1200 Fifth Avenue, 1F, New York, New York, 10029 U.S.A.

Jamal Rifai, Director

Gallery hours by appointment only
www.aphroditeancientart.com
info@aphroditeancientart.com
Mobile: 917-327-4990

Front cover photograph, Egyptian Cartonnage Mummy Mask, 2nd Century A.D., Pg 8.
Back cover photograph, Egyptian Faience Group of a Monkey and a Jar, 305-30 B.C., Pg 6.
ART OF THE ANCIENTS
A selection of ancient art
Volume I – 2013
 ART OF THE ANCIENTS
A selection of ancient art
Volume I – 2013
Greek, Etruscan, Cypriot, Roman, Egyptian, Near Eastern, and Islamic Antiquities, Ancient Jewelry,
Ancient Glass, and Ancient Coins.

INTRODUCTION

We are pleased to offer our first ancient art catalogue. The following objects represent a fine
selection of Greek, Etruscan, Cypriot, Roman, Egyptian, Near Eastern, Islamic antiquities, and ancient
coins. They comprise a sampling of the beautiful subtleties that the ancient world has to offer. Antiquities
featured in this compendium are presented in categorical groupings based on culture and category. The
catalogue begins with Egyptian art and concludes with ancient coins. All objects featured in this
catalogue, as well as many others, can be viewed by appointment at our ancient art gallery, which is
located in the heart of New York's art and cultural district, on Fifth Avenue (Museum Mile), next to the
Museum of the City of New York, and just a few blocks away from the Metropolitan Museum of Art and
Guggenheim Museum.

We offer expert advice for investment-minded collectors; our clientele receive experienced
guidance and services ranging from buying, appraisals, investments, to authentications. All objects
presented in this catalogue have been carefully selected for their intrinsic beauty, rarity, quality, and
investment potential.

Jamal Rifai, Director

1200 Fifth Avenue, 1F, New York, New York, 10029 U.S.A.
▫Gallery hours by appointment only▫
www.aphroditeancientart.com
info@aphroditeancientart.com
Member Member
Gallery: 212-987-9878
Mobile: 917-327-4990

Confederation Internationale des Art and

Neociants en Oeuvres d’Art Antique Dealers League 1
EGYPTIAN

EGYPTIAN PRE-DYNASTIC NAQADA II POTTERY VESSEL

Globular in form with twin perforated lug handles, a flat everted rim, and is decorated
with a fish scale pattern. Vessels of a similar type have been found in pre-dynastic
graves and once held liquids or substances for use in the afterlife. In addition to its
historical significance, this vessel has a strong aesthetic appeal with its bold abstract
design. It may have been intended to simulate stone.
Circa 3400 – 3200 B.C. (Pre-dynastic Period, Naqada II)

H. 5 3/8 in. (13.6 cm.)

Ex. Florida private collection; Ex. New York art market
Cf: Lot 109, Sotheby’s New, December 2002
2
 EGYPTIAN

AMETHYST AMULET REPRESENTING THE GOD THOTH

Depicting Thoth, the god of arbitration, magic, wisdom and science. He is striding,
arms at his sides. The suspension hole is on the back pillar.
Circa 712 – 343 B.C. (Late Period, Dynasty XXV–XXX)

H. 1 1/4 in. (3.18 cm.)

Ex. 1960s private collection; Then by descent
Cf: Inv. #A32068, The Science Museum, London (in lapis lazuli); Lot 9, Sotheby’s
New York, December 2001 (in rock crystal)

3
EGYPTIAN

EGYPTIAN GESSO PAINTED WOOD SARCOPHAGUS LID

The figure wearing a headdress enshrouding his gilded face, a broad decorative collar, underneath, the
goddess Maat with her wings out-spread, two recumbent facing Anubi underneath.

Circa 600 B.C. (Late Period)

L. 57 in. (144.78 cm.), W. 15 in. (38.1 cm.)
Ex. K.S. Collection, Southern California, United States
Cf: Lot 70, Christie’s South Kensington, Important Antiquities Auction, April 1999

4
 EGYPTIAN

EGYPTIAN LIMESTONE BUST FROM AN ANTHROPOID SARCOPHAGUS LID

The facial features are boldly carved in high relief and wearing a tripartite wig with long lappets and a false
beard; eyes, eyebrows, and central vertical incised hieroglyphic column marked in black. The hieroglyphic
text states: “A gift which the king gives to Osiris, the foremost of the westerners, the great god, lord of
Abydos, in order that he may give....”

