Specialties
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Costa Rican Jade Necklace with Celt God Pendant
Catalogue:
Antiques:
Regional Art:
Americas:
Pre Columbian:
Stone:
Pre AD 1000 item# 701988
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Apolonia Ancient Art
303-321-7351 gallery
$875.00
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This piece is made of 22 tubular jade beads and a complete celt god pendant. The beads strung together are approximately 22 inches long, and the celt god pendant is approximately 4 inches high by 1 inch wide near the base. This piece dates circa 200-500 A.D. and it was produced in northern Costa Rica, in an area known as the Atlantic Watershed region. The beads and the pendant were bow-drilled, with a hole created from each end. The pendant shows line cut design and is likely an anthropomorphic human image. These pendants had magical properties and were worn as personal adornments which conveyed the status and rank of the owner. The ax god jade pendant type was first developed by the Olmec circa 1200-1000 B.C., and this type of object was also votive. This type of object is also found in many Pre-Columbian cultures in Mexico and Guatemala. This type of jade object is explained in detail by Frederick Lange in "Precolumbian Jade", University of Utah Press, 1993. This piece can be worn as is, but probably needs to be restrung. Ex: F. Hirsch collection, Germany. I certify that this piece is authentic as to date, culture, and condition:
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Mint Hellenistic Greek Canosan Cast Glass Plate: X-Rare
Catalogue:
Antiques:
Regional Art:
Ancient World:
Greek:
Pre AD 1000 item# 590958
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Apolonia Ancient Art
303-321-7351 gallery
$8400.00
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This extremely rare Greek glass plate dates from the Hellenistic period, circa 4th-3rd century BC. This piece was probably made in Canosa, Apulia, that is in southern Italy. The vessel is approximately 6.25 inches in diameter by .8 inches high and is in mint condition with no stress cracks and/or chips. This piece is surprisingly heavy for its size as well, as this piece was cast in a two-piece mold and was then smoothed by grinding and polishing. Cast glass is thicker and denser than glass that was free blown, and is more difficult to produce. With the advent of glass blowing technology that was perfected by the Romans, they were able to mass produce glass vessels in great numbers with a wide range of shapes. The earlier Greek cast glass was limited to mostly plates, bowls, and cups with added handles. There are very few Greek cast vessels in the marketplace today, as most ancient glass seen on the market is Roman blown glass. This piece is the one and only "Canosan" glass vessel I have owned and have seen on the market in quite some time. This piece has subtle concentric circles that can be seen, and these were created from the grinding/polishing process. This piece is colorless with a greenish tinge and this color is the more common color for glass of this type. This color also matches the majority of the ten Canosan vessels that are now in the British Museum and were donated by the executors of Felix Slade in 1959. A shallow dish that is analogous to the piece offered here is from this group, and is seen in "Masterpieces of Glass" by D.B. Harden, British Museum Pub. 1968, p. 31, no.35. The piece offered here has a thick milky white patina that is adhered to the outer surface, and in places where this is missing, the glass has a multi-colored iridescence. There are also traces of minute root marking and mineral deposits. In "Early Ancient Glass", by Frederick Grose, Toledo Museum of Art, page 186 the following is seen: "To date, five hoards of glass vessels have been identified. Three are known to have been found in separate multichambered family tombs at Canosa; two are thought to have come from this locale but lack documentation. In addition, a few isolated examples from single burials can be attributed to the town. Elsewhere in Magna Graecia, vessels of the group have been found in Campania, at Reggio in Calabria, at Naxos and Morgantina on Sicily, and in Etruria. Outside Italy, sites in Greece, Asia Minor, along the Black Sea, and possibly Cyrenaica have also yielded examples. The number of recorded vessels of the group now stands at about sixty, illustrating a dozen main forms and variants, (see Fig.92)". The vessel offered here is of the type illustrated, in Figure 92 as noted above, as being a rarer form which is a circular cosmetic plate, with some of which have square rims. (For a Greek Hellenistic light green-tinted cast bowl of the same shape as the piece offered here, although it has a ring base at the bottom and is approximately 4.2 inches in diameter, see: Sotheby's Antiquities, New York, June 2003, no. 152. $6,000.00-$9,000.00 estimates.) If you are a collector of ancient glass, this may be one of the few opportunities to own an extremely rare Canosan glass vessel from this group and of this type. Ex: Joel Malter collection, Los Angeles, CA. circa 1965. Ex: Hadji Soleimani collection, London. Ex: Private New York collection. I certify that this piece is authentic as to date, culture, and condition:
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Late Roman Bronze Rivet Cup with Superb Patina
Catalogue:
Antiques:
