N08857 T

Sotheby's
Egyptian, Classical, and Western Asiatic Antiquities

New York | 05 Jun 2013, 02:00 PM | N09005
LOT 1
PROPERTY FROM A NEW YORK PRIVATE COLLECTION
AN EGYPTIAN BLACK BASALT JAR, PREDYNASTIC PERIOD (NAQADA II)/1ST
DYNASTY, CIRCA 3500-2900 B.C.
with finely contoured foot, ovoid body, twin tubular handles, and everted rim.
Height 3 3/8 in. 8.6 cm.
ESTIMATE 6,000-9,000 USD
PROVENANCE
Hannah Strauss (1912-2010), New York, acquired in the 1950s/1960s, probably in the United States
by descent to the present owner
CATALOGUE NOTE
Cf. W.M. Flinders Petrie and J.E. Quibell, Naqada and Ballas. 1895, London, 1896, pl. VIII, 34; also compare
Sotheby’s, New York, December 6th, 2012, no. 41.
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LOT 2
PROPERTY FROM A TEXAS PRIVATE COLLECTION
AN EGYPTIAN BLACK-TOPPED REDWARE JAR, PREDYNASTIC PERIOD,
NAQADA II, 3600-3200 B.C.
of slender flaring form with flat base, rounded shoulder, and everted rim.
Height 10 3/4 in. 27.3 cm.
PROVENANCE
Charles Street Universalist Meeting House, Beacon Hill, Boston, acquired by the Rev. Kenneth Leo Patton and the
congregation, probably between 1949 and 1964
The Rev. Randall Lee Gibson, given to him by the congregation prior to 1978
given to the present owners in 1988
CATALOGUE NOTE
Cf. G.D. Scott, III, Ancient Egyptian Art at Yale, New Haven, 1986, no. 3, and Metropolitan Museum of Art, accession
no. 36.1.2.
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LOT 3
AN EGYPTIAN LAPIS LAZULI SITULA, 18TH/19TH DYNASTY, 1540-1190 B.C.
of tapering form with slightly convex base, offset cylindrical neck, and contoured mouth
with twin vertical suspension rings.
Height 2 in. 5.1 cm.
PROVENANCE
acquired by the current owner from Jabbar in Gaza in 1980
CATALOGUE NOTE
For an alabaster situla very close in form cf. S. D’Auria, P. Lacovara, and C.H. Roehrig, Mummies & Magic. The
Funerary Arts of Ancient Egypt, Boston, 1988, no. 78. An amethystine quartz situla, related in form and dated to circa
610 B.C., was found in the tomb of Queen Tabiry at El-Kurru in Nubia; see N. Thomas, The American Discovery of
Ancient Egypt, Los Angeles, 1995, p. 197, no. 97 (Museum of Fine Arts, Boston, inv. no. 21.306).
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LOT 4
PROPERTY FROM THE COLLECTION OF THE LATE H. SCHAEFER, GERMANY
AN EGYPTIAN TURQUOISE FAIENCE FIGURE OF A RAM, LATE 12TH/13TH
recumbent on a fragmentary oblong base with the head turned to the right and the left
foreleg raised, with ribbed horns and short tail, the details painted in black.
Length 2 9/16 in. 6.5 cm.; Height 1 7/8 in. 4.8 cm.
PROVENANCE
acquired by the present owner’s late husband in the 1970s
LITERATURE
Dietrich Wildung, et al., Entdeckungen. Ägyptische Kunst in Süddeutschland, catalogue of the exhibition at the
Bayerischen Landesbank, Munich, Mainz am Rhein, 1985, no. 37, illus.
CATALOGUE NOTE
For related examples cf. J. Bourriau, Pharaohs and Mortals. Egyptian Art in the Middle Kingdom, Cambridge,
England, 1988, nos. 106, 108, and 110 (a lion, baboon, cat, and hedgehog).
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LOT 5
PROPERTY FROM AN AMERICAN PRIVATE COLLECTION
AN EGYPTIAN BRONZE FIGURE OF THE APIS BULL, 26TH DYNASTY, 664-525
B.C.
the sacred bull striding on a rectangular base, the sun-disk with uraeus between his
tapering horns, his engraved ornaments including a broad beaded collar, a winged scarab
over the shoulders, an embroidered cloth with quatrefoils over the back, and a vulture over
the hindquarters, the tuft of the tail with striated markings.
PROVENANCE
McCormick Collection, Connecticut (Parke-Bernet Galleries, New York, April 24th-25th, 1970, no. 98, illus.)
acquired by the current owner at the above sale
CATALOGUE NOTE
Cf. G. Steindorff, Catalogue of the Egyptian Sculpture in the Walters Art Gallery, Baltimore, 1947, no. 640, Sotheby's,
New York, March 1st-2nd, 1984, no. 140 (Lester Wolfe Collection), November 24th-25th, 1987, no. 32, June 6th,
2006, no. 86 and December 8th, 2010, no. 69.
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LOT 6
PROPERTY FROM A EUROPEAN PRIVATE COLLECTION
AN EGYPTIAN BRONZE FIGURE OF HARPOCRATES-SOMTOUS, 26TH/30TH
DYNASTY, 664-342 B.C.
seated with his feet resting on an inscribed trapezoidal foot-stool, his left hand extended,
his right forefinger pointing to his mouth, and wearing a small pendant suspended on the
chest, broad collar, braided side-lock, and the nemes headcloth with uraeus and diadem of
uraei surmounted by the hem-hem crown, his face with silver overlaid eyes, the inscription
on the four sides of the foot-stool partially in sunk relief and formerly inlaid, the front
translating: "Somtous the Child God."
Height from modern base 12 3/8 in. 31.4 cm.
PROVENANCE
Egyptian family collection, Alexandria and Cairo, acquired in the early part of the 20th century in Egypt and Europe,
and transferred from Egypt to northern European family residences in the early 1950s
Northern European private collection, by direct descent from the above in the 1970s
acquired from the above by the present owner in 2002
CATALOGUE NOTE
Cf. Cleopatra of Egypt, London, 2001, cat. no. 131, for a large bronze figure of Harpocrates in the British Museum
close in size and solid cast like the present example.
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LOT 7
AN EGYPTIAN BRONZE FIGURE OF LION-HEADED MAAHES, LATE
PERIOD, 716-30 B.C.
enthroned with his hands resting by his knees, and wearing a striated kilt with central tab,
broad collar, and striated tripartite wig surmounted by a uraeus, the ruff and whiskers
carefully engraved, the throne engraved on the sides with a scale pattern and on the back
with a scale pattern beneath papyrus and lotus flowers.
Height without tenons 8 1/2 in. 21.6 cm.
PROVENANCE
CATALOGUE NOTE
Cf. G. Roeder, Ägyptische Bronzefiguren, Berlin, 1956, pl. 11, i.
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LOT 8
AN EGYPTIAN LIMESTONE TORSO OF A KING, 30TH DYNASTY/EARLY
PTOLEMAIC PERIOD, CIRCA 380-250 B.C.
probably a sculptor’s model or votive offering, striding and wearing a pleated royal kilt with
off-center tab and long “streamer” falling from the belt, incised grid lines on the flat
surfaces of the neck and right shoulder.
PROVENANCE
Nicolas Landau (1887-1979), Paris
Galerie J. Kugel, Paris, and Axel Vervoordt, Belgium
LITERATURE
Galerie J. Kugel and Axel Vervoordt, Hommage à Nicolas Landau, "Prince des Antiquaires" (1887-1979), Paris, 2006,
cover illus.
CATALOGUE NOTE
A torso of a king very similar in form in the Louvre, inv. no. E 22752, is inscribed for Nectanebo I (380-362 B.C.) (W.
Seipel, Gott, Mensch, Pharao, Vienna, 1992, p. 473). Also compare Ägyptisches Museum Berlin, Berlin, 1967, nos.
970-971, G. Steindorff, Catalogue of the Egyptian Sculpture in the Walters Art Gallery, Baltimore, 1947, nos. 295-296,
and Sotheby Parke Bernet, New York, November 21st-22nd, 1975, no. 390. For another torso with an unusual
treatment of the belt see Brooklyn Museum of Art, inv. no. 51.67 (Brooklyn, Five Years of Collecting Egyptian Art,
Brooklyn, 1956, pl. 33). For a recent study see N. Tomoum, The Sculptors' Models of the Late and Ptolemaic Periods,
Cairo, 2005, pp. 74 and 84, cat. nos. 103-107, pls. 57-58.
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LOT 9
PROPERTY FROM A CONNECTICUT PRIVATE COLLECTION
AN EGYPTIAN LIMESTONE ROUND-TOPPED STELA, PTOLEMAIC PERIOD,
305-30 B.C.
carved in sunk relief with the figure of the deceased, named Hor, Servant of the god
Neferhotep, his hands raised in prayer before Osiris, the Theban Triad, and Anubis, a
winged scarab with uraei and figures of Anubis above, a solar barque flanked by figures of
Maat and five lines of inscription below.
16 5/8 by 8 3/4 in. 42.2 by 22.2 cm.
PROVENANCE
probably Azeez Khayat (1875-1943), Haifa and New York
Sotheby Parke Bernet, New York, May 8th, 1976, no. 41, illus.
LITERATURE
Philippe Collombert, "Les stèles tardives de Hout-sekhem (Hout-sekhem et le septième nome de Haute-Egypte II)",
Revue d' Egyptologie vol. 48, 1997, p. 43
CATALOGUE NOTE
For a closely related example in the British Museum (inv. no. EA 934) see Ph. Collombert, "La divine Oudjarenes
(Hout-sekhem et le septième nome de Haute-Egypte I)", Revue d' Egyptologie, vol. 46, 1995, pp. 55-60. Both the
present stela and the British Museum one are part of a group of stelae originating from the necropolis of Hout, the
capital of the 7th province of Upper Egypt (see Ph. Collombert, op. cit., 1997, pp. 15-70, pl. I-VII). Also see G. Botti
and P. Romanelli, Le Sculpture del Museo Gregoriano Egizio, Vatican City, 1951, pl. LVII, 121.
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LOT 10
PROPERTY FROM A CALIFORNIA PRIVATE COLLECTION
TWO EGYPTIAN LIMESTONE CANOPIC JARS, 26TH/30TH DYNASTY, 664-342
B.C.
one with lid in the form of falcon-headed Qebusenef, protector of the intestines, the other
jackal-headed Duamutef, protector of the stomach, the details finely carved, the name of
each deity carved in sunk relief on its respective jar.
Heights 14 1/4 and 14 1/2 in. 36.2 and 36.8 cm.
PROVENANCE
acquired from an antique shop on Cecil Court in London in December of 1962
CATALOGUE NOTE
Canopic jars were made to protect the viscera of the deceased in sets of four, each with a stopper representing one of
the four sons of Horus. The baboon-headed Hapi protected the lungs, the jackal-headed Duamutef the stomach, the
human-headed Imsety the liver, and the falcon-headed Qebusenef the intestines. Each jar was also associated with a
cardinal compass direction and one of the four "protective" goddesses.
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LOT 11
PROPERTY FROM THE COLLECTION OF KNUT ROSENSVÄRD, SWEDEN
AN EGYPTIAN GOLD AND STEATITE SCARAB SWIVEL RING, EARLY 18TH
DYNASTY, 1540-1400 B.C.
with solid gold hoop, the spiral wire wound around the shoulders and through the convex
terminals and turquoise-glazed scarab, the scarab carved underneath with a decorative
device composed of stylized lotus and papyri.
Width 15/16 in. 23.8 cm.
PROVENANCE
acquired by an ancestor of the present owner, probably during travels abroad in the late 19th Century
CATALOGUE NOTE
Cf. B. Fay, Ancient Egyptian Jewelry, Berlin, 1990, p. 10. For scarabs with related devices underneath see F.S.
Matouk, Corpus du scarabée égyptien, vol. 2, Beirut, 1977, p. 406, and P.E. Newberry, Scarabs, London, 1908, pl.
XX.
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LOT 12
PROPERTY FROM A PRIVATE COLLECTION, THE NETHERLANDS
AN EGYPTIAN STEATITE USHABTI OF AMENEMOPE (AMENEMIPET), CHIEF
OF THE PHYSICIANS OF THE LORD OF THE TWO LANDS, 19TH/20TH
DYNASTY, 1292-1075 B.C.
holding djed and hoe in one hand, and tyet and hoe in the other, and carrying a bag or
basket, curved yoke with crossed cords, and brick-mold on his back, and wearing a long
wrapped and pleated kilt with overfold, pectoral, and double wig, his face with long
contoured eyebrows and cosmetic line in relief, eight lines of inscription on the sides and
back of the kilt, a column of inscription on the overfold.
Height from base 7 1/8 in. 18.1 cm.
PROVENANCE
James-Alexandre, Comte de Pourtalès-Gorgier (1776-1855), Paris (Catalogue des objets d’art et de haute curiosité,
antiques, du Moyen Âge et de la Renaissance, qui composent les collections de feu M. le Comte de Pourtalès-Gorgier
, Paris, February 6th-March 21st, 1865, no. 913)
William Randolph Hearst (1863-1951), San Simeon, California (sale at Gimbel Brothers department store, organized
by Hammer Galleries, New York, 1941)
private collection, The Netherlands, by descent circa 1983
by inheritance to the present owner in 2010
LITERATURE
Léon Jean Joseph Dubois, Description des antiques faisant partie des collections de M. le Comte de Pourtalès-
Gorgier, Paris, 1841, no. 325
Art Objects & Furnishings from the William Randolph Hearst Collection. Presented by Gimbel Brothers, New York, in
cooperation with Saks Fifth Avenue. Under the direction of Hammer Galleries, New York, 1941, cat. no. 455-35, illus.
on p. 39
CATALOGUE NOTE
Amenemope occupied a high position in the royal household as chief of all the physicians attached to the king's
person. For the significance of the title see B. Halioua and B. Ziskind, Medicine in the Days of the Pharaohs,
Cambridge, Mass., 2005, p. 17. His exact title is attested only one other time in the New Kingdom (see J.F. Nunn,
Ancient Egyptian Medicine, Norman, Okla., 2002, p. 118, table 6.2).
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LOT 13
FOUR LARGE FIGURES FROM A COPTIC TAPESTRY, LATE 4TH/EARLY 5TH
CENTURY A.D.
originally part of a frieze in a large plain linen hanging, in tapestry weave with warp of
natural linen and weft of various shades of blue, pink, red, green, and yellow, comprising a
dancer holding a basket of fruits and wearing a skirt and tunic, a shepherd (?) leaning on a
staff and wearing a long cloak falling down his back and draped over his left shoulder, and
two dancers each wearing a skirt and tunic passing over the left shoulder, one holding a
sickle (?), the other a hoe(?).
Heights 29 1/2 to 25 3/4 in. 74.3 to 65.4 cm.
PROVENANCE
Dr. Ulrich Müller, Zurich, acquired between 1968-1978
Sotheby's, New York, June 6th, 2006, no. 89, illus.
LITERATURE
Art of the Ancient World, Royal Athena Galleries, vol. XVIII, 2007, no. 242
CATALOGUE NOTE
For related figures see E.D. Maguire, The Rich Life and the Dance, Urbana-Champaign, Illinois, 1999, B1 and cover
illus. (figure holding a sickle), Sotheby's, New York, December 7th, 2005, no. 24 (figure carrying a duck), K.
Weitzmann, ed., Age of Spirituality, New York, 1979, no. 235 (figure carrying a ram). For a larger fragment in the
British Museum showing two hunters separated by vertical ornamental stripes see K. Wessel, L'art copte, Brussels,
1964, fig. 118, no. 104 (figure holding a branch or garland); the author notes that shepherds, "hunters, dancers, and
similar figures from the linen curtains belong to the standard repertory of Roman and early Byzantine domestic art. In
addition to a purely decorative role, their iconographic association with Dionysiac themes and seasonal and pastoral
activities made them also broad allegories of life's blessings and renewal."
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LOT 14
A MARBLE TORSO OF A YOUNG SATYR, ROMAN IMPERIAL, CIRCA 1ST/2ND
CENTURY A.D.
standing with his weight on the right leg and resting his arm on a wineskin sitting atop a
tree trunk support, with short tail at the small of his back, his long goat-skin cloak tied at
the left shoulder, draped over his arm, and falling down the side of the trunk.
Height 21 1/4 in. 54 cm.
PROVENANCE
Oskar Bondy (1877-1944), Schubertring 3 (Music Room), Vienna, coll. inv. no. 1504
recorded and seized by the German authorities in 1938/1939 (see fig. 1)
Kunsthistorisches Museum, Vienna
restituted by the Austrian government in 1948 to Elizabeth Bondy, Oskar Bondy’s widow
Elizabeth Bondy (d. 1974), New York
Blumka Gallery, New York, on consignment from the above
the American sculptor Marshall M. Fredericks (1908-1998), Birmingham, Michigan, acquired from the above on
December 21st, 1956
EXHIBITED
"Detroit Collects: Antiquities," The Detroit Institute of Arts, March 14th - April 29th, 1973
LITERATURE
The Detroit Institute of Arts, Detroit Collects: Antiquities, exhibition checklist by William H. Peck, Detroit, 1973, p. 8
Sophie Lille, Was einmal war: Handbuch enteigneten Kunstsammlungen Wiens, Vienna, 2003, p. 241 (1938/1939
inventory: “Musikzimmer:… Griechischer marmortorso eines Silens, auf Hozsaüle stehend”)
CATALOGUE NOTE
Oskar Bondy was an important collector of paintings and early works of art in Vienna, most of which were seized by
the Nazis in 1938. Bondy fled with his family to New York, where he died in 1944. After his death his widow, Elizabeth,
successfully pursued the restitution of the collection.
Fig. 1
1938/1939 Photograph of the Present Lot in the Oskar Bondy