Anthropoid stone sarcophagi contained the mummy, covered by body-cases of cartonnage or resting in an
inner wooden anthropoid coffin. Some well-preserved examples, as our present example does, suggest
that facial details like eyelids and eyebrows were accentuated in color. In the group of well-preserved
sarcophagi, both uninscribed and inscribed examples can be found. The owners of Late Period limestone
sarcophagi usually bear titles belonging to the higher rank of the administration, the military, or the clergy.

Circa 664 – 343 B.C. (XXVI – XXX Dynasty)

H. 37 in. (94 cm.)
Ex: Collection of Alan Dershowitz and Carolyn Cohen, Cambridge, MA; Christie’s New York, June 1998

Cf: For related examples see M.L. Buhl, The Late Egyptian Anthropoid Sarcophagi,
Copenhagen, 1959, pp. 70-71, 76-82; figs 32, 38-39, 41-43; nos. Eb5, Eb10-11, Eb15, Eb17-18; Also Ny
Calsberg Glyptotek AEIN 1039: O. Koefoed-Petersen, Catalogue des sarcophages et cercueils egyptiene,
Copenhagen, 1951, p. 38, pl. LXXXVI; M. Jorgensen, Ny Calsberg Glyptotek Egypt III, Copenhagen,
2001, pp. 254-255, pl. 12

5
EGYPTIAN

EGYPTIAN FAIENCE GROUP OF A MONKEY AND A JAR

Monkeys amused the ancient Egyptians, who often kept them as pets, and through-
out Egyptian history, they were enjoyed for their playful and whimsical behavior.
Because they had to be imported over great distances at considerable expense, the
possession of monkeys indicated the owner’s wealth and social status.
This flask, with its relatively small monkey, is beautifully detailed. The work features
a monkey standing on its hind legs at the base and hugging a flask that may have
been a cosmetic or oil container. The monkey’s face is turned sharply to the left, with
both arms resting at the shoulder of the flask. Mischievous eyes glare from a head of
parted hair. A very rare faience work from Ptolemaic Egypt.

Circa 305 – 30 B.C.

H. 1 3/4 in. (4.5 cm.)
Ex. New York private collection; Farag El-Shaer, antiquity merchant lic. no. 116,
Cairo, Egypt, 1964

6
 EGYPTIAN

EGYPTIAN BRONZE AND BLUE GLASS IBIS

The Ibis bird was sacred and associated with Thoth, the God of wisdom and writing.
The body of this bird is made of blue glass paste meant to imitate lapis lazuli, with
the head and legs being comprised of bronze. It comes with an 18th Century custom
marble base-stand.

Circa 664 – 30 B.C. (Late Period-Ptolemaic Period)

L. 4 1/4 in. (10.8 cm.), H. 4 in. (10.16 cm.)
Ex. C. M. collection, prior to 1980, Florida, United States

7
EGYPTIAN

8
 EGYPTIAN

EGYPTIAN CARTONNAGE MUMMY MASK

Wearing an elaborately painted head-cloth with a diadem, a sun disk with flanking
cobras in the center, the crown of the head painted with a register of deities below a
scarab between squatting deities and wedjat-eyes. The upper register with a seated
god clasping palm fronds between Isis and Nephthys and griffins, with larger images
of Osiris and falcon-headed deities on either side, below this a band of uraei above
images of the deceased flanked by Isis and Nephthys, followed by registers with the
mummified deceased on the back of a lion, the four sons of Horus, and winged
falcon-headed deities, with blossoms, wedjat-eyes, jackals and sphinxes at the
shoulders. The cream-colored face with large white painted eyes with black irises,
rimmed in black with individual lashes depicted, the extended cosmetic lines and
arching brows similarly painted.

Circa 2nd Century A.D. (Roman Period)

H. 18 in. (47.4 cm.)
Ex. collection of Alan Dershowitz and Carolyn Cohen, Chilmark, MA. Published in
Christie’s New York, lot 82, December 1996

9
 GREEK

GREEK MARBLE HEAD OF A YOUNG GIRL WITH MELON COIFFURE

Votive sculptures of children have been found at many sites in Greece, some in a
funerary context. The Greeks of antiquity erected their most intricate funerary
monuments in the 6th Century B.C., claiming roadside burial grounds for such a
purpose. Specifically, relief sculptures marked such graves.
At the end of the 5th Century B.C., most Greek families conformed to the practice of
burying the deceased in stone sarcophagi placed in the ground within cemeteries.
These sarcophagi were arranged in man-made holed hills that were perpendicular to
the cemetery road. Marble monuments belonging to various family members were
placed along the edge of the terrace rather than over the graves themselves.
This marble head is most likely a funerary statue for a young girl. The beige medium
plays host to the smiling youth with richly defined oval eyes acting as points of focus.
Her flawless nose arches over the gently curved mouth to present an image of
happiness. The young girl’s short wavy locks tuck in behind small, finely detailed
ears. The masterful expression is life-like.