Regional Art:
Ancient World:
Roman:
Bronze:
Pre AD 1000 item# 595318
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Apolonia Ancient Art
303-321-7351 gallery
$875.00
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This superb late Roman bronze cup dates circa 3rd-5th century A.D. and is approximately 3 inches high and 4 inches in diameter. This piece has exceptional late Roman heavy bronze riveting that attaches the handle to the main body of the vessel. There are five heavy rivets that can be seen and they were beaten down on the inside of the piece. This piece required a good metal smith in order to create this vessel from one single sheet of metal, and then apply the heavy rivet system for the handle. This piece was probably also made in and around Trier, Germany. This piece has a superb patina, as it is dark green with a mix of red and gold colors. The inside of the vessel has light green mineral deposits, and it is intact with no dents and/or minor damage. An exceptional vessel for the period with a superb patina. Ex: Gunter Puhze, Freiburg, Germany. Ex: Private German collection. I certify that this piece is authentic as to date, culture, and condition:
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Esoteric Greek Apulian Prochous with Seated Woman
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Antiques:
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Ancient World:
Greek:
Pottery:
Pre AD 1000 item# 822165
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Apolonia Ancient Art
303-321-7351 gallery
$1375.00
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This esoteric piece is a Greek Apulian ceramic that dates circa 340-330 B.C. This piece is known as a "prochous", which was used in antiquity to contain a precious oil or liquid, and the elongated handle with the long spout allowed one to pour with great control. This type of piece not only had everyday use, but they were also produced solely as a votive type object. It is possible that the prochous offered here had this dual utility as well. The seated woman is seen holding a white dotted plate in her right hand, and in her left hand, she is seen holding a white dotted wreath. There is a full palmette pattern on the back side, and large floral elements seen on each side of the vessel that frames the seated woman. For another analogous example see "One Thousand Years of Ancient Greek Vases" by Royal-Athena Galleries, New York, Nov. 1990, no.119. This piece is approximately 8 inches high, was repaired from large fragments, and has spotty white calcite deposits. Ex: Private German 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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Large Flawless 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
$3265.00
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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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Fine Mayan Carved Stucco Cylinder Vase
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Antiques:
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Americas:
Pre Columbian:
Pottery:
Pre AD 1000 item# 592753
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Apolonia Ancient Art
303-321-7351 gallery
Sold
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This finely carved Mayan cylinder vase dates circa 600-800 A.D., and is from the northern Peten/Palenque region. This intact piece is approximately 6.7 inches high, by 4.2 inches in diameter. This superb piece is a tan terracotta and has the remnants of a stucco application; a purple stucco seen at the rim, and a blue stucco seen between the upper glyph band and the two registers below, and in the band that separates the two registers. The effect of the purple and blue stucco was to separate and highlight the carved sections of the piece. This stucco may have been added when the piece was made or long after it's production. The stucco does define this vessel as having an important religious function, as most Mayan stucco vessels have important glyphs and symbols. The fine detailed glyph band seen at the top is a hieroglyphic text known as the Primary Standard Sequence (PSS). The PSS has been identified by Michael Coe as being comprized of thirty-five glyphs, with text length ranging from four to twenty-two glyphs that reflect underlying rules of sequencing and substitution. The first part of the PSS has little variation, but the second part exhibits greater variability that is now known to reflect generalized glyphs and sometimes unique names and titles of specific owners/patrons of the vessel. The glyph band here is complex, and the thirteen glyphs within may name an important royal person, as this glyph band has not been deciphered and is unknown. What is known, is that the two registers below each show the Mayan God K "Kawil", seen within the cross-shaped Mayan symbol, who was the principle Mayan god that was particularly important to elite lineages and to rulers. His portrait glyph, as seen here, often appears in ruler's names. God K also forms the scepter that is seen in Mayan art relative to accession, blood sacrifice, and self-inflicted bloodletting. As one of the brothers of the "Palenque Triad", he was also associated with the connection of the Mayan elite with Xibalba, which was the Mayan spirit world. The cross-shaped symbol, as seen on the exceptional piece offered here, represents