Collection, Bundesdenkmalamt Wien
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LOT 15
PROPERTY FROM A PRIVATE COLLECTION, BERLIN
A HELLENISTIC MARBLE HEAD OF APHRODITE, CIRCA LATE 4TH/3RD
CENTURY B.C.
turned to her left, her oval face with parted lips and deep-set almond shaped eyes, the thick
wavy hair parted in the center, bound in a diadem, and drawn back into a fragmentary
chignon above the nape of the neck.
Height 6 1/2 in. 16.5 cm.; Height as restored at the neck 9 in. 22.9 cm.
PROVENANCE
in Berlin circa 1950-1955 or earlier, and later given to the mother of the present owner
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LOT 16
A HELLENISTIC MARBLE HEAD OF A PTOLEMAIC QUEEN, CIRCA MID
3RD/MID 2ND CENTURY B.C.
probably a portrait of Berenike II or Arsinoe III, turned to her left, her oval face with slender
neck, delicate bow-shaped lips, slightly upturned nose, eyes recessed for inlays, and
painted eyebrows, a small hole in the left earlobe, her wavy hair parted in the center and
bound in a diadem, the back roughly worked and probably once completed in stucco.
Height 12 1/4 in. 31.1 cm.
PROVENANCE
Collection of the Princes of Murat, Naples, 19th Century
CATALOGUE NOTE
The head was originally mounted on a still extant 19th century variegated yellow marble socle. The wood plinth above
the socle is carved to fit the underside of the bust. There is a fragmentary red wax seal on the back of the plinth, as
well as a partially preserved label inscribed in French "a Monsieur le P..."
Fig. 1
Original 19th-century marble and wood socle for lot 16 (front).
Fig. 2
Original 19th-century marble and wood socle for lot 16 (back).
Fig. 3
Original 19th-century marble and wood socle for lot 16 showing

fragmentary red wax seal and partially preserved old label (detail of
back of wood plinth).
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LOT 17
PROPERTY FROM THE COLLECTION OF DENYS SUTTON
A HELLENISTIC MARBLE HEAD OF A GODDESS, CIRCA 3RD/2ND CENTURY
B.C.
trned to her right, her oval face with strong chin and finely arched brows, the wavy hair
parted in the center and falling in two long spiral curls down the sides of the neck, and a
broad plait falling over the nape of the neck.
PROVENANCE
Denys Sutton (1917-1991), London, acquired between 1957 and 1972
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LOT 18
A MARBLE HEAD OF HERAKLES, ROMAN IMPERIAL, 2ND CENTURY A.D.
perhaps a portrait of Emperor Commodus, turned to his right, with thick unruly hair and
beard, long moustache, large eyes with indented pupils, and prominent brow, his head
surmounted by the head of his lion skin.
PROVENANCE
Galerie Simone de Monbrison, rue Bonaparte, Paris
French private collection, acquired from the above circa 1980 (Sotheby's, New York, June 7th, 2007, no. 67, illus.)
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LOT 19
A HELLENISTIC MARBLE RELIEF FRAGMENT OF HADES AND KERBEROS,
CIRCA 3RD CENTURY B.C.
from the lower right corner of a votive relief, carved with a seated figure of a god, probably
Hades, resting his left hand on the edge of the throne and wearing a himation, his three-
headed hound Kerberos lying down underneath the seat with its front paws crossed, the
inscription KERBEO engraved on the edge at right.
Height 20 3/4 in. 52.7 cm.
PROVENANCE
German private collection, 1970s/1980s
CATALOGUE NOTE
The letter shapes suggest that the inscription was carved around the 3rd Century B.C. The spelling Kerbelos for
Kerberos occurs very rarely in Antiquity, and is mostly attested in the late Roman period. In a papyrus notebook of the
4th Century A.D. (P. Bour. 1 [Paris, Sorbonne inv. 826]) is mentioned in a list of Greek gods, heroes, and
mythological figures. It is also mentioned in a Greek epigram dated to the 3rd Century A.D. (IG XIV 1746).
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LOT 20
A ROMAN MARBLE RELIEF OF LETO, EARLY AUGUSTAN, CIRCA 27-20 B.C.
in archaistic style, from the lower left corner of a large rectangular relief depicting Leto,
Artemis, and Apollo walking to right towards Nike at an altar, Leto lifting her peplos, a tall
base for a now missing votive tripod behind her.
17 1/8 by 11 in. 43.5 by 27.9 cm.
PROVENANCE
James-Alexandre, Comte de Pourtalès-Gorgier (1776-1855), Paris, (Catalogue des objets d’art et de haute curiosité,
antiques, du Moyen Âge et de la Renaissance, qui composent les collections de feu M. le Comte de Pourtalès-Gorgier
, Paris, March 21st, 1865, no. 7)
Baron Valentin de Courcel (1838-1917), Villa Faustina, Promenade de la Croisette, Cannes, France, late 19th century
LITERATURE
Léon Jean Joseph Dubois, Description des antiques faisant partie des collections de M. le Comte de Pourtalès-
Gorgier, Paris, 1841, no. 4
Adolf Michaelis, "La raccolta de Courcel a Cannes," Mitteilungen des Deutschen Archäologischen Instituts. Römische
Abteilung, vol. 8, 1893, pp. 181-182, no. 16
CATALOGUE NOTE
Two complete examples of a relief showing Leto and her two children sacrificing with Nike are preserved in the Villa
Albani (see H.-U. Cain, in P.C. Bol, ed., Forschungen zur Villa Albani. Katalog der antiken Bildwerke, vol. I, Berlin,
1989, pp. 380-388, no. 124, pls. 218-221, and http://arachne.uni-koeln.de/item/marbilderbestand/1044615). Also
see A.L. Wagner, Archaistische Reliefs mit der apollinischen Trias. Ungedruckte Magisterarbeit, Munich, 1982, no. 5,
pls. 9-10; the author lists all the other examples known to him). For a related figure of Leto see the candelabrum base
in the Palazzo dei Conservatori, inv. 2771 (H.-U. Cain, Römische Marmorkandelaber, Mainz am Rhein, 1985, no. 79,
pl. 69,3: http://arachne.uni-koeln.de/item/objekt/37086).
Fig. 1
An identical and more complete relief (in the Villa Albani, Rome)
with the same subject and composition as the present fragment.
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LOT 21
PROPERTY FROM A PRIVATE COLLECTION
A MARBLE TORSO OF ATHENA, ROMAN IMPERIAL, CIRCA 2ND CENTURY
A.D.
standing with the weight on her right leg, her now missing separately-carved right arm
formerly raised, her wavy hair falling in long locks over the shoulders and in a straight plait
over the nape of the neck, and wearing a chiton with overfold fastened with a belt across
the waist, himation draped over the right shoulder and across the back, and aegis with
gorgoneion falling diagonally across the chest from her right shoulder, the neck hollowed
out to receive the separately-carved head.
PROVENANCE
Sotheby's, London, May 17th, 1983, no. 308, illus.
Royal-Athena Galleries, New York, acquired at the above sale
Summa Galleries, Los Angeles, acquired from the above on December 28th, 1984
Kalef Alaton (1940-1989), Los Angeles
aquired from the above by the present owner in the 1980s
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LOT 22
A ROMAN MARBLE FIGURE OF FORTUNA, CIRCA 1ST CENTURY A.D.
standing with the weight on her right leg and holding a cornucopia cradled in her left arm,
and wearing a chiton with overfold, and himation falling from her left shoulder across the
back, extending over the lower part of her body, and draped over her left forearm; the
extremities once restored in marble.
Height 17 3/4 in. 45.1 cm.
PROVENANCE
European private collection, 18th/19th century (based on the restoration techniques)
American private collection, acquired at auction in the United States in the 1960s/1970s
CATALOGUE NOTE
Possibly the same statuette once recorded in the Palazzo Doria-Pamphili by F. Matz and F. v. Duhn, Antike Bildwerke
in Rom, vol. I, Leipzig, 1881, no. 872.
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LOT 23
A ROMAN MARBLE FIGURE OF HYGIEIA, CIRCA 1ST CENTURY A.D.
seated on a chair with fringed cushion, and wearing a chiton with overfold and buttoned
sleeve, and himation falling onto her lap, her mantle formerly drawn as a veil over her head;
the extremities once restored in marble (only the restored base, feet, and lower part of the
seat and drapery remaining).
Height as restored 15 3/4 in. 40 cm.
PROVENANCE
European private collection, 18th/19th century (based on the restoration techniques)
English private collection, 1980s
CATALOGUE NOTE
For veiled and seated representations of Hygieia "Bona Dea" see H. Sobel, Hygieia. Die Göttin der Gesundheit, 1990,
pp. 41 f., and p. 110, cat. no. 1: http://arachne.uni-koeln.de/item/objekt/2747.
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LOT 24
A ROMAN MARBLE FIGURE OF FORTUNA, CIRCA 2ND CENTURY A.D.
the goddess seated with her right leg forward and holding a fragmentary cornucopia
cradled in her left arm, and wearing a chiton with overfold and buttoned sleeve, her
himation falling from her left shoulder and draped across her lap, the neck carved out for
insertion of the head; the extremities once restored in marble.
Height 16 1/4 in. 41.3 cm.
PROVENANCE
European private collection, 18th/19th Century (based on restoration techniques)
acquired by the present owner from the above in the 1980s
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LOT 25
A MARBLE FIGURE OF A MUSE, ROMAN IMPERIAL, HADRIANIC, CIRCA A.D.
117-138
inspired by an early 3rd Century B.C. Greek prototype, standing with the weight on her left
leg, and wearing an enveloping himation, the folds held in her right hand to her breast and
against her hip by the left arm, a lock of hair falling on the left shoulder, the neck hollowed
out for insertion of the head.
PROVENANCE
Coins and Antiquities, London
English private collection, acquired from the above in the 1960s
English private collection, by descent from the above
acquired by the current owner on the London art market
CATALOGUE NOTE
For an identical example of the same size (68 cm. high, with a slightly higher base), possibly even the product of the
same workshop, see the figure in the Hermitage Museum in Saint Petersburg, inv. no. A. 885 (O. Waldhauer, Die
antiken Skulpturen der Ermitage, part 3, Berlin and Leipzig, 1936, p. 36, no. 276, fig. 34), originally in the collection of
Baron Alexander von Stieglitz (1814-1884).
The three other known examples of this type are at Blenheim Palace (A. Scholl, Die antiken Skulpturen in
Farnborough Hall, Mainz, 1995, cat. B1, pl. 7: http://arachne.uni-koeln.de/item/objekt/2590), at Schloss Wörlitz (E.
Paul, Wörlitzer Antiken. Eine Skulpturensammlung des Klassizismus, Wörlitz, 1965, pp. 43-44, cat. no. 28, ill. 23:
http://arachne.uni-koeln.de/item/objekt/32014) and in the Museo Arqueológico in Madrid (see K. M. Türr, Eine
Musengruppe hadrianischer Zeit. Die sogenannten Thespiaden, Berlin, 1971, pp. 16 and 64, no. 12).
Fig. 1
Marble Figure of a Muse, Hermitage Museum, Saint Petersburg,