Circa 4th – 3rd Century B.C.

H. 5 in. (12.5 cm.)
Ex. New York art market; American private collection, 1980’s
10
 GREEK

HELLENISTIC MARBLE HEAD OF APOLLO

Apollo was a Greek—and later Roman—sun god. He represented music, poetry,

medicine and the civilized arts. According to legend, Apollo drove the fiery chariot
(representative of the sun) across the sky each day. Next to Zeus, he was the most
important and widely worshiped divinity in ancient Greek culture.
This marvelous work depicts the head of Apollo with an oval face and a steadfast
gaze. His centrally parted hair is pulled back, and a tress falls down each side of the
neck. The ears are partially covered by his thick bands of hair. One can feel the
powerful sense of determination exuded by the beautiful representation of the
legendary divine figure.

Circa 2nd – 1st Century B.C.

H. 6 5/8 in. (16.8 cm.)
Ex. French private collection; Sotheby’s London, May 1992, A. von S. collection,
New York, acquired from Royal-Athena
11
 GREEK

HELLENISTIC MARBLE HEAD OF APHRODITE

Aphrodite (Venus) is the goddess of love and beauty. She was born when Uranus
was castrated by his son Cronus. Cronus threw the severed genitals into the ocean
which began to churn and foam. Aphrodite arose out of this turbulence, and the sea
carried her to Cyprus or Cythera.
The charming head belongs to a group known as Aphrodite de Medici, which is a
classical depiction of the goddess. Her wavy hair is centrally parted, the elaborate
curls drawn back into a loose chignon and the frontal tresses sweeping into a
topknot. Aphrodite’s eyes are set beneath a softly curving brow line. The lips are
slightly pursed. Indeed, the piece is splendid. A statue of this type is now in the Uffizi
Museum of Florence, Italy.

Circa 2nd – 1st Century B.C.

H. 6 1/4 in. (15.9 cm.)
Ex. European art market from the 1980’s
12
 GREEK

ATTIC-BLACK FIGURE OLPE BY THE PAINTER OF VATICAN

A woman stands to the right holding a flower in her upraised left hand. The small
fawn at the lower left identifies her as Artemis. She wears a red fillet, long chiton,
and a himation that covers her right arm and upper body.
An olpe is an oinochoe with a continuous, unbroken profile from foot to mouth. This
example has a round mouth, offset slightly, and a torus foot. As often on olpai of this
type, the front of the mouth is decorated with a checkerboard design. Below this is a
band of pomegranate-net pattern, and underneath this is a band of key-pattern. The
reserved panel is framed by bands of pomegranate-net pattern. The groundline
consists of two red stripes, which circle the lower body.

Circa 510 B.C.

H. 8 3/4 in. (22.2 cm.)
Ex. German collection; Ex. John Kluge collection, Charlottesville, Virginia, acquired
from Royal-Athena in 1988; Ex. Patricia Kluge collection, Charlottesville, Virginia
Published: J. Eisenberg, One Thousand Years of Ancient Greek Vases, 1990, no. 57

13
 GREEK

APULIAN RED-FIGURE SPHERICAL PYXIS BY THE MARBURG PAINTER

Apulian Red-Figure Spherical Pyxis from the White Saccos Group, Triangular Eye Subgroup. Lid:
Woman’s head emerging from a flower. Bowl: Head of a woman.
A pyxis (plural pyxides) is a small lidded jar (lit. “box”) for pins, jewelry, cosmetics, and other
feminine toilet articles. These came in a variety of shapes in Attic vase-paintings of the 5th Century
B.C., but the spherical pyxis is a type specifically unique to South Italy, particularly Apulia and
Sicily. This example has a flaring knob and a high ring base.
The ornament is particularly elaborate and colorful: a large complex of palmettes and scrolling
tendrils covers the back and sides. On the front of the bowl is the head of a woman facing left. She
wears a necklace, earrings, and an embroidered hair-cloth (kekryphalos). On the front of the lid is a
large flowering plant, with scrolling tendrils to the left and right. The head of a woman emerges
from the yellow flower in the center. The woman is painted white and drawn in a three-quarter
view; she wears earrings and embroidered sakkos. This pyxis is exceptionally intact.

Circa 320 B.C.

