the capital of this kingdom in Alexandria, a small town at that time that became the main commercial and intellectual center of antiquity. This dynasty adopted Egyptian customs from the beginning and was a constant enemy of the Macedonian Seleucid dynasty. It was during the reign of one of its monarchs (Ptolemy V) that a decree was published (in 197 B.C.) in three types of writing on a black stone known today as the Rosetta Stone. At some points in its history, the dynasty dominated Cyrenaica (northeast of present-day Libya), as well as southern Canaan and Cyprus. Its last ruler was the famous Cleopatra. After her death and that of her son, Caesarion (Ptolemy XV), the dynasty ended and Egypt was annexed by Augustus to the Roman Empire. This period was characterized by a cultural synthesis between Greek, Egyptian and other Eastern Mediterranean artistic traditions. With certificate of authenticity of the judicial expert Fernando Bernaldez.

Estim. 4 000 - 5 000 EUR

Lot 56 - Warrior; China, Han Dynasty, 202 BC-220 AD. Polychrome terracotta. Attached thermoluminescence. Presents restoration in fracture lines located in arms and waist. Measurements: 50,5 x 16 x 8,5 cm. Round figure made in terracotta, representing a warrior standing, showing his weapons (now lost), looking straight ahead and with a serene face. It is decorated with cold-applied engobes in various colors, mainly white and orange for the clothes, brown, pink for the flesh tones, black and red. The Han dynasty ruled China between 206 B.C. and 220 A.D., more than four centuries during which the political, social and economic structures of China were consolidated, leading the country to the most glorious stage of its history. Regarding the art of this time, it is still eminently funerary, although it reflects the very high artistic level that will be reached both in the capitals and in the provinces. These preserved objects provide us with information on the daily life and customs of the time, since the art becomes much more mundane than the bronzes of the Zhou and Shang periods. The structures of the tombs also changed: the Shang tombs were vertical, while the Han tombs were built as subway palaces. They were decorated with reliefs stamped with scenes from the life of the deceased, and a new material was incorporated as an artistic support, lacquer. However, the most famous today is the production of Han ceramics, in terracotta and decorated with cold-applied engobes, mainly black and red. Attached thermoluminescence. It presents restoration in fracture lines located in arms and waist.

Estim. 1 400 - 1 600 EUR

Lot 64 - Great mother goddess; Indus Valley, 2000 BC. Terracotta. Damage caused by the passage of time. Size: 18.5 x 7 cm (diameter). Statuette in round bulk representing a Mother Goddess, which can be deduced from the execution of the breasts. The face is treated with synthetic features. The Indus Valley culture was contemporary with the great civilisations of Mesopotamia and Egypt, and its economic, technological and cultural development is comparable to that of the latter. This civilisation, which established the first cities on the Indian subcontinent, probably grew out of the evolution of the agricultural communities established during the Neolithic period along the Indus River and its tributaries. Thus, Harappa, which was a small village along the Ravi River around 3500 BC, evolved into a large city spread over 150 hectares a thousand years later. Such a change may have been influenced by relations with the urban world of the Sumerians in Mesopotamia, or it may simply have been due to trade with Mesopotamia, which led to an economic development that necessitated cities as centres of production and exchange; these relations may also have provided a model of organisation and perhaps building techniques, which in both the Indus and Mesopotamia were based on the use of mud brick. Whatever their origin, it is certain that between 2600 and 1700 BC a technically advanced civilisation flourished in the Indus Valley, based on large cities at the centre of a vast territory.

Estim. 1 200 - 1 400 EUR

Lot 80 - Oinochoe; Etruria, Faliscus, 4th century BC. Varnished ceramic. It presents loss in the area of the mouth. Measurements: 16 x 11 x 9,5 cm. The oinochoe is a type of Greek pottery used to remove the wine from the crater, where it has been watered, before serving it. It is characterized by having a single handle, and is classified according to the shape of the mouth and the belly. The black glaze technique uses the same glaze used in the red and black figure ceramics, but covering the piece completely, without figurative decoration. It was a transparent raw glaze, which adopted its characteristic black tone, intense and shiny, once fired. It is an example of the ceramic art of the Etruscan culture, which already in antiquity was surrounded by an aura of mystery; even their Greek contemporaries were intrigued by the sudden emergence of this people as a maritime and commercial power, by this ancient people who, according to Dionysius of Halicarnassus, "resembled no other in their language and customs". While there are those who consider them as the people that gave rise to the Roman Empire, there are other experts who give more relevance to the differences that exist between the two peoples and consider them mere neighbors or "conqueror and conquered", depending on the time in which one speaks, recognizing a strong influence of some elements of Etruscan culture and art observed on the Romans. In any case, the Etruscans were great artists and craftsmen, known for what has come down to us from them: profusely decorated and very striking tombs, resembling homes in some cases; terracotta sculptures that, apparently, they polychromed with flat and vivid tones (similar to ancient Egyptian works), and used to decorate temples, as sculptures etc.; goldsmithery, ceramics, etc. It presents loss in the area of the mouthpiece.