inv. no. A. 885
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LOT 26
A MARBLE FIGURE OF KYBELE, ROMAN IMPERIAL, CIRCA 2ND CENTURY
A.D.
seated with her feet resting on a couchant lion, and wearing a chiton and himation.
Height 23 1/8 in. 58.7 cm.
PROVENANCE
General Luigi Palma di Cesnola (1832-1904), reportedly discovered by him at Karavostasi (ancient Soli) in Cyprus;
also said to have been discovered at Salamis or acquired by Cesnola from a private collection in Larnaca
The Metropolitan Museum of Art, New York, 1873
Mr. and Mrs. E. W. Harden, New York, 1926
European private collection, acquired prior to 1966
Ophiuchus collection, New York, 1982-2012
LITERATURE
“The Explorations of di Cesnola in Cyprus,” Harper’s New Monthly Magazine, vol. 45, June to November, 1872, p. 206
M. J. Doell, Die Sammlung Cesnola (Mémoires de l’Académie impériale des sciences de Saint-Pétersbourg, vol. XIX,
no. 4), 1873, pl. VII, fig. 15
Luigi Palma di Cesnola, Charles William King, and Alexander Stuart Murray, Cyprus: Its Ancient Cities, Tombs, and
Temples: A Narrative of Researches and Excavations during Ten Years' Residence as American consul in that Island
, New York, 1878, p. 229, illus. (engraving)
The Metropolitan Museum of Art, New York, Sculptures of the Cesnola Collection of Cypriote Antiquities in the east
entrance hall and north aisle, 1880, p. 48, no. 1137 (N. A. 35 .z)
Henri de Morgan, “L.P. di Cesnola et ses prétendues découvertes archéologiques à Soli,” in L’homme. Journal illustré
des sciences anthropologiques, no. 21, November 10th, 1884, pp. 642-643
L. Palma di Cesnola, A descriptive Atlas of the Cesnola Collection of Cypriote Antiquities in the Metropolitan Museum
of Art, vol. 1, New York, 1885, no. 903, pl. CXXII (photograph)
The Metropolitan Museum of Art, The stone sculptures of the Cesnola collection of Cypriote antiquities in halls 14, 18,
and 19, New York, 1904, p. 76, no. 1111
Salomon Reinach, Répertoire de la statuaire grecque et romaine, vol. II, Paris, 1908, p. 270, no. 7 (line drawing)
Maarten Jozef Vermaseren, Corpus Cultus Cybelae Attidisque (CCCA): Italia, Leiden, 1977, p. 227, no. 722, fig. 25
(line drawing).
Iris Love, Ophiuchus Collection, Florence, 1989, pp. 68-69, cat. no. 11
CATALOGUE NOTE
According to Cesnola himself (op. cit., 1878, p. 229), he unearthed the present statue in Karavostasi on the site of
ancient Soli on Cyprus, on a slope extending up from the left bank of the river Clarios, "in the area" of a ruin which he
describes as "the foundations of a circular building with a cave beneath it, which seems to have been a little temple.
These foundations consist of huge blocks of limestone quarried from the neighbouring hills. In the area of this ruin I
found, besides several fragments of columns and capitals in marble and granite, an oblong marble slab with a Greek
inscription, much injured, but containing the names of Soli and of the Pro-Consul Paulus, most probably the Sergius
Paulus who is mentioned in the Acts of the Apostles. In the same area I discovered a headless figure of Cybele in
pure white marble. These maybe the ruins of a temple of Cybele." Several Roman temples were excavated
scientifically many decades later in Soli by a Finnish team of archaeologists (see A. Westholm, The Temples at Soli:
Studies in Cypriote Art during the Hellenistic and Roman Periods, Stockholm, 1936).
In a thoroughly documented indictment of the veracity and trustworthiness of Cesnola's account, Henri de Morgan (
op. cit., 1884) pointed out the following: a) an unpublished album entitled Photographs of Antiquities from the Island of
Cyprus, then in the possession of George R. Halm, contained a plate (LXVI) illustrating the present statue with a
hand-written note by Cesnola himself: "A headless marble statue of Kybele found at Salamine. Archaeological
Discoveries at Cyprus, 1869" (Salamis is 65 miles away from Soli); b) a German archaeologist in Cyprus named Max
Ohne-falsch Richter wrote to de Morgan that he knew someone in Larnaca who was ready to testify under oath that
the statue had been for a long time in his family before he gave it to Cesnola, and that it had been presumably found
on the island of Cyprus.
Fig. 1
1878 Engraving from Cyprus: Its Ancient Cities, Tombs, and
Temples, by Luigi Palma di Cesnola
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LOT 27
A ROMAN MARBLE FIGURE OF SLEEPING EROS WITH THE ATTRIBUTES OF
HERAKLES, CIRCA LATE 1ST CENTURY A.D.
based on a Hellenistic prototype, circa 2nd Century B.C., lying on his wing with his head
resting on his left forearm and quiver, legs crossed, a club in his left hand, and wearing the
lion skin drawn as a cap over the head and knotted on the chest, his bow at his side; the
proper right foot and top edge of the proper left wing once restored in marble.
Length 31 in. 78.7 cm.
PROVENANCE
European private collection, 18th Century or earlier (based on the restoration techniques)
French private collection, Paris, acquired in the early 1980s
CATALOGUE NOTE
The present sculpture falls within a specific category of sleeping erotes classified as the Bergamo-Vienna type, which
is represented by seven other known examples (see M. Söldner, Untersuchungen zu liegenden Eroten in der
hellenistischen und römischen Kunst, Frankfurt am Main, 1986, vol. 2, pp. 638ff., cat. nos. 77-83). For a related
related example in the Museo dei Conservatori in Rome, inv. no. 936, see H. Stuart Jones, The Sculptures of the
Palazzo dei Conservatori, Oxford, 1926, p. 88, no. 25, pl. 32 (http://arachne.uni-koeln.de/item/objekt/26194).
The two versions thought to be closest to the original Hellenistic prototype are in a private collection in Bergamo and
in the Kunsthistorisches Museum, Vienna, inv. no. I 1426 (K. Lange, Der Schlafende Amor des Michelangelo, Leipzig,
1898, illus. p. 22 and fig. 2, respectively). Another example, once at Whitehall in London (see the late 17th Century
drawing in Lange, op. cit., p. 52, upper left corner) is thought to have to have been lost in a fire and might have
been the famous fake Sleeping Cupid created by Michelangelo in 1496 when he was 20 years old. Yet
another version once thought to be Michelangelo's creation, this one clearly not ancient, is in Turin (see Lange, op. cit
, p. 19, and C.M. Brown, "The Erstwhile Michelangelo Sleeping Cupid in the Turin Museo di Antichità," Journal of the
History of Collections, vol. 5/1, 1993, pp. 59-63).
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LOT 28
A MARBLE TORSO OF THE KNIDIAN APHRODITE, ROMAN IMPERIAL, CIRCA
1ST CENTURY A.D.
the goddess bending slightly forward, her hip and thigh with remains of tenons for the right
arm and hand, traces of the support visible on the left thigh.
Height 13 1/2 in. 34.3 cm.
PROVENANCE
Matthias Komor, New York, by 1957
Edwin L. Weisl, Jr. (Sotheby Parke Bernet, New York, May 19th, 1979, no. 225, illus.)
Sotheby's, New York, May 20th, 1982, no. 146, illus.
EXHIBITED
University of Indiana Museum, Bloomington
The Brooklyn Museum, inv. nos. L76.11.25 and TL1976.89.25, from 1976 to March 1979
LITERATURE
Vogue Magazine, September 1957, p. 260, illus.
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LOT 29
A MARBLE FIGURE OF THE CAPITOLINE APHRODITE, ROMAN IMPERIAL,
1ST/2ND CENTURY A.D.
after a late Hellenistic work ultimately inspired by the Aphrodite of Knidos, the goddess
standing on an oval base with the weight on her left leg, her hair falling in long wavy curls
over the shoulders, the support in the form of Eros riding a dolphin atop a rocky outcrop,
the young god grasping the dorsal fin with his left hand, the neck carved for insertion.
Height 26 1/2 in. 67.3 cm.
ESTIMATE 180,000-220,000 USD
PROVENANCE
French private collection ("Ancienne collection X")
Hôtel Drouot, Paris, Maître Albinet - André Le Véel Expert, Argenterie ancienne du XVIIIe siecle. Faiences anciennes
de Delft. Sieges et Meubles du XVIIIe. Importante Commode en laque d'epoque Louis XV estampillee de Dubois.
Sculpture antiques. Ceramique de la Chine. Pierres dures de la Chine, May 4th-5th, 1965, no. 97)
Pierre (1927-2002) and Denise Lévy, Troyes, acquired at the above sale (Boisseau-Pomez SARL, Troyes, Vente
Succession Pierre Lévy: Arts Primitifs, Archéologie, Tableaux, February 1st, 2007, no. 362, illus.)
CATALOGUE NOTE
Alsatian-born industrialist Pierre Lévy and his wife Denise were known as major art patrons in France in general, and
in the city of Troyes in particular, close to which their textile factory (Devanlay) was and still is located. Through a gift
of more than 2000 works of art, they made it possible for the city to build a Museum of Modern Art, which opened in
1982. Their collection was exhibited in Paris prior to the opening: Donation Pierre Lévy: February 16th - April 16th,
1978, Orangerie des Tuileries, Paris, 1978. Pierre Lévy published several books on art collecting, among which are
Des artistes et un collectionneur (Paris, 1976) et L’art ou l’argent (Paris, 1982).
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LOT 30
AN ATTIC BLACK-FIGURED AMPHORA OF PANATHENAIC SHAPE,
ATTRIBUTED TO CLOSE TO THE PRINCETON GROUP, CIRCA 540 B.C.
painted on one side with Athena Promachos between two columns each surmounted by an
owl, and on the other side with a kithara player standing on a stepped podium between two
seated draped youths, linked lotus buds and palmettes on the neck, the details in added
red.
Height 15 1/2 in. 39.4 cm.
PROVENANCE
William Henry Fox Talbot (1800-1877), Lacock Abbey, Wiltshire
English private collection, by descent (Christie's, London, October 27th, 2009, no. 187, in fragments)
CATALOGUE NOTE
William Henry Fox Talbot was the inventor of the negative/positive photographic process. This amphora was
photograped by him in its fully restored state. The original image, much faded and very indistinct, is now in the British
Library, London.
For two related examples in The Metropolitan Museum of Art see M. B. Moore, "The Princeton Painter in New York",
Metropolitan Museum Journal, vol. 42, 2007, p. 29, figs. 14-15, and 36, figs. 23-25 (inv. no. 1989.281.89, also with a
musical contest on its reverse, attributed by Dietrich von Bothmer to the Princeton Painter, and a full-size Panathenaic
amphora by the artist, inv. no. 53.11.1).
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LOT 31
AN ATTIC RED-FIGURED KYLIX, ATTRIBUTED TO THE WEDDING PAINTER,
CIRCA 470-460 B.C.
the tondo decorated with two himation-clad youths, one leaning on a staff, the exterior
painted on each side with a woman holding a mirror between two youths, a palmette in
each handle zone, the inscription, "Ho pais kalos" painted on the interior and exterior,
details in added red.
Diameter 9 1/4 in. 23.5 cm.
PROVENANCE
Edward Wigan, acquired prior to the 1960s
The Folio Society, Ltd., London
English private collection, acquired from the above in 1966
Bonhams, London, October 6th, 2010, no. 86, illus.
acquired at the above sale by the present owner
CATALOGUE NOTE
In a 1966 letter, Robert M. Cook, then professor of Classical archaeology at Cambridge University, attributed this cup
to the Group of the Penthesilea Painter.
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LOT 32
PROPERTY FROM THE COLLECTION OF MIRIAM AND IRA D. WALLACH
AN ATTIC RED-FIGURED LEKYTHOS, ATTRIBUTED TO THE BOWDOIN
PAINTER, 480-470 B.C.
with disk foot and convex handle, the body decorated with Nike in flight holding a phiale
and pouring a libation over a burning altar, black-figured linked palmettes on the shoulder,
tongues below the neck, meander below the scene, two echeloned rows of dots above; the
details in added red wash.
PROVENANCE
Bronisaw Huberman (1882-1947)
J.J. Klejman, New York, May 21st, 1965
EXHIBITED
Österreichisches Museum für Kunst und Industrie, Vienna, 1933-1935, loan no. 127
CATALOGUE NOTE
For closely related scenes on lekythoi by the Bowdoin Painter, see Beazley Archive Pottery Database, nos. 12565
(Frankfurt), 207924 (Athens), 207964 (Leiden, Rijksmuseum van Oudheden), etc.
On the underside is an old rectangular white label typwritten "Leihgabe 127," and a more recent carefully handwritten
rectangular white label (Klejman's) containing provenance and attribution information.
The great Polish violinist Bronisaw Huberman at age 14 performed the Brahms Violin Concerto in the presence of the
composer. A lifelong friend of the pianist Artur Rubinstein, he resigned from the Vienna State Academy in 1936 and
used his musical talent and renown for humanitarian purposes, establishing the Palestine Philharmonic Orchestra in
Tel Aviv and ultimately saving the lives of hundreds of Jews by providing them with immigration paperwork, as well as
by financially sponsoring their resettlement in Tel Aviv. The Palestine Philharmonic Orchestra is known today as the
Israel Philharmonic Orchestra.
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LOT 33
A LUCANIAN RED-FIGURED BELL KRATER, ATTRIBUTED TO THE PISTICCI
PAINTER, CIRCA 440-430 B.C.
painted on one side with a Nike standing between two athletes and awarding a fillet to one
holding a strigil, and on the other side with three draped youths, two holding staffs.
Height 13 9/16 in. 34.4 cm.
PROVENANCE
Sotheby's, London, October 27th, 1980, no. 276
Sotheby's London, May 18th, 1981, no. 402, illus.
MPB Collection, Stockholm, inv. no. 75
Private collection, Cambridge, Massachusetts
LITERATURE
A.D. Trendall, Red-Figured Vases of Lucania, Campania and Sicily, Sup. 3, 1983, p. 7, no. 43A
Art of the Ancient World, Royal-Athena Galleries, vol. XV, 2004, no. 109, illus.
Royal-Athena Galleries, New York, One Thousand Years of Ancient Greek Vases II, 2010, no. 158, illus.
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LOT 34
A MARBLE PLINTH, LEG, AND CUIRASS FROM A MONUMENTAL STATUE OF
ARES, ROMAN IMPERIAL, EASTERN MEDITERRANEAN, CIRCA 1ST
CENTURY A.D., OR EARLIER
the god formerly standing on his right leg against a cuirass or tropaion, the cuirass with
shoulder strap, gorgoneion in relief on the thorax, one row of pteryges, and kilt made of
leather lappets.
PROVENANCE
Belgian private collection, acquired circa 1970
CATALOGUE NOTE
For a related example see the statue of Mars Ultor in the Musée Archéologique de Cherchell, inv. no.
174 (http://arachne.uni-koeln.de/item/objekt/4364).
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LOT 35
THE FRONT OF A MONUMENTAL ACROLITHIC MARBLE RIGHT FOOT,
HELLENISTIC/EARLY ROMAN, CIRCA 1ST CENTURY B.C./EARLY 1ST
CENTURY A.D.
from a cult statue, wearing a sandal with ivy leaf at the center of the straps, the outer side
strap emerging from a voluted motif, the underside hollowed out and scored.
PROVENANCE
French private collection, Paris, acquired at Drouot in the early 1970s (Hôtel Drouot, Paris, Piasa, Mobilier et objets
d'art, November 28th, 2012, no. 36, illus.)
CATALOGUE NOTE
For a related colossal Acrolithic foot from Alexandria in the British Museum, unshod but with similar treatment of the
arching of the nails, see C.A. Picón, "Big Feet", Archäologischer Anzeiger, 1983, fasc. 1, p. 99, fig. 6.
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 36
A ROMAN MARBLE TORSO OF A YOUTH, CIRCA 1ST CENTURY A.D.
based on a 4th Century B.C. Greek prototype by Praxiteles, standing with the weight on his
right leg, a puntello on the right thigh, remains of drapery on the left hip.
Height 12 1/4 in. 31.1 cm.
PROVENANCE
Biff Agee, Houston, Texas, acquired in the 1980s
Lewis and Maese, Houston
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LOT 37
PROPERTY FROM THE ESTATE OF ROBERT ROUGH, SOLD TO BENEFIT OCCIDENTAL
COLLEGE
A MARBLE TORSO OF APOLLO, ROMAN IMPERIAL, CIRCA 1ST/2ND
CENTURY A.D.
probably after a Greek work of the 5th Century B.C., standing and wearing a chlamys
fastened at the right shoulder and falling in long folds over his back, remains of an iron
tenon behind his fragmentary left shoulder, a large rectangular mortise on the cloak
adjacent to his right arm.
PROVENANCE
Estate of R.A. McKinnon, Santa Barbara, California (Parke-Bernet Galleries, New York, November 5th, 1971, no. 293,
illus.)
acquired by Robert Rough at the above sale
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 38
A MARBLE FIGURE OF PAN, ROMAN IMPERIAL, EASTERN
MEDITERRANEAN, CIRCA LATE 1ST CENTURY B.C./EARLY 1ST CENTURY
A.D.
based on a Greek original of the 4th Century B.C., the goat-legged deity standing against a
tree-trunk support on a cylindrical base with his left leg forward and holding the syrinx in
his left hand, and wearing a tightly wrapped goat (?) skin enveloping his right hand, his
wavy beard visible above the garment.
Height 32 1/2 in. 82.6 cm.
PROVENANCE
French private collection
Belgian private collection, circa 1950
CATALOGUE NOTE
For three almost identical examples based on the same classical Greek original see N. Kaltsas, Sculpture in the
National Archaeological Museum, Athens, Los Angeles, 2002, p. 263, no. 550 (inv. no. 251, from Sparta; see
Arachne, no. 926: http://arachne.uni-koeln.de/item/objekt/926), H. Stuart Jones, A Catalogue of the Ancient
Sculptures. The Sculptures of the Museo Capitolino, Oxford, 1912, pp. 69f., no. 18, pl. 13 (inv. no. 199), and L. Budde
and R. Nicholls, A Catalogue of the Greek and Roman Sculpture in the Fitzwilliam Museum Cambridge, Cambridge,
1964, pp. 26-27, no. 49, pl. II (inv. no. GR.4.1865: "from a garden below the grotto of Pan at the foot of the Acropolis
of Athens").
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LOT 39
A MARBLE HEAD OF ZEUS, ROMAN IMPERIAL, LATE 1ST/2ND CENTURY
A.D., ON AN 18TH CENTURY BUST
turned slightly to his right, his face with luxuriant beard and moustache, full parted lips,
and prominent brow, his long wavy hair spiraling from the crown, bound in a diadem,
raised in twin locks over the forehead, and falling in long deeply drilled curls down over the
nape of the neck.
Total height 11 3/8 in. 28.9 cm
PROVENANCE
European private collection, 18th Century (based on the restorations)
Rome art market, 1934 or earlier
Nice, France art market
LITERATURE
http://arachne.uni-koeln.de/item/marbilderbestand/1059146 (Deutsches Archäologisches Institut, neg. no. 1934.1677,
logged in on October 24th, 1934)
CATALOGUE NOTE
An old label on the front of the base reads "136." The old photograph shows the bust mounted on a circular white
marble socle typical of the 18th century.
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LOT 40
A ROMAN GRAYWACKE FIGURE OF A DEITY, 1ST/2ND CENTURY A.D.
perhaps Isis, standing with the weight on her right leg, her left arm originally close to the
side, her right arm free from the body and strengthened with a puntello at the hip, and
wearing a long chiton with overfold, belted below the breasts, and fastened at the
shoulders, the missing head formerly carved separately and attached with a pin, a broad
tenon below her feet scored and tapered for insertion into a base.
PROVENANCE
French private collection, Paris, acquired in the 1950s
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LOT 41
COLLEGE
A ROSSO ANTICO HERM HEAD OF HERAKLES, ROMAN IMPERIAL, CIRCA
1ST CENTURY A.D.
turned to his left, with thick curly beard and hair, his expressive face with parted lips,
recessed eyes, and gnarled brow beneath a wreath of grape leaves.
PROVENANCE
Koller Collection
Königliche Museen zu Berlin, from at least 1891 until 1945
New York private collection (Sotheby Parke Bernet, New York, December 14th, 1978, no. 255, illus.)
LITERATURE
Königliches Museum. Abteilung antiker Skulpturen und Gipsabgüsse. Inventar der Skulpturen I. N. 1-1000 ,
Berlin,1884, p. 56, no. 192
Königliche Museen zu Berlin. Verzeichnis der Antiken Skulpturen mit Ausschluss der pergamenischen Fundstücke,
herausgegeben von der Generalverwaltung, Berlin, 1885, p. 39, no. 192
A. Conze, Königliche Museen zu Berlin. Beschreibung der antiken Skulpturen mit Ausschluss der pergamenischen
Fundstücke, Berlin, 1891, p. 82, no. 192, illus.
R. Kekulé von Stradonitz, Die griechische Skulptur, 2nd ed., Berlin, 1907, p. 284
H. Gregarek, “Untersuchungen zur kaiserzeitlichen Idealplastik aus Buntmarmor,” Kölner Jahrbuch für Vor- und
Frühgeschichte, vol. 32, 1999, p. 251, cat. no. E45
M. Miller, Staatliche Museen zu Berlin. Dokumentation der Verluste. Antikensammlung, vol. V.1, Berlin, 2005, 40, no.
SK 192, wrong illus.
CATALOGUE NOTE
Cf. G.A. Mansuelli, Galleria degli Uffizi, Le Sculture, part I, Rome, 1958, no. 184.
The back of the herm is inscribed in 18th Century hand “Saturno”.
Fig. 1
A. Conze, Königliche Museen zu Berlin. Beschreibung der antiken