H. 10 7/8 in. (27.6 cm.)
Ex. Patricia Kluge collection, Charlottesville, Virginia, acquired from Royal Athena, 1991
Published: A.D. Trendall, the Red-Figured Vase of Apulia, Suppl. I, 1983, 198, 29/838a; J.
Eisenberg, One Thousand Years of Ancient Greek Vases, 1990, no. 96
14
 GREEK

ATTIC-BLACK FIGURE OLPE BY THE PAINTER OF VATICAN

A woman stands to the right holding a flower in her upraised left hand. The small
fawn at the lower left identifies her as Artemis. She wears a red fillet, long chiton,
and a himation that covers her right arm and upper body.
An olpe is an oinochoe with a continuous, unbroken profile from foot to mouth. This
example has a round mouth, offset slightly, and a torus foot. As often on olpai of this
type, the front of the mouth is decorated with a checkerboard design. Below this is a
band of pomegranate-net pattern, and underneath this is a band of key-pattern. The
reserved panel is framed by bands of pomegranate-net pattern. The groundline
consists of two red stripes, which circle the lower body.

Circa 510 B.C.

H. 8 3/4 in. (22.2 cm.)
Ex. German collection; Ex. John Kluge collection, Charlottesville, Virginia, acquired
from Royal-Athena in 1988; Ex. Patricia Kluge collection, Charlottesville, Virginia
Published: J. Eisenberg, One Thousand Years of Ancient Greek Vases, 1990, no. 57
15
ETRUSCAN

16
 ETRUSCAN

AETRUSCAN BLACK-FIGURE ONE-HANDLED KANTHAROS BY THE MICALI PAINTER

Although such a vessel is often referred to as a kyathos, this is a misnomer. A kiyathos is a

dipper, a smaller and more delicate vessel with a ring foot. It is primarily in attic shape, but
there are few Etruscan black-figure examples, including at least one by the Micali Painter
(Galerie Gunter Puhze, Kunst der Antike, Katalog 8, no. 185).
This type is a one-handled kantharos, a type also known in Attic black-figure (see Bazley,
ABV346). The Etruscan black-figure examples descend from a smaller shape in Bucchero,
and it is likely that the Attic examples were produced with Etruscan markets in mind. The
one-handled kantharos was a favorite shape of the Micali Painter, who painted at least 15
others. Most of these also have the knobs on the rim and many have the rounded flanges on
the handle. Frequently decorated with dolphins (e.g. Boston 13:92; A. Fairbanks, Catalogue
of Greek and Etruscan Vases I. Museum of Fine Arts, Boston (Cambridge, Mass. 1928)
pl.77, no. 576). The plastic head on our example, however, is unique and may derive from
bucchero examples, thus making this vase extremely rare.
The style of drawing is typical of the Micali Painter, the most talented and prolific of the
Etruscan vase painters of the late 6th Century B.C. The Micali Painter is named after
Giuseppe Micali (d. 1844), an Italian Etruscologist. The bulk of the painter's vases were dug
up in the early 19th Century excavations of Vulci by Napoleon's brother. The figures of the
Micali Painter have a distinctive character that recall the early naiveté of Etruscan wall
paintings; Beazley said the Micali Painter, “has a jolly, slogging style, and must have
enjoyed himself (EVP, 1-2).”
The body is decorated with a ram, wolf, sphinx, leopard, and lion. The handle front has a
dancing youth, and the handle flanges have dolphins on either side. The dancing youth on
our vase, probably a drunken reveler, or “komast,” and occupies the position frequently
occupied by a dancing satyr or siren. Sphinxes, leopards, and lions appear on many of the
painter’s vases, rams are uncommon, and the wolf is unique. The band of ivy leaves around
the rim is one of the painter’s favorite ornamental motifs. There are rounded flanges at the
top of the handle, and between these, facing inward, is a plastic head of a female wearing a
pointed hat, known as a tutulus.

Circa 510 – 500 B.C.

H. 10 7/8 in. (27.5 cm.)
Ex. Munzen und Medaillen, Basel, Switzerland; Ex. Patricia Kluge collection, Charlottesville,
Virginia, acquired from Royal-Athena, 1990
Published: Spivey, p. 24, no. 151(with the sphinx called a siren, the wolf a dog, and the
youth a satyr); J. Eisenberg, Art of the Ancient World Volume V, Part I, 1988, no. 47

17
 CYPRIOT

PROTO-CYPRIOT LIMESTONE HEAD OF A FEMALE VOTARY

Wearing bag-like wig and four-strand choker with a central medallion.

Circa 560 – 540 B.C.

H. 2 ½ in. (6 cm.)
Ex. Joseph Melchione collection; purchased from Royal Athena

CYPRIOT WHITE SLIP WARE BOWL

Of hemispherical form with wishbone handle, the exterior painted in brown with
vertical lattice pattern bands below, a similar band around the rim.

Circa Late Bronze Age I, 1600 – 1450 B.C.