Estim. 350 - 450 EUR

Lot 81 - Ram's head patera handle; Rome, I-II AD. Bronze. It shows mineral deposits and part of the right horn is missing. Measurements: 17 x 7 x 3 cm. Cast bronze handle from ancient Rome, very fine and well preserved, which may have belonged to a patera. The handle is modeled in the form of a fluted column shaft, which ends in a ram's head with horns in the form of scrolls. The facial features of the animal are depicted in a naturalistic manner, with fine details such as the texture of the carefully incised wool. The base of the handle, where it would join the body of the vessel, is a curved sheet of metal with symmetrical protrusions, decorated with a vegetal design in relief. The Romans brought two important innovations to the world of sculpture: portraiture and historical relief, neither of which existed in the Greek world. However, they followed the Greek models for much of their sculptural production, a base that in Rome would be combined with the Etruscan tradition. After the first contacts with the Greece of classicism through the colonies of Magna Graecia, the Romans conquered Syracuse in 212 BC, a rich and important Greek colony located in Sicily, adorned with a large number of Hellenistic works. The city was sacked and its artistic treasures taken to Rome, where the new style of these works soon replaced the Etruscan-Roman tradition that had prevailed until then. Cato himself denounced the sacking and decoration of Rome with Hellenistic works, which he considered a dangerous influence on native culture, and deplored the Romans' applauding of statues from Corinth and Athens, while ridiculing the decorative terracotta tradition of ancient Roman temples. However, these oppositional reactions were in vain; Greek art had subdued Etruscan-Roman art in general, to the point that Greek statues were among the most coveted prizes of war, being displayed during the triumphal procession of the conquering generals. Mineral deposits are present and part of the right horn is missing.

Estim. 1 400 - 1 500 EUR

Lot 82 - Ceremonial sword; Baulé ethnic group, Ivory Coast, first half of the 20th century. Carved wood and iron. Measurements: 30 x 6 cm (blade); 18 x 6 x 8 x 8 cm (hilt). Ceremonial sword made of iron and carved wood for the hilt that is carved with geometric motifs and synthesized faces. In the case of the blade it also presents ornaments of geometric character and part of the openwork blade. This type of object was worn by high dignitaries during ethnic ceremonies. The Baulé ethnic group, of which one million individuals were counted at the beginning of the 20th century, are part of the Akan group of the Ivory Coast, a country of which they occupy the eastern part. During the 18th century, Queen Abla Pokou had to lead her people to the west, on the banks of the Comoé River, among the Senufo. To cross the river, she even sacrificed her own son, a sacrifice that gave rise to the name Baulé, since "baouli" means "the child is dead". Being a matriarchal regime, when the queen died, she was succeeded by a niece, who led the kingdom of Sakassou, formed by the tribes that followed her in her exodus. The Baulé exploited the auriferous regions and developed a new civilization, a synthesis of the Akan and the cultures of the indigenous peoples who had been conquered. At the beginning of the 19th century, however, the massive surge in search of gold and internal strife led to a weakening of the state, accelerated by the colonial occupation. Within the Baulé culture, wood carving is the most important artistic manifestation. Their sculptures and masks have a religious significance, since they allow a closer contact with the supernatural world.

Estim. 800 - 900 EUR

Lot 89 - Horse with rider. China, Tang Dynasty, 619-906 AD. Polychrome terracotta. Measurements: 32 cm (height) x 29 cm (length). Certificate from the Po Yuen Tong Gallery in Honk Kong. Figure of a horse with rider made in polychrome terracotta, probably with the usual engobes of the time (applied cold), which, possibly, has been part of a grave goods of a prominent member of the Tang Dynasty period. It stands out for the naturalism that the artist has portrayed. The Tang Dynasty is considered by historians as a time of splendor of Chinese civilization, equal or even superior to the Han period. Emerging after a period of despotism under the reign of the cruel Yang Di, it was established by Li Shimin who, moved by filial piety, put his father on the throne before assuming the role of emperor himself and founding the Tang dynasty. Stimulated by contact with India and the Middle East via the Silk Road, the Tang empire experienced a creative boom in numerous fields. Buddhism, which had emerged in India at the time of Confucius, continued to flourish during this period and was adopted by the imperial family, becoming an essential part of traditional Chinese culture. Likewise, the development of the printing press extended the dissemination of written works, giving rise to the golden age of Chinese art and literature. The great cultural opening will result in a fundamentally colorful, expressive and very eclectic art, although it continues to be mainly for funerary use, where the artist remains an anonymous craftsman. However, from this moment on, high-fired ceramics, decorated with enamels, will be used as a status symbol, with typologies such as vessels for the table of the litterateur and all kinds of crockery. Terracotta, on the other hand, is still used for grave goods, although stoneware will also be used from now on, especially for the tombs of nobles and scholars. In the funerary pieces, a group to which these bears belong, an important novelty is introduced: the tricolor lead glazes (sancai), although pieces decorated with engobes continue to be made. Within the grave goods there are six typological groups, each of them of great variety: tomb guardians, with warriors and protective beasts; ceremonial figures with their servants; animals of all kinds, such as oxen, camels or horses; musicians and court ladies; utensils and vessels; and finally architectural models. Likewise, three periods can be distinguished. In the first of these, between 681 and 683, figures decorated with engobes predominate, even without glazes, so the pieces presented here could be dated between these years. The second period is between 683 and 779, and is the great period of the sancai, with a predominance of enamels. Finally, until the beginning of the 10th century, pieces with sancai enamels continued to be made, although of lower quality than those of the previous period.

Estim. 1 200 - 1 500 EUR
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