Skulpturen mit Ausschluss der pergamenischen Fundstücke,
2nd ed., Berlin, 1891, p. 82, no. 192.
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LOT 42
PROPERTY FROM THE COLLECTION OF DAVID C. COPLEY, LA JOLLA, CALIFORNIA
A FRAGMENTARY ROMAN MARBLE HEAD OF A YOUTH, 1ST/2ND CENTURY
A.D.
based on a Polykleitan prototype of the mid 5th Century B.C., probably the Ephebe
Westmacott, turned to his right, his face with slightly parted lips.
PROVENANCE
Doris Duke (1912-1993), Hillsborough Township, New Jersey (Christie's, New York, The Doris Duke Collection, June
3rd, 2004, no. 383, illus., as Greek 4th Century B.C.)
CATALOGUE NOTE
Cf. Polyklet: der Bildhauer der griechischen Klassik, Mainz am Rhein, 1990, pp. 591-594, cat. nos. 110-116.
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 43
A FRAGMENTARY MARBLE HEAD OF A YOUTH, CIRCA 2ND CENTURY A.D.,
RESTORED IN THE 18TH CENTURY
possibly Apollo, turned slightly to his right, with parted lips and almond-shaped eyes with
drilled inner corners, his wavy hair parted in the center, falling in rich, deeply drilled curls
over the forehead, brushed back over the ear, and bound in a fillet; the neck and back of
the head restored in marble; mounted on an 18th century white marble socle and plinth.
Total height 16 3/4 in. 42.5 cm.; Height of head 8 1/2 in. 21.6 cm.
PROVENANCE
René Withofs, Brussels
Belgian private collection, acquired from the above in the late 1970s/early 1980s
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 44
A ROMAN BRONZE FURNITURE LEG, CIRCA EARLY 2ND CENTURY A.D.
in the form of a lion leg resting on a frog, the terminal composed of a figure of Eros
emerging from a calyx of acanthus leaves, the young god pouring a libation from a vessel
in his right hand into a shell in his left, his eyes with indented pupils, a circular hole on the
crown of his head.
PROVENANCE
Henry J. Pfungst (1844-1917), F.S.A., 44 Cleveland Square, Hyde, Park, London
Richard W. Norton (1886-1940)
Ernest Brummer, New York, acquired in 1945 (Galerie Koller, Luzern, and Spink & Son, Zurich, The Ernest Brummer
Collection, vol. II: Ancient Art, auction at the Grand Hotel Dolder, Zurich, October 16th-19th, no. 566, illus.)
LITERATURE
Exhibition of Ancient Greek Art, catalogue of the exhibition at the Burlington Fine Arts Club, London, 1904, p. 58
CATALOGUE NOTE
For a closely related example from Pompeii see Società Anonima Chiurazzi, Catalogo, Naples, n.d., no. 603 (Naples
Museum, inv. no. 126172). Also see H.B. Walters, Catalogue of the Bronzes, London, 1899, no. 1161, for a related
example in the British Museum.
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LOT 45
A ROMAN BRONZE FIGURE OF ISIS-APHRODITE, SYRIA, CIRCA 2ND
CENTURY A.D.
standing on a stepped semi-circular base with her weight on the right leg and holding her
girdle in her right hand, her head turned to her left, her centrally parted wavy hair falling in
corkscrew curls over her shoulders, arranged in a chignon in back, and surmounted by a
stephane crowned with palmettes flanking a tall headdress composed of a horned sun-disk
and twin feathers, a figure of Eros probably once standing to her left.
Height with base 10 7/8 in. 27.6 cm.
PROVENANCE
CATALOGUE NOTE
For a related Syrian figure of Isis-Aphrodite standing alone in the same pose on a circular base see A. de Ridder,
Collection de Clercq, vol. III: Les bronzes, Paris, 1904, pl. 17, no. 97. Also see "Isis," in Lexicon Iconographicum
Mythologiae Classicae, vol. V, Munich, 1990, p. 780, no. 250d, illus.
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LOT 46
AN ETRUSCAN NENFRO PORTRAIT HEAD OF A MAN, LATE 2ND/EARLY 1ST
CENTURY B.C.
from an over life-size figure of a man reclining on the lid of a sarcophagus, with strong
neck, prominent Adam's apple, dimpled chin, deep folds flanking the mouth, aquiline nose,
and furrowed brow, his short straight hair radiating from the crown and bound in a broad
cylindrical diadem; remains of black pigment on the face, red on the lips and eyelids, and
yellow on the diadem.
Height 15 1/4 in. 38.7 cm.
PROVENANCE
Wladimir Rosenbaum, Galerie Serodine, Ascona, late 1960s
Arete, Galerie für antike Kunst, Zürich, inv. no. 1052, acquired from the above in 1972
acquired from the above by the family of the present owner on April 28th, 1972
CATALOGUE NOTE
In a note dated February 28th, 1969, Hans Jucker compares the present head with three other examples published by
R. Herbig (Die Jüngeretruskische Steinsarkophage, Berlin, 1952, nos. 66, 243, and 245). In a 1980 letter, Denis
Haynes, then head of the department of Greece and Rome at the British Museum, suggests that this head could
possibly originate from one of the four sarcophagi formerly in the possession of the Marchesa Ferrajoli in Rome (see
R. Herbig, op. cit., p. 74).
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LOT 47
A SARDONYX CAMEO OF CALIGULA AND ANTONIA MINOR, ROMAN
IMPERIAL, JULIO-CLAUDIAN, CIRCA A.D. 37-41
finely carved with the portrait busts of Caligula and Antonia Minor, the young man wearing
a tunic and toga, his head turned slightly to his left, his hair falling in crescentic locks over
the forehead and surmounted by a laurel wreath, Antonia wearing a tunic and mantle drawn
over her head as a veil, her head turned slightly to her right, her wavy hair parted in the
center and bound in a diadem; the gold mount probably mid-19th Century.
1 1/3 by 1 1/2 in. 3.3 by 3.8 cm.
ESTIMATE 300,000-500,000 USD
PROVENANCE
Carlo Trebi, Rome, by 1831
Ignazio Vescovali (1770-1850), 20 Piazza di Spagna, Rome, by 1834
Félix Bienaimé Feuardent (1819-1907), Paris
Feuardent family collection, Paris (Hôtel Drouot, Boisgirard & Associés, Ancienne Collection Feuardent: bijoux –
camées – intailles - objets de parure et montres, March 26th, 2004, no. 12, illus.)
Phoenix Ancient Art, Geneva, acquired at the above sale
acquired by the present owner from the above in 2008
LITERATURE
Eduard Gerhard, "Monumenti gemmarii scoperti sin dal 1829," Bulletino dell’ Instituto di corrispondenza archeologica,
January 1831, p. 112, Centuria II, no. 79 (plaster cast listed as: "Augusto e Livia; cammeo presso il negoziante Carlo
Trebi")
Tommaso Cades, Impronte di monumenti gemmarj tornati in luce dal 1829 in poi. Centurie I-IV, Rome, [1834?], p. 12,
Centuria II, no. 79 (plaster cast listed as: "Augusto e Livia; cammeo presso il negoziante Vescovali")
Paul Delaroche, Henriquel Dupont, Charles Lenormant, and Achille Colas, Trésor de numismatique et de glyptique,
vol. 2, Paris, 1843, p. 10, cat. no. 2, pl. VI.2, as Augustus and Livia
Giornale ligustico di archeologia, storia e letteratura, vol. 5, 1878, p. 521, note
Wolf-Rüdiger Megow, Kameen von Augustus bis Alexander Severus, Berlin, 1987, p. 187-188, cat. no. A 65, pl. 14,10
(photograph of Cades plaster cast), as Caligula and Antonia Minor
Phoenix Ancient Art, Geneva, Crystal 2, New York, 2008, no. 11, illus.
CATALOGUE NOTE
This cameo is first recorded with certainty in 1831 in a published catalogue of plaster casts of ancient gems compiled
by Eduard Gerhard for the bulletin of the Istituto di corrispondenza archeologica in Rome, the predecessor of the
German Archaeological Institute. The artisan responsible for executing the cast was Tommaso Cades (1772-1840), a
Roman gem-engraver whom the Institute had hired to carry out a massive encyclopedic record of ancient gems known
to be in existence at the time (see E. Zwierlein-Diehl, Antike Gemmen und ihr Nachleben, Berlin and New York, 2007,
pp. 284-285). The complete set comprising thousands of casts is kept at the German Archaeological Institute in Rome
and fills 78 volumes, the 75th of which contains the present cameo as no. IV C 300 (Deutsches Archäologisches
Institut, Rome, neg. no. 5149). The Rheinische Friedrich-Wilhelms-Universität in Bonn owns a reduced edition of the
Cades collection of casts; we are grateful to Dr. Erika Zwierlein-Diehl for confirming that a cast numbered II,79 (i.e.
Gerhard’s number) in the University’s edition of the Cades collection reproduces the present cameo.
The 1831 published catalogue entry describes the cameo as depicting “Augusto e Livia” and specifies that it was then
in the hands of an otherwise unknown Italian art dealer named Carlo Trebi. A few years later, probably in 1834, in a
small undated catalogue published by Cades himself to supplement the 1831 version, the stone is said to be in the
possession of Ignazio Vescovali (1770-1850), one of the major art dealers of his time who specialized in ancient gems
and other antiquities (see T. Ceccarini and A. Uncini, “Antiquari a Roma nel primo Ottocento: Ignazio e Luigi
Vescovali,” Bollettino - Monumenti, musei e gallerie pontificie, vol. 10, 1990, pp. 115-185, Michaelis Stephen L.
Dyson, In Pursuit of Ancient Pasts: A History of Classical Archaeology in the Nineteenth and Twentieth Centuries,
New Haven, 2006). His name is best remembered today as the one given to a Greek original statue of Athena lost to
posterity, but known from several Roman marble copies (W. Schürmann, “Der Typus Athena Vescovali und seine
Umbildungen,” Antike Plastik, vol. 27, 2000, pp. 37 ff., pls. 20-49).
Napoleon Bonaparte's testament, opened at his death in 1821, records a gold snuffbox decorated with an ancient
cameo of Augustus and Livia in "agate d'onyx," "le seul qui existe" (Marquis de Monchenu, La captivité de Saint-
Hélène, Paris, 1894, p. 321, no. 14; F. Masson, Napoléon chez lui: la journée de l'empereur aux Tuileries, Paris,
1906, p. 348, no. 8). He bequeathed this snuffbox, along with 32 others, to his son Lucien Bonaparte (1775-
1840), who spent the last years of his life in exile in Italy and is known for his activities as an amateur archaeologist
(M. Gregori, Luciano Bonaparte: le sue collezioni d'arte, le sue residenze a Roma, nel Lazio, in Italia, 1804-1840,
Rome, 1995).
For a related sardonyx cameo showing a Julio-Claudian couple, originally in the collection of Count Tyszkiewicz in
Rome, sold at auction in Paris by Feuardent in 1898, and now in the Museum of Fine Arts, Boston (inv. no. 98.754),
see Megow, op. cit., p. 187, no. A 64, pl. 14,9 (http://www.mfa.org/collections/object/cameo-with-portrait-busts-of-an-
imperial-julio-claudian-couple-186401).
Fig. 1
Upper row, second from left: plaster cast of the present cameo,
executed in Rome, circa 1829 by Tommaso Cades (1772-1840),
presently in the collection of the Bonn Institute
Fig. 2
Upper row, second from left: plaster cast of the present cameo,
executed in Rome, circa 1829 by Tommaso Cades (1772-1840),
presently in the collection of the Deutsches Archäologisches Institut
in Rome
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LOT 48
COLLEGE
A MARBLE HEAD OF A YOUTH, ROMAN IMPERIAL, TRAJANIC, CIRCA A.D.
98-117
his head turned to his right, with large wide-set eyes, his long wavy hair brushed forward
and falling in crescentic locks over the forehead and above the nape of the neck, remains
of an iron tenon on the flat unworked back, the nose formerly restored in marble.
PROVENANCE
New Jersey Private Collection (Sotheby Parke Bernet, New York, May 19th, 1979, no. 229, illus.)
CATALOGUE NOTE
Cf. V. Poulsen, Les Portraits Romains, vol. II, Copenhagen, 1974, pl. XCI, 55.
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LOT 49
A ROMAN MARBLE PORTRAIT HEAD OF A YOUTH, JULIO-CLAUDIAN, CIRCA
1ST HALF OF THE 1ST CENTURY A.D.
turned to his right, his hair falling in comma-shaped locks over the forehead and over the
nape of the neck, curls escaping before the ears, the crown of the head once carved
separately and now missing, possible remains of drapery against the left side of the neck.
Height 11 1/2 in. 29.2 cm.
PROVENANCE
French family collection, since the 1960s
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LOT 50
A MARBLE PORTRAIT HEAD OF FAUSTINA THE YOUNGER, ROMAN
IMPERIAL, A.D. 147-149
the daughter of Antoninus Pius and Faustina the Elder depicted at age 17, originally turned