Diam. 7 in. (at rim) (17.8 cm.)
Ex: Sotheby’s London, February 1979, no. 303
Cf: For a close parallel, British Museum, Vases, pl. 11, C213
18
 ROMAN

ROMAN OVER LIFE-SIZE MARBLE PORTRAIT HEAD OF A MAN

This portrait of a Roman is carved fully in the round. The face is characterized by strong
features. Our example depicts prominent cheekbones and Adam’s apple. Three horizontal
furrows line the forehead. The eyes are wide with defined lids and brows. His mouth has
pursed lips and dimpled corners. The nose is un-restored, which is unusual. The man’s hair
is conceived as a mass of locks carved compactly in low relief, with the fringe of locks being
worn high up on the forehead. The head’s arrangement of hair locks closely resembles
those portraits of Octavian/Augustus Caesar.

Circa 1st Century B.C. – 1st Century A.D.

H. 12 1/2 in. (31.75 cm.)
Ex. New York private collection, 1980’s; Ex. European private collection
19
 ROMAN

VERY LARGE ROMAN TRANSPORT AMPHORA

With rounded belly and knob at the bottom, the twin handles joining at the edge of
the rim. Excessive Mediterranean Marine deposits.

Circa 1st Century B.C. – 1st Century A.D.

H. 35 in. (88.9 cm.), W. 21 in. (53.3 cm.)
Ex. Private collection formed in the 1960’s

20
 ROMAN

ROMAN BRONZE ROUNDEL WITH BUST OF A CHILD

The child's shoulders in high relief, the head looking to the right, with round cheeks and
double chin, his pupils deeply recessed, his hair a wild mass of curls pulled up into a
top-knot, with a few single curls along his forehead; his loose cloak pinned at the shoulders,
the folds forming a scalloped V-Shape at his neck.
The child may represent the infant God Harpocrates; a small hole on top of the head just
behind the bound topknot may have received a miniature pschent, the double crown of
upper and lower Egypt, see p. 132, no. 21 in Kozloff and Mitten, The Gods' Delight, The
Cleveland Museum of Art (exhibition catalogue), Cleveland 1988 - 1989. For a similar
roundel with bust of Eros, see no. 301 in Mitten and Doeringer, Master Bronzes from the
Classical World, Fogg Art Museum, (exhibtion catalogue), Cambridge, 1967-1968, where it
is suggested that these roundels formed the lower, circular decoration of the fulcrum or
headboard on a couch.

H. 5.5 in. (14 cm.), Diam. 4.5 in. (11.5 cm.)

Ex-collection of John Kluge, Charlottesville, Virginia; The Morven Collection of Ancient Art,
Christie’s New York, June 2004
Published: J. Eisenberg, Art of the Ancient World, vol. VI pt. 2, 1991, no. 38, Christie’s New
York, December 1992

21
 ROMAN

TWO ROMAN ROUNDEL BRONZE APPLIQUES

Each roundel has a bust of Artemis, or perhaps a maenad, in high relief, wearing a
chiton with a nebris tied over the right shoulder, the elaborate coiffure centrally
parted and bound in high top-knot, eyes with silver inlay, the border with incised
zigzag-and-dot motif, with the remains of bronze tangs at the rear. An export certifi-
cate from the French Ministry of Culture accompanies this lot.

Circa 1st – 2nd Century A.D.

H. 4 3/4 in. (12 cm.) each
Ex. French private collection, Christie’s London, April 2008
22
 ROMAN

ROMAN MARBLE SARCOPHAGUS RELIEF WITH VICTORY

Victoria was the Roman goddess of victory. Her Greek equivalent was Nike. Victoria’s
temples were a large part of Roman culture and were featured as key prayer locations for
successful generals returning from war. Athletic event attendees (both participants and
spectators) also paid worship to Victoria.
This relief comes from the right front corner of a Roman sarcophagus. At the right edge is
Victoria, her drapery billowing out as if she were alighting. She has an oval face with wavy,
centrally parted hair that is brushed off her face and gathered up into a floppy bow atop her
head. The goddess wears a high-belted chiton with a long overfold that is draped to reveal
her right breast. As she alights, the breeze has blown her chiton open, exposing her right
thigh and leg. She holds a small wreath aloft with her sharply bent right arm; her left is now
broken off, but presumably once held a palm branch. At the top of the fragment, behind the
goddess, is a crisply executed egg-and-dart molding. A left foot, of larger scale than Victoria,
appears to float at an angle beside her right leg, obscuring a bit of her billowing drapery. It
may once have belonged to an Eros, perhaps holding a clipeus, whose body has been lost
to the sideways V-shaped cut on the left side of the fragment.

Circa 2nd Century A.D.

