Specialties
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Mayan Carved/Lidded Cylinder Glyph Vessel
Catalogue:
Antiques:
Regional Art:
Americas:
Pre Columbian:
Pottery:
Pre AD 1000 item# 594979
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Apolonia Ancient Art
303-321-7351 gallery
$2675.00
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This nice Mayan carved and lidded cylinder vessel dates circa 200-400 A.D. and is an early Mayan ceramic. This piece is approximately 8 inches high with the lid and 5.25 inches in diameter at the base. This piece has an architectural design that denotes this vessel as having Teotihuacan stylistic features. The architectural design is seen in the pyramid step knob and quetzal bird feather design on the lid, and the dot pattern bands seen on the top and bottom of the main body of the vessel. These features are prominently seen in the pyramids seen at Teotihuacan just outside of Mexico City. The quetzal bird feather design also is representative of Quetzalcoatl, the chief Aztec and Toltec god of the wind and air, who is known and represented as a feathered serpent. This piece has two identical deeply carved Mayan glyphs seen on each side of the vessel and there are traces of red cinnabar seen in the low relief lines of the design. This piece sits on three legs and the main body is slightly flared, which also denotes this vessel as an early Mayan ceramic. This piece is a light brown terracotta and has spotty black magnesium deposits, both on the outside and inner surfaces, and they are much heavier on the inside of the vessel. The lid rests perfectly on the main body and does not overlap the top rim of the main body. The matching deposits, seen both on the lid and the main body, show that the lid does go with this piece. This lid design also is an indication that this vessel was made solely as a grave offering. The shape is very esoteric, as the the main body has a flared rim and the glyphs are readily seen due to the deep carving. This piece is 100% original and was repaired from two large fragments. A nice Mayan vessel with great eye appeal. Ex: Private Florida collection. I certify that this piece is authentic as to date, culture, and condition:
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Roman Bronze Silenus Applique Figure
Catalogue:
Antiques:
Regional Art:
Ancient World:
Roman:
Bronze:
Pre AD 1000 item# 599095
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Apolonia Ancient Art
303-321-7351 gallery
$975.00
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This superb Roman bronze piece is an applique with the image of Silenus. This piece dates circa 1st century B.C.-1st century A.D., and is in the form of a facing head, with an attached peg that extends about 1.5 inches from the back side of the applique. This piece was probably mounted in an object such as a furniture piece, or a bronze and wooden door, or a composite work or arms such as a Roman shield. A piece with this type of design, with the extended peg, could have fit in a number of objects. The Sileni were native not to Greece, but to Phrygia in Roman Asia, and personified the genii of springs and rivers. Unlike the Satyrs who derive chiefly from the he-goat, the Sileni derive rather from the horse, whose tail hooves, and even ears they possess. This piece clearly shows the horse ears and shows Silenus as a fat old man, snub-nosed, always drunk, who was in the retinue of Dionysus. Silenus was the tutor of Dionysus and had helped him form his character. The diameter of this piece is approximately 1.4 inches and the length is approximately 2 inches. This piece has a dark green patina with red highlights and the detail is superb. There are some dark green mineral deposits seen on the extended peg. This piece is mounted with clay on a custom black/plexiglas base and can easily be removed. Ex: Private German collection. I certify that this piece is authentic as to date, culture, and condition:
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Large Roman Glass Plate with Base Ring
Catalogue:
Antiques:
Regional Art:
Ancient World:
Roman:
Glass:
Pre AD 1000 item# 584209
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Apolonia Ancient Art
303-321-7351 gallery
$3675.00
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This flawless Roman glass plate is a light blue color and is approximately 9.4 inches in diameter by 2.25 inches high. This large piece dates circa 1st century AD and has a nice multi-colored patina. This piece has an applied ring base foot and a verticle wall with folded cordon at the base. This vessel has an exceptional high degree of workmanship, as the folds seen within this vessel form and strengthen the overall piece. This piece is very analogous in type, color, and size to the superb example recently sold at Christie's Antiquities, New York, June 2008, no. 143. ( $3,800.00 bid, $4,750.00 with buyer's premium. ) Ex: Christie's Antiquities, June 2001, no. 210. Ex: Private New York collection. I certify that this piece is authentic as to date, culture, and condition:
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Northern Iranian Bronze Standing Bull Pendant
Catalogue:
Antiques:
Regional Art:
Ancient World:
Near Eastern:
Metalwork:
Pre AD 1000 item# 681410
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Apolonia Ancient Art
303-321-7351 gallery
$1375.00