slightly to her left, with oval face and heavy-lidded eyes with incised irises and drilled
crescentic pupils, her centrally-parted hair arranged in two overlapping lobed curls on
either side of the forehead, brushed back over the ears, bound in a narrow braid beginning
at the top of the head and pulled tightly back and into six plaits gathered in a circular
chignon.
PROVENANCE
French private collection, acquired in Paris in the 1950s
French private collection, by descent
CATALOGUE NOTE
The main and most canonical example of this portrait type, the first one in the chronology of Faustina's portraits, is in
the Museo Capitolino in Rome, inv. no. 449 (K. Fittschen – P. Zanker, Katalog der römischen Porträts in den
Capitolinischen Museen und den anderen kommunalen Sammlungen der Stadt Rom, vol. 3., Mainz, 1983, pp. 20 f.,
cat. no. 19, pl. 24-26: http://arachne.uni-koeln.de/item/objekt/16300).
The present head shows a slight departure from the main type in the arrangement of the hair above the ears, a
variation known only from two other heads: Glyptothek, Munich, inv. no. 408 (http://arachne.uni-
koeln.de/item/objekt/37547), and Palazzo Colonna, Rome (both grouped under Type 1, variant c, by K. Fittschen, Die
Bildnistypen der Faustina minor und die Fecunditas Augustae, Göttingen, 1982, pp. 46-47 [both heads are illustrated
on pl. 13]).
There is an old label printed "U" on the plaster neck.
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LOT 51
PROPERTY FROM A BRITISH PRIVATE COLLECTION
A MONUMENTAL MARBLE FIGURE OF AN EMPEROR, ROMAN IMPERIAL, MID
1ST CENTURY A.D., RESTORED IN THE 18TH/EARLY 19TH CENTURY AS THE
EMPEROR LUCIUS VERUS
standing against a palm-tree trunk with the weight on his left leg, and wearing a tunic under
a leather corselet with fringed lappets falling at the waist, and cuirass, the breastplate
decorated in relief on the chest with a gorgoneion, on the abdomen and back with two pairs
of confronted Nereids riding sea creatures and each carrying an element of Achilles' armor,
and below the navel with a female figure seated on a rocky outcrop and holding billowing
drapery, each shoulder-blade carved with a scrolling acanthus tendril; the head, arms, legs,
mantle, and other elements restored.
ESTIMATE 400,000-600,000 USD
PROVENANCE
Duke Luigi Braschi Onesti (1745-1816), nephew of Pope Pius VI, Rome
by descent to his son, Duke Don Pio Braschi Onesti (1804-1864), Rome
Richard Temple-Nugent-Brydges-Chandos-Grenville (1776-1839), 1st Duke of Buckingham and Chandos, Stowe,
Buckinghamshire, acquired from the above circa 1829
Richard Plantagenet Temple-Nugent-Brydges-Chandos-Grenville (1797-1861), 2nd Duke of Buckingham and
Chandos, Stowe, Buckinghamshire (Christie, Manson, and Woods, Contents of Stowe House, August 15th, 1848, lot
17)
William Wakeford Attree, acquired at the above sale
William Lowther (1787-1872), 2nd Earl of Lonsdale, Lowther Castle, Penrith, Cumberland
then by descent to Lancelot Lowther (1867-1953), 6th Earl of Lonsdale (Maple & Co., Ltd., and Thomas Wyatt,
Penrith, Cumberland, Lowther Castle, near Penrith, Cumberland. The Major Part of the Earl of Lonsdale's Collection,
April 29th-May 1st, 1947, lot 2287)
English private collection, acquired at the above sale
LITERATURE
Stowe. A Description of the House and Gardens of the Most Noble Richard Grenville Nugent Chandos Temple, Duke
of Buckingham & Chandos, London, 1832, p. 36
George Lipscomb, The History and Antiquities of the County of Buckinghamshire, vol. 3, London, 1847, p. 8
Henry Rumsey Forster, The Stowe Catalogue Priced and Annotated, London, 1848, p. 264, no. 17
Adolf Michaelis, Ancient Marbles in Great Britain, Cambridge, 1882, p. 490-491, no. 13 (misidentified as lot no. 19 in
the 1848 Stowe sale, a statue of Marcus Aurelius, and therefore given the wrong provenance: “from the Villa of
Alexander Severus, near the Via Ostiense.”)
Warwick Wroth, “Imperial Cuirass-Ornamentation and a Torso of Hadrian in the British Museum,” Journal of Hellenic
Studies, vol. VII, 1886, p. 134, no. 67
Anton Hekler, Jahreshefte des Österreichischen archäologischen Instituts in Wien, vol. 19-20, 1919, p. 221, no. 8
Max Wegner, Die Herrscherbildnisse in antoninischer Zeit (Das römische Herrscherbild 2, 4), Berlin, 1939, pp. 181
and 233
Poulsen, in P. Arndt - W. Amelung, eds., Photographische Einzelaufnahmen Antiker Sculpturen (1892-1947), no.
3076
Cornelius Vermeule and Dietrich v. Bothmer, “Notes on a New Edition of Michaelis: Ancient Marbles in Great Britain.
Part Three: 2,” American Journal of Archaeology, vol. 63, 1959, p. 334
Cornelius C. Vermeule, "Hellenistic and Roman Cuirassed Statues," Berytus, vol. 13, 1959/1960, p. 45, no. 91
Max Wegner, Boreas, vol. 3, 1980, pp. 47 and 60
Hugo Meyer, Kunst und Geschichte, Munich, 1983, pp. 138-139, note 74, pl. 6 (p. 181)
Átiqot, vol. 17, 1985, p. 151f.
Thomas Schäfer, Spolia et signa. Baupolitik und Reichskultur nach dem Parthererfolg des Augustus, Göttingen, 1998,
p. 44, note 163
Massimiliano Papini, Palazzo Braschi: La Collezione di Sculture Antiche, 2000, p. 91
D. Boschung - H. v.Hesberg, Die antiken Skulpturen in Newby Hall sowie in anderen Sammlungen in Yorkshire,
Wiesbaden, 2007, p. 161f.n, cat. no. S8, pls. 131 and 132, 1
Warwick Wroth, “Imperial Cuirass-Ornementation and a Torso of Hadrian in the British Museum,” Journal of Hellenic
Studies, vol. VII, 1886, p. 134, no. 67
Arachne, no. 18477 (http://arachne.uni-koeln.de/item/objekt/18477)
CATALOGUE NOTE
For a similarly decorated cuirassed torso in the Villa Borghese see P. C. Bol, ed., Forschungen zur Villa Albani.
Katalog der Bildwerke, vol. III, Berlin, 1992, pp. 369-370, note 21, and P. Moreno and A. Viacava, eds., I marmi antichi
della Galleria Borghese, Rome, 2003, p. 79, cat. no. 28 (http://arachne.uni-koeln.de/item/objekt/26019). For other
examples see K. Stemmer, Untersuchungen zur Typologie, Chronologie und Ikonographie der Panzerstatuen, Berlin,
1978, p. 33, cat. no. III 5 (Olympia) (http://arachne.uni-koeln.de/item/objekt/23930), p. 63, cat. no. V 12 (Copenhagen),
and p. 78, cat. no. VII 6 (Dresden). All seem to have been carved in the 1st century A.D.
The myth depicted on the cuirass refers to an episode in Homer's Iliad, when the great warrior Achilles loses his armor
to the Trojans, and his mother, the Nereid Thetis, convinces Hephaestus to forge a new set, which she delivers to him
with other Nereids. Whether the iconography of the cuirass has any symbolic meaning, such as a naval victory or
imperial domination over the seas, is far from certain (Stemmer, op. cit., p. 157).
The present statue was first recorded in 1832, three years after it was acquired by the Duke of Buckingham, as having
come from the Braschi family collection in Rome. According to Massimiliano Papini (op. cit., p. 15), the Braschi
collection of antiquities was entirely formed by the year 1799. On April 19th, 1816, immediately following Don Luigi
Braschi’s death, a detailed inventory was made of his collection at the family’s Palazzo located between the Corso
and the Piazza Navona in Rome. The statue in its present state is not included in this inventory. One possibility is that
it was then kept in one of the family’s other residences. A second possibility is that the ancient core of the statue had
not yet been restored, and that the ancient cuirassed torso alone is listed as the very last item in the inventory, a “
fragmento di una corazza antica, segnata col numero 127.”
If the latter is the case, the torso was restored as a complete statue between 1816 and 1829, when the Duke of
Buckingham brought it to England along with two Cippolino marble tazze or basins, which do appear in the 1816
Braschi inventory. All three items were displayed on the loggia at Stowe, along with other marble figures and groups,
an intricate mix of ancient and modern statuary (on the antiquities collection at Stowe, see Jonathan Scott, The
Pleasures of Antiquity, British Collectors of Greek and Rome, New Haven, 2003, pp. 259-260).
The contents of Stowe house were sold in 1848, and the present statue was purchased by William Wakeford Attree, a
lawyer who was likely a purchasing agent for the 2nd Earl of Lonsdale, in whose collection at Lowther Castle the
statue was next recorded. The Earl of Lonsdale was one of the richest men in England at the time, and among the last
collectors of ancient marble statuary in the fashion of the 18th century. His collection was housed in two galleries
which he had added to the castle in 1866 for this purpose. They both projected into the park at the back of the building
and are still standing (Jonathan Scott, op. cit, pp. 263-264).
One can hypothesize as to why a mid-1st Century A.D. cuirassed torso was restored as a statue of Lucius Verus. The
Antonine emperor is known as an efficient civil servant and a capable soldier, but his legacy is largely elevated by the
series of exceptional rulers with whom he is associated. Lucius served as co-emperor alongside Marcus Aurelius
between A.D. 161 and his untimely death in 169. Their rule was the last in a succession of so-called “adoptive
emperors” of the Antonine dynasty, rulers who were adopted by their predecessors. The prosperity of the Roman
Empire during this period is generally attributed to the careful selection of heirs to the throne. This occurred between
the infamous reigns of Nero and Commodus, who inherited power from their predecessors. Niccolò Machiavelli
termed this period of succession “Five Good Emperors” in his Discourses on the First Decade of Titus Livius.
This lot will be available for pick-up after the auction from a storage facility in Long Island City, NY. Beginning July 1st,
2013, the buyer will be liable for the payment of all storage and insurance charges at their standard rates.
Fig. 1
Detail of cuirassed torso forming the ancient core of lot 51 when the
statue was still at Lowther Castle. The photograph shows how some
of the restorations to the relief decoration, which were still extant
prior to 1947, are now missing due to prolonged exposure to the
elements in the 1950s and later (from Photographische
Einzelaufnahmen antiker Sculpturen, Munich, 1892-1947, no.
3076).
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LOT 52
A TERRACOTTA PLAQUE, EARLY ROMAN IMPERIAL, CIRCA LATE 1ST
CENTURY B.C./1ST HALF OF THE 1ST CENTURY A.D.
of Campana type, finely modeled in shallow relief with two ladies walking to right, each
personifying a season, Summer holding a garland in her right hand and poppies and sheafs
of wheat in her left hand, Spring holding a kid in her right hand and a basket of fruit in her
left hand, each wearing a chiton and himation, a festooned frieze surmounted by palmettes
above the scene, remains of pink, red, black, yellow, and green pigment over white gesso.
17 by 17 1/8 in. 43.2 by 43.5 cm.
PROVENANCE
Dr. Fritz Reinert (1912-1996), Vienna, acquired in the 1930s
German private collection, by descent circa 1978 (Gorny & Mosch, Munich, Auktion 202, December 14th, 2011, no.
305, illus.)
CATALOGUE NOTE
For a fragmentary example from the same series, in which the top of the heads of the figures overlap with the upper
molding, see H. von Rohden, Architektonische römische Tonreliefs der Kaiserzeit (Die antiken Terrakotten, vol. IV,1),
Berlin, 1911, p. 90, fig. 179 (Würzburg). Also see "Horae," Lexicon Iconographicum Mythologiae Classicae, vol. V,
1990, p. 511, no. 3 (British Museum).
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LOT 53
A MARBLE PILLAR, ROMAN IMPERIAL, AUGUSTAN, LATE 1ST CENTURY
B.C./EARLY 1ST CENTURY A.D.
in Neo-Attic style, slightly tapering, carved on one side in low relief with a flowering
acanthus plant, and on the other side in higher relief with a herm of Silenus surmounted by
two female season personifications each in the form of a woman wearing a chiton and
himation and walking to left with billowing drapery, Summer holding a garland in one hand