L. 23 1/2 in. (60 cm.), W. 14 1/4 in. (36 cm.)
Ex. American private collection, 1980’s
23
 ROMAN

ROMAN MARBLE HEAD OF THE YOUNG HERCULES

King Eurystheus declared that Hercules’ first of twelve (initially ten) labors would be
to bring him the skin of a seemingly invincible lion that was spreading terror through-
out the hills of Nemea. Hercules arrived in Nemea and began tracking down the
vicious creature. Upon spotting it, the hero began firing his arrows at the beast’s
head. The arrows proved ineffective against its coarse hide. Realizing this, Hercules
picked up his club and began to chase after the retreating lion. Following it to a cave
of two entrances, the hero blocked one of the doorways and approached the beast
through the other. Grasping the monstrous cat in his mighty arms and ignoring its
lethal claws, he held it tightly until the enormous creature choked to death.
This fine marble head depicts Hercules wearing a lion skin on his head. The piercing
eyes of the hero are detailed with finely defined pupils. Thick locks jut out from
beneath the lion skin. A narrow nose rests atop slightly parted lips. In excellent state
of preservation.

Circa 2nd – 3rd Century A.D.

H. 5 1/8 in. (13 cm.)
Ex. American collection; Ex. Royal-Athena Galleries
24
 ROMAN MOSAICS

ROMAN MOSAIC PANEL

Decorated with three symmetrical circular motif designs, separated by two emblems, all
within two border lines in black and brown, respectively.

Circa 200 – 300 A.D.

54 ¼ x 18 ¼ in. (137.7 x 46.4 cm.)
Ex. Early private collection, 1980’s

25
ROMAN MOSAICS

ROMAN MOSAIC OF TWO THEATRICAL MASKS

Featuring two tragic theatrical masks in multi-colored tesserae. The face on the left is
joyous, perhaps boastful. The one on the right is dominated by sadness, the mouth
gaping in an extreme display of emotion. The two ancient Roman theatrical actors
are representing extremes of emotion.

Circa 2nd – 4th century A.D.

45 ¾ in. x 25 ¼ in. (116.2 cm. x 64 cm.)
Cf: For a closely related mosaic (two faces but not masks), lot 144, Sotheby’s New
York Antiquities and Islamic Arts Works of Art Auction, December 2000
Ex. New York Art market

26
 ROMAN MOSAICS

ROMAN MOSAIC WITH A STANDING FEMALE

The woman depicted standing, she is wearing a himation where the folds are held by her
right arm, her breasts and private area are revealed, and the himation is covering her lower
legs, her left arm extended.

Circa 3rd Century A.D.

56 ¼ x 29 1/8 in. (142.9 x 73.9 cm.)
Ex. Early private collection; Ex. New York art market

For more Roman mosaics, visit our website:

www.aphroditeancientart.com

27
NEAR EASTERN

SYRIAN LARGE TERRACOTTA “EYE” IDOL

Eyes were an ever-present part of ancient cultures. Always open, they signified the
omnipotence of divinity and the inferiority of man in relation to the gods. Thus, eye
idols depicted passive reminders of the gods’ presence. This particular idol is of rare
type.

Circa 4th Millennium B.C.

H. 5 3/8 in. (13.65 cm.)
Ex. American private collection, 1970’s

28
 NEAR EASTERN

ANATOLIAN LIMESTONE FERTILITY IDOL

Depicted seated, the arms clasped together underneath the large breasts, rare type.

Circa 4th – 3rd millennium B.C.

H. 3 ¼ in. (8 cm.)
Ex. 1960’s private collection, then by descent

29
NEAR EASTERN

NEAR EASTERN INSCRIBED SHELL POURING VESSEL

The vessel is carved from the marine species Fasciolaria trapezium. The central
columella was removed and the internal septa was ground smooth to create a
distinct container. The exterior is finely engraved with the head of a man in profile.
A very rare vessel.

Circa 2550 – 2400 B.C. (Early Dynastic)

L. 7.5 in. (18 cm.)
Ex. Early private collection from the 1960’s, then by descent
Cf: For a closely similar vessel, lot 63, Sotheby’s New York, December 2008 (but
without the head inscription), the Sotheby’s example is presently in the University
of Pennsylvania Museum of Archeology and Anthropology; see also, Art of the
First Cities, The Third Millennium B.C., From the Mediterranean to the Indus, J.
Aruz and R. Wallenfelds, eds. Cat. Not. 291a, p. 401, for another closely similar
example.