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This esoteric piece is a bronze pendant in the form of a standing bull. This piece dates circa 1000-800 B.C. and is from the region of northern Iran. The culture that produced this piece is known as the "Amlash" culture, which was centered around Tepe Marlik, and they were expert in producing bronze works of art and ceramics. The Luristan and Urartian cultures were also very proficient at producing bronze works of art and weapons, circa 900-600 B.C., but the Amlash culture produced works of art that were very esoteric in form and design. The "free formed" piece seen here has elegant curved and rounded edges, and this can easily be seen where the legs join the main body of the piece. This design can also be seen relative to the large standing bull terracotta spouted vessels that were produced by this culture. (See Christie's Antiquities, New York, Dec. 1999, no. 523 for an analogous designed piece.) The horns of the piece offered here, and the above Christie's example, are also rounded into an arc pattern where they join the head of both pieces. This elegant little piece is approximately 2.5 inches long by 1.7 inches high. There is a hole that is seen on the back, at the base of the neck, and this was used to suspend this piece as a pendant. This pendant was probably used as a fertility symbol. This piece has a nice dark green/blue patina and it sits on a custom stand. This piece is complete and is intact, and is a superb example for the type. Ex: Private New York collection. I certify that this piece is authentic as to date, culture, and condition:
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British Celtic Bronze Chariot Terret Ring
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Antiques:
Regional Art:
Ancient World:
Pre AD 1000 item# 600190
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Apolonia Ancient Art
303-321-7351 gallery
$1675.00
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This interesting piece is a Celtic bronze ring, otherwise known as a "terret ring". This piece dates circa 1st century B.C.-1st century A.D. and it was reportedly found in the southern coastal region of the United Kingdom. This piece was mounted on a war chariot and was used as a guide for the horse reins, as the reins would pass through the ring and gave the charioteer more control over the horses. This piece is approximately 2.25 inches high by 2.5 inches wide, and is large enough for two sets of reins to pass through. The design of this piece, with the raised center and oval shape, also allowed for better separation of the two sets of reins. There was also a mounting peg that went up the inside bottom, as this piece has a recess hole. This piece was made during the period when Caius Julius Caesar invaded Britain in 55 B.C. The war chariot, with one charioteer and one warrior with a spear and shield, was new to the Romans as a weapon of war. Chariots were used by the Romans as a method of transport and not as a war machine, and not even the Celts of Gaul used a war chariot. The Romans faced two-wheeled and four-wheeled chariots which carried the warriors into the attack. The war chariot was introduced to Britain in the 3rd century B.C. by the Parisi of Yorkshire, the tribe whose Gaulish capital still bears their name (Paris). The Celtic chariots were made of light wooden frames and were elaborately fitted with bronze fittings and wheels with iron rims. The war chariot is featured in many of the sagas of Celtic mythology and the piece seen here is an excellent representation of the native Celts of Britain. This piece has a graceful shape, has a nice dark green patina, and is complete and intact. (See Bonhams Antiquities, London, Dec. 1995, no.339 for a comparative example. 2500-3500 pounds estimate.) This piece is also mounted on a custom clear plexiglas/marble stand. Ex: Private English collection. I certify that this piece is authentic as to date, culture, and condition:
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Huge Roman Glass Jug with Cut Bands
Catalogue:
Antiques:
Regional Art:
Ancient World:
Roman:
Glass:
Pre AD 1000 item# 579338
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Apolonia Ancient Art
303-321-7351 gallery
$3675.00
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This huge Roman glass jug dates circa 1st-2nd century AD and is in intact condition, with no stress cracks and/or chips. This piece is approximately 7.25 inches high by 5.6 inches in diameter. This vessel has nice multi-colored iridescence and nice root marks. There are also five lathe cut bands that run around the main body of the piece. There is also a thick strap handle that was applied to the turned down open end. See Christie's Antiquities, June 2001, no.213, for an analogous example that is 9.25 inches high ($20,000.00-$30,000.00 estimate and realized $23,500.00). An exceptional example of early Roman blown glass. Ex: Private English collection. I certify that this piece is authentic as to date, culture, and condition:
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Rare Greek Peucetian Column Krater with Tendril
Catalogue:
Antiques:
Regional Art:
Ancient World:
Greek:
Pottery:
Pre AD 1000 item# 786146
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Apolonia Ancient Art
303-321-7351 gallery
$1675.00
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This rare Greek ceramic is a column krater that is in mint condition and has no repair/restoration. This piece dates circa 4th century B.C., and is approximately 9.2 inches high. This piece has a dark brown mat slip that was done over a light tan clay. There is a nice floral tendril vine design on the upper shoulder that runs around the vessel, dark brown Greek geometric period type bands seen on the main body, and spotty white calcite mineral deposits that are seen on various sections of the vessel. This piece is known as "Peucetian" and is very analogous to the Greek ceramics that are classified as being "Messapian". This piece is classified as a "native Greek" ceramic, from the Apulian region of southern Italy, and is divided into three main groups based on the three main geographical areas. Messapia in the south and east, Peucetia in the central coastal area, and Daunia in the north, between the Fortore and Ofanto rivers and including Canosa and the district around it. (See "The Art of Southern Italy, Vases From Magna Graecia", by Margaret Ellen Mayo, Virginia Museum of Fine Arts Pub., 1982, page 288-289.) This vessel is relatively rare, as it is a column krater, and most vessels of this culture are small two-handled kantharos cups. This rare vessel is very analogous to three vessels of this type now seen in the National Archeologico Museum, Taranto, Italy, inventory nos. 4825, 4826, and 4827. (See "South Italian Vase Painting" by A.D. Trendall, London, 1966.) This rare vessel was also wheel made, and is a superb example that is from this native Greek culture known as "Peucetian". Ex: Robert Novak collection, St. Louis, MO. I certify that this piece is authentic as to date, culture, and condition:
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Lustrous Greek "Attic Blackware" Dish
Catalogue:
Antiques:
Regional Art:
Ancient World:
Greek:
Pottery:
Pre AD 1000 item# 782644
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Apolonia Ancient Art
303-321-7351 gallery
$565.00
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This superb Greek "Attic blackware" dish has an exceptional lustrous black glaze, and this type of piece is known as "Attic blackware". This piece dates circa 5th century B.C., and is approximately 4 inches in diameter by 1.7 inches high. Superb "Attic blackware" pieces, such as this piece, are sought after by collectors for the exceptional, deep black glaze and esoteric forms. This piece has a nice rounded upper bowl and a double-tier ring base. There are some spotty white calcite deposits, and the glaze is uniform over the entire piece, although there is a very small .5 inch long section along the rim where there is some very minor glaze loss and very minor over paint. Calcite deposit wear is common relative to this type of vessel, as heavy mineral deposits often eat into the glaze, and this section is also a good indicator that this piece is authentic, as the majority of authentic "Attic blackware" pieces have mineral surface blemishes of some kind. The double-tier ring base and deep black glaze are some of the factors that distinguish this piece as being Attic, rather than being Greek Apulian which was made in southern Italy. In addition, this type of vessel was exported into Magna Graecia (southern Italy) from Attica. (For the type see "Black-Gloss Wares and Related Wares in the Royal Ontario Museum, Toronto", Toronto, Canada, 1984, by John W. Hayes; and Sotheby's Antiquities, New York, June 2008, no. 85; and Beazley Archive Database, no. 1000829.) This piece is an exceptional example for the type, and is a much better example than what is normally seen on today's market. Ex: Fortuna Fine Arts, New York. I certify that this piece is authentic as to date, culture, and condition:
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Greek Terracotta Figure of a Votaress, 5th Century BC
Catalogue:
Antiques:
Regional Art:
Ancient World:
Greek:
Pottery:
Pre AD 1000 item# 680621
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Apolonia Ancient Art
303-321-7351 gallery
$1675.00
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This complete piece is a Greek standing terracotta figure of a votaress. This piece is approximately 8.75 inches high and dates circa 5th century BC. This piece is intact and has no repair/restoration. There are some light brown earthen deposits that are adhered to the surface, and this is an indication that this piece has not been over cleaned, and as such, the surface of this piece is superb quality with little wear. This piece was mold made and was designed with a trapezoidal base. This votaress may represent the Greek goddess Demeter, who is seen wearing a pleated chiton and a himation that is seen draped over her shoulders. She has a slight smile and is seen holding a piglet against her breasts with both hands, and this piglet is probably a votive offering. (See Sotheby's Antiquities New York, June 2004, no. 33 and Sotheby's Antiquities New York, Dec. 2000, no. 84, for other analogous examples. The two pieces cited here are approximately 10.5 inches and 8.25 inches high.) These terracotta figurines are thought to be votive in nature, and represented the offering that is seen within the piece itself, and consequently, this piece was intended as a substitute for the actual offering. This piece is scarce in this intact condition, has nice eye appeal, and is an excellent example for the type. This piece is also mounted on a custom wooden base. Ex: German private collection. (Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:
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Near Eastern Sumerian Banded Marble Fox Stamp Seal
Catalogue:
Antiques:
Regional Art:
Ancient World:
Near Eastern:
Stone:
Pre AD 1000 item# 778770
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Apolonia Ancient Art
303-321-7351 gallery
$1875.00
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This banded white and light yellow marble Sumerian stamp seal is in the form of a recumbent fox and dates circa 3500-2900 B.C. This superb piece is approximately 1.25 inches long and is an exceptional example for the type. This esoteric piece has a bow drilled hole that runs through the top to the bottom center, and there are two animals seen on the flat back side that were carved into the piece. The overall carving of this piece is very detailed and represents a high degree of workmanship, as this piece was produced at the very dawn of civilization when city-states were first formed. The two animals, seen on the back flat side, appear to be identical and served as a stamp and/or seal, and may have represented value in a transaction. This mint quality stamp seal/amulet appears to be a fox, as the head is very angular, along with the raised ears. ( For another analogous example see Sotheby's Antiquities, "The Ada Small Moore Collection of Ancient Near Eastern Seals", New York, Dec. 1991, no. 3, $3,000.00-$5,000.00 estimates. ) This piece was probably part of a necklace, and the vertical bow drilled hole allowed this piece to hang with other seals/amulets of this type. This translucent piece has some spotty mineral deposits, and these deposits can be seen within the eyes, and become darker when one looks through this piece into a lighted background. ( See attached photo. ) This eerie effect makes this piece look alive, and the deposits seen within the eyes may in part be original inlay. Only a skilled artist could achieve this visual effect. This exceptional piece is mounted on a custom plexiglas stand and can easily lift off. Ex: Joel Malter collection, Los Angeles, CA. Ex: Private New York collection. I certify that this piece is authentic as to date, culture, and condition:
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