and sheaves of wheat in the other, Autumn carrying pomegranates and bunches of grapes
in the fold of her garment, each of the short sides decorated with a thyrsos.
Height 39 5/8 in. 100.6 cm.
PROVENANCE
Baron Valentin de Courcel (1838-1917), Villa Faustina, Promenade de la Croisette, Cannes, France, late 19th century
by inheritance to Madame Valentin de Courcel (d. 1923), Cannes (Baussy et Morot, Vente aux enchères des
sculptures de la Villa Faustina à Cannes, November 27th, 1923, no. 25: "Pilastre ou piédroit: le devant décoré d’un
dieu terme surmonté de deux personnages féminins tenant des fleurs, les côtés ornés de gaufrures. Marbre veiné.
Hauteur: 1 m; largeur 0.18 m.”)
CATALOGUE NOTE
For the acanthus motif cf. M. Mathea-Förtsch, Römische Rankenpfeiler und -pilaster, Mainz am Rhein, 1999, nos. 4
(Amsterdam) and 55 (Frascati). For closely related representations of the seasons see "Horae," Lexicon
Iconographicum Mythologiae Classicae, vol. V, 1990, p. 511, no. 3 (terracotta Campana reliefs), and the previous lot.
There is an old faded Italian inscription in pencil on the herm shaft.
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LOT 54
PROPERTY FROM A GERMAN PRIVATE COLLECTION
AN ONYX TABLE SUPPORT, ROMAN IMPERIAL, CIRCA 1ST CENTURY A.D.
from a trapezophoros, in the form of the head of a panther, the powerful jaws with teeth
bared.
Height 17 1/4 in. 43.8 cm.
PROVENANCE
Horst-Ulbo Bauer, Neuenhöfferaller 10, Cologne
Fritz Meyer-Stuckmann (1908-1984), Zeiss-Bogen 49, Essen-Bredeney, acquired from the above on May 20th, 1969,
on behalf of the current owner's father
CATALOGUE NOTE
For a related example in alabastro a pecorella cf. the Musei Capitolini, Centrale Montemartini, inv. no. M.C. 324 (M.
De Nuccio and L. Ungaro, eds., I marmi colorati della Roma imperiale, cat. no. 88). Also see P. Pensabene, Le vie del
marmo, Rome, 1995, p. 376, fig. 406 (alabastro fiorito).
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LOT 55
A ROMAN MARBLE SARCOPHAGUS LID FRAGMENT, 2ND HALF OF THE 3RD
CENTURY A.D.
carved in relief with a bust of the deceased looking to his right and holding a scroll in his
left hand, and wearing a toga with contabulatio, the curtain hanging behind him held up by
a satyr carrying a lagobolon, the fragmentary banquet scene at right with a man and part of
another figure lying on a semi-circular couch, the food served on a table in front.
29 by 11 3/4 in. 73.7 by 29.8 cm.
PROVENANCE
Australian art market, 1980s
Sotheby's, London, December 10th-11th, 1992, no. 413, illus. (shown before cleaning and restoration and mounted on
an old variegated marble base)
Donati Arte Classica, Lugano
Cahn Auktionen AG, Basel, Auktion 3, September 19th, 2008, no. 253, illus.
CATALOGUE NOTE
For 3rd Century A.D. sarcophagus lids showing similar banquet scenes, including some that may be Christian, see R.
Amedick, Die Sarkophage mit Darstellungen aus dem Menschenleben (Die Antiken Sarkophagreliefs, vol. 1, part 4),
Berlin, 1991, pls. 26-36. Also see N. Himmelmann, Typologische Untersuchungen an römischen Sarkophagreliefs
des 3. u. 4. Jahrhunderts n.Chr., Mainz, 1973, pp. 24ff., 57-66, pls. 44-49.
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LOT 56
A ROMAN MARBLE RELIEF THEATER MASK OF A SATYR, CIRCA LATE
probably from the right side of a pinax or rectangular oscillum, his face with full beard of
wavy and spiral curls, moustache, aquiline nose with restored tip, and gnarled brow, his
long deeply drilled hair raised above the forehead, tied in a fillet, and surmounted by a
wreath of ivy leaves and berries, the rippling ends of his fillet and an animal skin falling
over the rocky outcrop below.
PROVENANCE
European private collection, 18th/19th Century (based on restoration techniques and patina)
English private collection, 1990
Sotheby's, London, July 9th, 2008, no. 71 (as Italian, 15th/16th Century)
CATALOGUE NOTE
For related examples see P. C. Bol, ed., Forschungen zur Villa Albani. Katalog der Bildwerke, vol. IV, Berlin, 1994,
pp. 288f., cat. no. 481, pl. 167, and p. 291, cat. no. 498, pl. 168. On pinakes or "mask-reliefs" in general see the
comprehensive study by H.-J. Cain, "Maskenreliefs," in Bonner Jahrbücher, vol. 188, 1988, pp. 107-221, with multiple
illustrations.
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LOT 57
AN EGYPTIAN BLACK BASALT VASE, PREDYNASTIC PERIOD, NAQADA II,
CIRCA 3500-3200 B.C.
of ovoid form with splayed foot concave underneath, pierced lug handles, and fragmentary
everted rim.
PROVENANCE
Jean Loup Despras, Galerie Orient-Occident, Paris
Maurice Mathieu, acquired from the above, September 30th, 1976 (Drouot Richelieu, Paris, October 12th, 2012, no. 6,
illus.)
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LOT 58
TWO EGYPTIAN STONE VESSELS, 12TH/19TH DYNASTY, 1938-1190 B.C.
comprising an obsidian kohl jar with splayed foot, pyriform body, and broad disk rim
sheathed in gold in ancient or modern times, and a banded alabaster goblet with splayed
foot convex underneath, short stem, and deep rounded body with flaring rim.
Heights 1 and 4 1/2 in. 2.5 and 11.4 cm.
PROVENANCE
CATALOGUE NOTE
For the obsidian vessel cf. W.C. Hayes, The Scepter of Egypt, Part I, New York, 1953, p. 243, fig. 155, objects from
the tomb of Princess Sit-Hat-Hor-Yunets, daughter of Sesostris III. For the goblet compare Egypt's Golden Age,
Boston, 1982, no. 128.
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 59
PROPERTY FROM THE COLLECTION OF THE LATE H. SCHAEFER, GERMANY
AN EGYPTIAN SERPENTINE BUST OF A MAN, LATE 12TH/EARLY 13TH
standing and wearing a long wrap-around kilt with partly serrated edge, and close fitting
cap, his face with prominent cheekbones and wide set eyes with outlined upper lids, the
tapering back pillar curving forward at the nape of the neck.
PROVENANCE
Charles Dikran Kelekian, New York
Lester Wolfe (1897-1983), New York (Sotheby’s, New York, Antiquities and Islamic Art, Including the Collection of the
Late Lester Wolfe, New York, March 1st-2nd, 1984, no. 112, illus.)
New York art market
CATALOGUE NOTE
For related examples cf. J. Bourriau, Pharaohs and Mortals, Egyptian Art in the Middle Kingdom, Cambridge,
England, 1988, no. 51, and E. Delange, Catalogue des statues égyptiennes du Moyen Empire, 2060-1560 avant J.-C.
, Musée du Louvre, Paris, 1987, p. 219, AF 460.
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 60
AN EGYPTIAN LIMESTONE RELIEF FRAGMENT, LATE 18TH/EARLY 19TH
carved in sunk relief with the bust of a man facing left and extending his left arm upward,
probably in a gesture of adoration before a deity, and wearing a garment with pleated
sleeve and long fringed wig of curls arranged in a herringbone pattern.
PROVENANCE
Kofler-Trüniger Collection, Lucerne, 1960s
Bonham's, London, May 1st, 2008, no. 50, illus.
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 61
AN EGYPTIAN LIMESTONE RELIEF FRAGMENT, 19TH/20TH DYNASTY, 1292-
1075 B.C.
carved in sunk relief with the head of Ptah looking left and wearing a beard with chin-strap
and close-fitting cap.
Height 15 in. 38 cm.
PROVENANCE
German private collection, acquired prior to 1939
private collection, Berlin, by descent
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 62
AN EGYPTIAN BRONZE FIGURE OF IMHOTEP, 26TH/30TH DYNASTY, 664-342
B.C.
the deified architect seated and holding an open scroll in his lap, and wearing a striated kilt
with long fold falling in front, and smooth close fitting cap, his finely modeled face with full
lips and recessed eyes.
Height without tenon 3 7/8 in. 9.8 cm.
PROVENANCE
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 63
AN EGYPTIAN BRONZE FIGURE OF HARPOCRATES, LATE PERIOD, 716-30
B.C.
the child Horus striding on an inscribed rectangular base, holding his right forefinger to his
mouth, and wearing a separately cast braided side lock and the Crown of Upper and Lower
Egypt with uraeus, his face with long prominent eyebrows and cosmetic lines.
Height from modern base 7 1/8 in. 18.1 cm.
PROVENANCE
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 64
AN EGYPTIAN BRONZE FIGURE OF AMUN, LATE PERIOD, 716-30 B.C.
seated with his feet resting on an inscribed foot-stool, one hand resting on his knee, the
other hand extended, and wearing a striated kilt with central tab, striated belt, broad
beaded collar, braided beard, and the cap of Amun surmounted by plumes and sun-disk.
Height without tenon 8 1/2 in. 21.6 cm.
PROVENANCE
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 65
AN EGYPTIAN BRONZE FIGURE OF SEKHMET, LATE PERIOD, 716-30 B.C.
the lion-headed goddess enthroned with her arms held by her sides, and wearing a long
close fitting dress, broad collar, and striated tripartite wig surmounted by a fragmentary
sun-disk and uraeus, the sides of the throne engraved with a scale pattern.
PROVENANCE
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 66
AN EGYPTIAN BRONZE FIGURE OF A CAT, 21ST/26TH DYNASTY, 1075-525
B.C.
seated with the tail curled around to the front, with finely modeled face and large round
eyes, the gold earrings probably ancient but not necessarily belonging.
PROVENANCE
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 67
AN EGYPTIAN BRONZE HEAD OF A CAT, 21ST/26TH DYNASTY, 1075-525 B.C.
cast separately and formerly attached to the body, the erect ears pierced.
PROVENANCE
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 68
THREE EGYPTIAN BRONZES, LATE PERIOD, 716-30 B.C.
comprising a figure of Nefertum striding and holding a curved saber and wearing a kilt with
central tab, beard, and striated tripartite wig surmounted by his crown, a suspension loop
behind, a figure of Ptah holding a was-scepter and wearing a broad collar, short beard, and
close fitting cap, and a figure of Harpocrates striding with his right forefinger pointing to
his mouth, and wearing a braided side-lock and the Crown of Upper and Lower Egypt.
Heights without tenons 6 1/4 , 5 1/2 , and 4 1/2 in. 15.9, 14, and 11.4 cm.
PROVENANCE
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 69
TWO EGYPTIAN POLYCHROME WOOD USHABTIS, 19TH/20TH DYNASTY,
1292-1075 B.C.
comprising an ushabti wearing a broad beaded collar, bracelets, and tripartite wig, the face
with long finely painted eyebrows and cosmetic lines and indented earlobes, faint traces of
the inscription on the body visible, and an ushabti holding hoes and seed-sack and
wearing a tripartite wig, seven lines of inscription in front.
PROVENANCE
CATALOGUE NOTE
An old auction catalogue description (Sotheby's London?) is glued on the back of the second ushabti and reads, "Huy,
superintendent of the workmen..."
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 70
FIVE EGYPTIAN FAIENCE USHABTIS AND TWO FAIENCE VESSELS, NEW
KINGDOM/PTOLEMAIC PERIOD, 1540-30 B.C.
comprising a slender pale blue-green ushabti holding the pick, hoe, and seed sack, nine
lines of inscription in front, four turquoise faience ushabtis holding implements and
wearing tripartite wigs, a turquoise faience beaker with splayed foot and flaring rim, and a
turquoise faience lentoid flask.
Height of ushabtis 5 7/8 to 3 5/8 in.; height of vessels 2 1/8 and 2 in. 14.9 to 9.2 cm.; 5.4
and 5.1 cm.
PROVENANCE
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 71
PROPERTY FROM AN OHIO PRIVATE COLLECTION
TWO EGYPTIAN ALABASTER CANOPIC JAR LIDS, 26TH/30TH DYNASTY, 664-
525 B.C.
one in the form of baboon-headed Hapy, protector of the lungs, the other of falcon-headed
Qebusenef, protector of the intestines, each wearing a collar, the eyes, ears, and other
details of the second lid finely painted.
PROVENANCE
acquired in Egypt in 1970
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 72
PROPERTY FROM THE COLLECTION OF SCOTT B. LEFF AND MARILYN J. MCDANIEL,
FORMERLY IN THE COLLECTION OF JAY C. LEFF
AN EGYPTIAN STUCCO MUMMY PORTRAIT OF A MAN, ROMAN PERIOD,
CIRCA EARLY 2ND CENTURY A.D.
with short curly beard stippled over the cheeks, wavy moustache, upturned nose, and