30
 NEAR EASTERN

SYRIAN LIMESTONE RELIEF OF TWO BROTHERS

Carved in high relief with two brothers joining hands, one holding a cluster of grapes and
wearing a himation with a beaded hem along the collar, and the other holding a bird against
his chest and wearing a chiton, himation, and bejeweled conical cap, with a pendant over his
forehead. Four lines of Palmyrene inscription are engraved between them, which translate
as, “Alas! Yarhai et Yaribola, sons of MLBA(?)”

Circa 2nd Century A.D.

L. 19 in. (48.3 cm.), W. 17 1/2 in. (44.4 cm.)
Ex. Sotheby’s New York, June 2011; Ex. private collection, early 1970’s

31
NEAR EASTERN

PALMYRENE FUNERARY RELIEF OF A MALE YOUTH

The youth is depicted with a full head of wavy hair, face shaven, pupils and irises
incised, and wearing a chiton and robe, a typically Greek style of clothing. In his left
hand, he is holding a schedula, a strip of paper used for writing legal documents,
which may indicate his occupation as a business man or scribe.

Circa 2nd – 3rd Century A.D.

H. 18 15/16 in. (48.2 cm.), W. 16 in. (40.6 cm.)
Ex. 1960’s private collection, then by descent

32
 PHOENICIAN

GRECO-PHOENICIAN MALE VOTIVE STATUE

Standing on its original circular and fluted base, the finely detailed statue reveals the skillful
talents of local Phoenician potters as well as the merging of ancient Greek and Phoenician
cultures. Mediterranean marine deposits are present.

Circa 6th – 5th Century B.C.

H. 19 ¾ in. (50.2 cm.)
Ex. 1960’s private collection, then by descent

33
PHOENICIAN

PHOENICIAN VOTIVE MALE STATUE

Standing on a rectangular plinth, both hands bent at elbows and raised. Some
marine deposits.

Circa 5th – 4th Century B.C.

H. 26 ¾ in. (68 cm.)
Ex. Early private collection from the 1970’s

34
 ISLAMIC

ISLAMIC JAR WITH INSCRIPTIONS AND DECORATIONS

Of blue underglazed pottery. The body is rounded and is decorated all around the shoulder
with a Kufic inscription.

Circa 1200 A.D.

H. 10 in. (24 cm.)
Ex. Private Mid-Eastern Collection, 1980’s

35
 ISLAMIC

ISLAMIC GLAZED SHALLOW-FOOTED DISH WITH INSCRIPTIONS

Of shallow form, with footed base, and decorated with Kufic Arabic inscriptions all
around the inner rim and the four interior quadrants.

Circa 12th – 13th Century A.D.

Diam. 11 ¾ in. (29.9 cm.), H. 2 in. (5.1 cm.).
Ex. Private Mid-Eastern Collection, 1990’s

ISLAMIC WHITE OVERGLAZED POTTERY BIRD

Over-glazed in white and standing on a rounded base.

Circa 13th – 14th Century A.D.

L. 4 ½ in. (11.4 cm.), H. 2 ¾ in. (7 cm.)
Ex. Private Mid-Eastern Collection, 1990’s
36
 ANCIENT JEWELRY

EASTERN MEDITERRANEAN GLASS ‘EYE’ BEAD NECKLACE

Comprised of thirteen cobalt, turquoise, and white ‘eye’ beads of graduating size,
re-strung together with ancient blue glass and modern gold spacer beads.

Circa 6th – 2nd Century B.C.

L. 16.2 in. (41.2 cm.)
Cf: Moscati, pl. on p. 481; Fukai, nos. 39-40, found by Tokyo University Archeological
Expedition in 1964, “Ghalekuti tomb I-V, Dailaman, Gilan Province, 4th-2nd Century
B.C.”
Ex. Private collection, 1960’s, then by descent

ROMAN CARNELIAN RINGSTONE

The oval ringstone is engraved with a bust of Isis, worshiped by the ancient Egyptians as
the ideal mother, ideal wife, and a patron of magic and nature, in profile facing right, her
coiffure arranged in plaits falling to her shoulders, holding a staff in her left hand. Set in a
modern 22-carat solid gold ring with a flat hoop in the interior.

Circa 1st Century B.C. – 1st Century A.D.

Ringstone: D. 5/8 in. (1.5 cm.), Ring size: 9 (U.S.), Weight: 28.7 g.
Ex. American private collection, 1990’s
37
ANCIENT JEWELRY

ROMAN MOSAIC BEADS NECKLACE

Comprising twenty three spherical red, blue, apple green and white ‘splash’
beads, re-strung together with twenty two ancient glass beads and thirty
four modern gold beads.

Circa 1st – 4th Century A.D.

L. 22 in. (55.9 cm.)
Ex. New York art market

ROMAN SILVER RING

The rounded bezel is decorated with the head of a man.

Circa 1st Century A.D.