inlaid glass eyes, the hair bound in a fragmentary laurel wreath and falling in thick wavy
locks over the forehead.
PROVENANCE
Jay C. Leff Collection, Uniontown, Pennsylvania
EXHIBITED
Carnegie Institute, Pittsburgh, Exotic Art from Ancient and Primitive Civilizations, the Jay C. Leff Collection, October
1959-January 1960, no. 36, illus.
CATALOGUE NOTE
Cf. G. Grimm, Die römischen Mummienmasken aus Ägypten, pl. 33, no. 2
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 73
A GREEK MARBLE HEAD OF A MAN, CIRCA LATE 5TH/MID 4TH CENTURY
B.C.
probably from a high relief, turned to his right, with thick beard and moustache, full parted
lips, deep-set eyes, and short unruly hair composed of overlapping wavy locks.
PROVENANCE
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 74
A MARBLE FIGURE OF KYBELE, LATE HELLENISTIC OR EARLY ROMAN
IMPERIAL, CIRCA 1ST CENTURY B.C./1ST CENTURY A.D.
the mother of the gods enthroned with her feet resting on a slanted support, and holding a
phiale and fragmentary tympanum, a lion recumbent on her lap, and wearing an himation
and chiton with open sleeves, her long hair surmounted by a fragmentary mural crown.
PROVENANCE
Martin Lawrence (1907-1975), Vienna and New York, acquired in Vienna and brought to New York in the early 1950s
given to his daughter, the present owner, in the 1960s
CATALOGUE NOTE
For a related example see Paribeni, Catalogo delle sculture di Cirene; statue e rilievi di carattere religioso, Rome,
1959, p. 91, no. 234, pl. CXXI (M.J. Vermaseren, Corpus Cultus Cybelae Attidisque (CCCA), vol. V, Leiden, 1986, pp.
17-18, no. 37).
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 75
A MARBLE HEAD OF A PTOLEMAIC PRINCE, CIRCA 3RD/2ND CENTURY B.C.
probably Ptolemy II or III, turned slightly to his right, his short wavy hair surmounted by a
diadem, the back roughly worked and probably once completed in stucco.
PROVENANCE
CATALOGUE NOTE
For a related example from Alexandria see H. Kyrieleis, Bildnisse der Ptolemäer, Berlin, 1975, p. 167, cat. no. C I, pl.
18,1-3. Also see F. Antonovich, Les métamorphoses divines d’Alexandre, Paris, 1996, p. 251 (Christie's, London, April
25th, 2001, no. 78).
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 76
A ROMAN MARBLE TORSO OF ASKLEPIOS, CIRCA 2ND CENTURY A.D.
the god standing with the weight on his left leg and grasping his garment with his left hand,
and wearing a himation falling from the left shoulder and draped over the lower body.
PROVENANCE
French private collection, Montpellier, acquired prior to 1965
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 77
A ROMAN MARBLE RIGHT HAND OF A WOMAN HOLDING A PHIALE, CIRCA
Length 7 1/2 in. 19 cm.
PROVENANCE
Warren Stratford Trevors, acquired in the 1950s/1960s
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 78
THE FRONT OF A ROMAN MARBLE LEFT FOOT, CIRCA 1ST CENTURY A.D.
from an over-lifesize statue, emerging from drapery folds, wearing a sandal with ivy leaf-
shaped clasp, each side strap striated and with pointed ends, the back roughly worked for
attachment.
Length 5 7/8 in. 14.9 cm.
PROVENANCE
French private collection, Lyon, acquired in in the 1970s
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 79
PROPERTY FROM THE ESTATE OF LUCILLE KAYE
A MARBLE HEAD OF APHRODITE AND A MARBLE SARCOPHAGUS LID
FRAGMENT, ROMAN IMPERIAL, 1ST/3RD CENTURY A.D.
Aphrodite with her head turned to her right, her long wavy hair parted in the center, tied in
a chignon, a long plait gathered in her left hand cascading down to the right side of her
neck, the relief fragment carved with a gesturing paniscos, a fragmentary reclining figure
holding a staff, and the remains of a young satyr carrying a lagobolon.
Height of head 3 3/4 in. 9.5 cm.; Relief fragment 5 1/2 by 7 3/4 in. 14 by 19.7 cm.
PROVENANCE
Lucille Kaye (1920-2012), New York and Vineyard Haven, Massachusetts, probably acquired in the 1970s or earlier
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 80
A ROMAN MARBLE RELIEF FRAGMENT, CIRCA MID 2ND CENTURY A.D.
probably from a sarcophagus lid, carved in high relief with a winged erote walking to right
and carrying a deer on a staff on his left shoulder, his companion missing, the legs of an
animal visible before him.
12 5/8 by 29 7/8 in. 32.1 by 75.9 cm.
PROVENANCE
reputedly Arnold Böcklin (1827-1901), the Swiss symbolist painter, Zurich and San Domenico near Florence
Professor Benedict Maedlin, Basel, acquired prior to 1960
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 81
A ROMAN MARBLE SARCOPHAGUS LID FRAGMENT, CIRCA 3RD CENTURY
A.D.
carved with two flying erotes holding a shield engraved with a gorgoneion surrounded by
radiating tongues, remains of a recessed tabula at left with the ends of three lines of Latin
inscription preserved; broken in two adjoining fragments.
17 5/8 by 6 1/2 in. 44.8 by 16.5 cm.
PROVENANCE
French private collection, acquired in the 1930s/1940s
estate of Jacques Pouillon (1935-2011), Verteuil-sur-Charente
CATALOGUE NOTE
Cf. J. Huskinson, Roman Children's Sarcophagi: Their Decoration and its Social Significance, Oxford, 1996, p. 21, cat.
no. 1.12, pl. IV.4 (British Museum, London, inv. no. GR 1863. 1-3.7, from Ostia)
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 82
AN APULIAN RED-FIGURED CALYX KRATER, CIRCA 330-310 B.C.
painted in front with two youths, one carrying a wreath, the other a situla, and two women,
one with a fillet and wreath, the other with a box and mirror, all moving to left, and on the
reverse with two pairs of confronted draped youths, a palmette and scrolls in each handle
zone.
Height 21 7/8 in. 55.6 cm.
PROVENANCE
French private collection, 1940s
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 83
AN ATTIC RED-FIGURED KYLIX, CIRCA 430-420 B.C.
the tondo decorated with an athlete standing next to an altar or stele and holding a strigil,
and the exterior on each side with an athlete standing between palmettes.
PROVENANCE
Charles Ede, Ltd., London
private collection, acquired from the above in 1977
Christie's, London, October 26th, 2006, no. 98, illus. (attributed to the Marlay Group)
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 84
A GREEK BLACK-FIGURED PHIALE MESOMPHALOS, CIRCA LATE 6TH
CENTURY, B.C.
the interior decorated with two sirens alternating with two grazing stags, the omphalos with
dotted circle and radiating tongues below, oblique zig-zag lines below the rim.
PROVENANCE
French private collection, acquired in 1955
CATALOGUE NOTE
For a related Boeotian example see Berlin, Antikensammlung. inv. no. 3290 (Corpus Vasorum Antiquorum: Berlin,
Antiquarium 4, pl. 192, 5; Beazley Archive Pottery Database, no. 1005015).
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 85
AN ATTIC BLACK-FIGURED TREFOIL OINOCHOE, ATTRIBUTED TO THE
WORKSHOP OF THE ATHENA PAINTER, CIRCA 500-480 B.C.
the body painted within a frontal panel with bearded Dionysos flanked by dancing
maenads, dotted grapevine in the field, details in red and white, a graffito underneath the
foot.
PROVENANCE
Clarence Day (1927 - 2009), Memphis, Tennessee (Sotheby's, New York, May 29th, 1987, no. 131, illus.)
Dr. Fred Pruslin, New York, acquired from the above sale (Sotheby's New York, November 27th, 1989, no. 56, illus.)
Royal-Athena Galleries, New York
Dr. J. L., Bay City, Texas, acquired from the above, 1990
LITERATURE
Royal-Athena Galleries, New York, One Thousand Years of Ancient Greek Vases from Greece, Etruria, and Southern
Italy, 1990, no. 55, illus.
Royal-Athena Galleries, New York, One Thousand Years of Ancient Greek Vases II, New York, 2010, no. 73, illus.
Royal-Athena Galleries, New York, Art of the Ancient World, vol. XIX, 2008, no. 115, illus.
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 86
PROPERTY FROM THE COLLECTION OF HERMAN BEYELER, SWITZERLAND
A HELLENISTIC TERRACOTTA HEAD OF A WOMAN, MAGNA GRAECIA,
CIRCA 3RD CENTURY B.C.
turned to her right, her face with bow-shaped lips, straight nose, and finely arched
eyebrows, her wavy hair parted in the center, bound in a diadem, arranged in a top-knot,
and tied in a chignon.
PROVENANCE
Swiss private collection, 1950s
CATALOGUE NOTE
The head is mounted on a 19th Century turned wood base with label underneath inscribed "5722 / Weibliche Kopf aus
Tarent / IV... v. Chr.."
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 87
A GREEK TERRACOTTA APPLIQUE OF GANYMEDE AND THE EAGLE,
3RD/2ND CENTURY B.C.
the young shepherd borne aloft by the eagle of Zeus clinging to his back with wings
outspread, and wearing an anklet, himation wrapped around his arms and falling over his
back, and wreath crowning his long wavy hair, the eagle's head finely modeled; remains of
pigment.
Height 11 3/4 in. 29.9 cm.
PROVENANCE
Christie's, London, July 12th, 1977, no. 170, illus.
H. J. P. Bomford Collection (Sotheby's, London, July 10th, 1979, no. 238, illus.)
acquired from the above by the present owner in the 1980s
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 88
A ROMAN BRONZE FIGURE OF A GODDESS, CIRCA 1ST/2ND CENTURY A.D.
standing and holding a separately cast garland in her left hand, and wearing pointed shoes,
long chiton, and himation lifted as a veil over her head, her hair surmounted by a diadem
decorated with rosettes, and falling in long wavy tresses in front, the pupils of the eyes
indented.
PROVENANCE
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 89
A ROMAN BRONZE HEAD OF A YOUTH, CIRCA 1ST HALF OF THE 3RD
CENTURY A.D.
with broad straight nose, large eyes with incised irises and indented pupils, and incised
eyebrows, his short-cropped hair radiating from the crown.
PROVENANCE
Mathias Komor, New York, inv. no. E 457
Dr. and Mrs. Edgar P. Richardson, Philadelphia, acquired from the above in May 1974 (Sotheby's, New York,
December 11th, 2002, no. 204, illus.)
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 90
A ROMAN BRONZE LAMP, 1ST/2ND CENTURY A.D.
in the form of the head of a sleeping African boy with flaring and voluted nozzle emerging
from his open mouth, the hair arranged in three overlapping tiers of striated braids, the
filling hole with pelta-shaped swivel lid, two of the three bronze suspension chains
attached to the ears and one to the loop handle.
PROVENANCE
J.J. Klejman, New York, acquired before 1974
Sotheby's, New York, June 7th, 2007, no. 54, illus.
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 91
PROPERTY FROM A CONNECTICUT PRIVATE COLLECTION
FOUR TERRACOTTA FIGURINES, 2ND MILLENIUM B.C.
comprising a Syro-Hittite figure of a goddess of slender flattened form with short
outstreched arms, wearing a notched girdle and applied collar, her bird-like face with large
circular eyes and pierced coiffure, and three Elamite goddesses, each with hands held
under breasts.
Height of the largest 6 5/8 in. 16.8 cm.
PROVENANCE
acquired in the 1970s or earlier (prior to 1979), probably in Jerusalem
CATALOGUE NOTE
For the Elamite figures cf. The Royal City of Susa, Ancient Near Eastern Treasures in the Louvre, P.O. Harper, J.
Aruz, and F. Tallon eds., New York, 1992, nos. 123-133.
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 92
A CHALCEDONY JAR, GREATER SYRIA, CIRCA 1700 - 1400 B.C.
of rounded form with pointed base and broad undercut rim, four pierced handles beneath
the shoulder.
PROVENANCE
acquired from Adele Antiques, Sebastia near Nablus, in June 1983
New York | 05 Jun 2013, 02:00 PM | N09005
LOT 93
PROPERTY FROM A MASSACHUSETTS PRIVATE COLLECTION
A PARTHIAN ALABASTER FIGURE OF A GODDESS, CIRCA 1ST CENTURY
B.C./1ST CENTURY A.D.
reclining in a graceful attitude, her cloak draped over the left arm, passing underneath her,
and covering her legs, the eyes recessed for inlay.
Length 6 3/4 in. 17.1 cm.
PROVENANCE
Rudolf Meyer Riefstahl (1929-2011), possibly acquired
from his father, Rudolf Meyer-Riefstahl (1880-1936)
LITERATURE
Andrew Stewart, Greek Sculpture, An Exploration, vol. II, New Haven and London, 1990, no. 769
CATALOGUE NOTE
On loan to the Detroit Institute of Arts, 1973-2004.

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Sotheby's

Egyptian, Classical, and Western Asiatic Antiquities

ESTIMATE 6,000-9,000 USD

ESTIMATE 6,000-9,000 USD

ESTIMATE 7,000-10,000 USD

ESTIMATE 9,000-12,000 USD

ESTIMATE 20,000-30,000 USD

ESTIMATE 30,000-50,000 USD

ESTIMATE 8,000-12,000 USD

ESTIMATE 5,000-8,000 USD

ESTIMATE 12,000-18,000 USD

ESTIMATE 10,000-15,000 USD

ESTIMATE 10,000-15,000 USD

ESTIMATE 20,000-30,000 USD

ESTIMATE 10,000-15,000 USD

ESTIMATE 50,000-80,000 USD

1938/1939 Photograph of the Present Lot in the Oskar Bondy

ESTIMATE 30,000-50,000 USD

ESTIMATE 45,000-65,000 USD

Original 19th-century marble and wood socle for lot 16 (front).

Original 19th-century marble and wood socle for lot 16 (back).

Original 19th-century marble and wood socle for lot 16 showing

ESTIMATE 20,000-30,000 USD

ESTIMATE 60,000-90,000 USD

ESTIMATE 10,000-15,000 USD

ESTIMATE 6,000-9,000 USD

ESTIMATE 20,000-30,000 USD

ESTIMATE 10,000-15,000 USD

ESTIMATE 10,000-15,000 USD

ESTIMATE 15,000-25,000 USD

ESTIMATE 40,000-60,000 USD

Marble Figure of a Muse, Hermitage Museum, Saint Petersburg,

ESTIMATE 40,000-60,000 USD

ESTIMATE 15,000-25,000 USD

ESTIMATE 40,000-60,000 USD

ESTIMATE 180,000-220,000 USD

ESTIMATE 18,000-22,000 USD

ESTIMATE 15,000-25,000 USD

ESTIMATE 8,000-12,000 USD

ESTIMATE 12,000-18,000 USD

ESTIMATE 15,000-25,000 USD

ESTIMATE 10,000-15,000 USD

ESTIMATE 18,000-22,000 USD

ESTIMATE 30,000-50,000 USD

ESTIMATE 20,000-30,000 USD

ESTIMATE 25,000-35,000 USD

ESTIMATE 6,000-9,000 USD

ESTIMATE 7,000-10,000 USD

A. Conze, Königliche Museen zu Berlin. Beschreibung der antiken

ESTIMATE 7,000-10,000 USD

ESTIMATE 20,000-30,000 USD

ESTIMATE 7,000-10,000 USD

ESTIMATE 8,000-12,000 USD

ESTIMATE 30,000-50,000 USD

ESTIMATE 300,000-500,000 USD

ESTIMATE 12,000-18,000 USD

ESTIMATE 10,000-15,000 USD

ESTIMATE 12,000-18,000 USD

ESTIMATE 400,000-600,000 USD

ESTIMATE 25,000-35,000 USD

ESTIMATE 35,000-45,000 USD

ESTIMATE 20,000-30,000 USD

ESTIMATE 10,000-15,000 USD