Diam. of bezel 5/8 in. (16 mms.)
Ex. European art market

A PAIR OF BYZANTINE GOLD EARRINGS

Decorated with coiled wire, red glass beads. and granulated gold circlets.

Circa 4th – 5th Century A.D.

Max. H. 1 5/8 in. (4.1 cm.) each.
Cf: For similar earrings from a treasure found in Reggio Emilia, Italy, I. Goti, exhibition
catalogue Milan, Palazzo Reale 1994, p. 203, no. III.86
Ex. Mid-Eastern private collection, 1990’s

38
 ANCIENT GLASS

ROMAN GLASS CHALICE

The deep cup standing on a rounded base with short stem. Excessive weathering and
underlying iridescence.

Circa: 1st – 2nd Century A.D.

H. 2 ¾ in. (7 cm.)
Ex. European private collection, 1960’s, then by descent

39
 ANCIENT GLASS

ROMAN GLASS WITH RIBS

Of elongated form, with a short neck, and body of irregular pincered

projections. Rare type.

Circa 3rd – 4th Century A.D.

H. 3 1/8 in. (7.94 cm.)
Cf: No. 349, p. 199, Roman Glass in the Corning Museum of Glass, Vol I
(but as a dropper flask), also no. 663, p. 148, Roman Glass in the
Corning Museum of Glass, Vol II . (but as a beaker)
Ex. European private collection, 1980’s

40
 ANCIENT GLASS

SIDONIAN GLASS VASE WITH SCROLL PATTERN

Light aubergine in color, with ovoid body of this vessel being blown in a two-part mold. Around the
body is a frieze with a continuous vine scroll flanked above and below by a band of ridges and
vertical flutes. The cylindrical neck extends into a slightly splayed lip, with an in-folded rim and two
delicately trailed handles. An extremely fine vase retaining some of its original fire-polished
surface. Quite rare, especially in such an excellent condition.

Circa 1st Century A.D.

H. 3.1 in. (7.8 cm.)
Ex. American private collection, 1970’s

41
ANCIENT COINS

CARTHAGE, ELECTRUM TRIHEMISTATER

Head of Tanit at left, wearing a barley wreath, bar and triple pendant
earring, and necklace with pendants. Reverse, unbridled horse standing
at right, sun disk above (Jenkins-Lewis 428, this obverse die). Slight flan
crack at four o’clock. Very rare.

Circa 255 – 241 B.C.

Weight 10.31 g.
Ex. Ars Classica, Zurich, Switzerland.

42
 ANCIENT COINS

ROMAN IMPERIAL VALENS GOLD SOLIDUS

Nicomedia, D N Valens – P F AVG, pearl diademed, draped and cuirassed bust of Valens right/
RESTITVTOR REI PVBLICAE, emperor standing facing in military dress, head right, vexillum
emblazoned with Christogram in right hand and Victory on globe in left (in exerge, SM NE. Cohen
34. RIC 2(d)). A lusterous coin in Mint State condition.

Circa 364 – 378 A.D.

Diam. 22 mm., Weight. 4.35 g., 12 h.
Ex. American private collection; Ex. U.S. auctions

BYZANTINE NICEPHORUS I AND STAURACIUS GOLD SOLIDUS

Constantinople, nICI-FOROS Basile, crowned facing bust of Nicephorus, wearing chlamys, holding
cross potent and akakia / STAVRA-CIS Despo’x, crowned facing bust of of Stauracius, wearing
chlamys, holding globus cruciger and akakia (DOC 2c. SB 1604). Good Extremely Fine condition.

Circa 802 – 811 A.D.

Diam. 21 mm., Weight. 4.4 g., 6h.
Ex. American private collection; U.S. auctions
43
Greek Attic Black Figure Olpe by the Painter of the Vatican, Pg 13.
 ART OF THE ANCIENTS
A selection of ancient art
Volume I – 2013

TERMS AND CONDITIONS OF SALE

Each object offered is subject to prior sale, and is unconditionally guaranteed genuine.
Sale is for cash payable in U.S. Dollars. All prices are subject to change without notice.
International clients must submit payments in U.S. Dollars and drawn on a U.S. bank, or can
wire payment directly to our bank account. New York residents must add the appropriate
sales tax (currently 8.875%). Every object we offer has been legally acquired and if imported
by us, we have done so in accordance with international laws concerning the trade in
antiquities. Each object offered has been carefully selected for its eye appeal and upside
investment potential and comes with a clear title of ownership. Shipping and packing charges
are additional. Title remains with us until payment is made in full.

www.aphroditeancientart.com
info@aphroditeancientart.com
Gallery: 212-987-9878
Mobile: 917-327-4990