a Mayan doorway, or portal to Xibalba, and this symbol can be traced back to the Olmec. (See "The Ancient Americas", The Art Institute of Chicago Pub. 1992, and the article "Order and Nature in Olmec Art" by Beatriz Fuente, page 121.) This portal symbol seen here is rare relative to Mayan ceramics, and has been associated only with the most important of Mayan monuments such as the sarcophagus lid of Pacal in the Temple of the Inscriptions at Palenque, Mexico, that was discovered in 1949 by Alberto Ruz. God K and the portal symbol taken together, probably point to the fact that this piece was made only as a burial offering for an important Mayan noble, possibly of royal blood and may have been used in a Mayan blood ceremony. The added stucco seen on the vessel may also support this theory. This piece is finely carved, is in intact condition, and is of mint quality, save for two very minute stress cracks. The stucco seen on this piece is all original as well, and has extensive root marking. This piece is one of the best Mayan carved stucco vessels of it's type. Ex: Private Florida 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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Attractive Greek Canosan Amphora
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Antiques:
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Ancient World:
Greek:
Pottery:
Pre AD 1000 item# 958675
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Apolonia Ancient Art
303-321-7351 gallery
Sold
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This attractive vessel is a Greek Canosan amphora which dates to the Hellenistic period, circa early 3rd century B.C. This intact piece is approximately 15.5 inches high, and is in superb condition. This piece is also in an "as found" condition, as there are heavy black spotty deposits seen on various sections, along with tan earthern deposits seen at the base and the inner top surface. This piece also had some paint that was added to the vessel after it was fired, and there are some minor traces of light blue pigment. This piece was also votive and did not hold any liquid, as there is a vent hole seen on the inner base. This piece is a nice attractive form which is a classic Greek design. Ex: Joel Malter collection, Los Angeles. Ex: Private CA. collection. I certify that this piece is authentic as to date, culture, and condition:
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Superb Chimu/Inka Recumbent Llama Stirrup Vessel
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Antiques:
Regional Art:
Americas:
Pre Columbian:
Pottery:
Pre AD 1000 item# 807122
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Apolonia Ancient Art
303-321-7351 gallery
$1,865.00
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This superb ceramic is in the form of a recumbent llama. This piece is from the Chimu/Inka period that dates circa 1470-1532 A.D. This period began with the conquest of the Chimu empire by the Inka circa 1470 A.D., and the period ended with the conquest of the Inka empire at the hands of Pizarro circa 1532 A.D. The Inka retained the Chimu craftsman, who produced remarkable ceramics, textiles, and metal work. This ceramic is relatively scarce, as the rise and fall of the Inka empire covered a span of only ninety years. This ceramic depicts a llama, which for the Inka, was the key component for the success of their empire. The Inka used llamas in transporting goods over great distances throughout their mountain empire, and the llama proved to be a very durable creature in this regard. This ceramic is made from a light brown clay, and has a red-orange color with tan highlights. The Chimu produced mostly blackware ceramics, but with the conquest of the Inka, they began to produce ceramics that were mostly red-orange in color and had black and white line design colors. (For other examples see "Pre-Columbian Art of South America" by Alan Lapiner, Abrams Pub. New York, 1976, no. 704-706.) The piece offered here has black line design elements that are centered over the belly of the llama, in addition to the central tan colored highlight which is seen here, and in addition, this tan color highlight is seen on the arched section of the stirrup handle. There is also a small and charming little primate that is seen at the junction of the stirrup handle, and this is the hallmark of many Chimu ceramics. The recumbent llama may also be in a state of gestation, and this may be why the rounded belly of the llama has the tan highlighted color. (For another example of this piece see "Chimu" by Jose Antonio de Lavalle, Banco De Credito Del Peru En La Cultura Pub., Lima, Peru, 1987, page 114.) This piece is intact with no repair/restoration and is approximately 8.25 inches high. This piece has some light brown burnishing and very minor glaze loss, and is in superb condition. A charming piece that best represents the Inka empire. Ex: Private CA. collection. Ex: Arte Textil, San Francisco, CA. I certify that this piece is authentic as to date, culture, and condition:
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Sensual Greek Hellenistic Terracotta of Aphrodite
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Antiques:
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Ancient World:
Greek:
Sculpture:
Pre AD 1000 item# 807465
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Apolonia Ancient Art
303-321-7351 gallery
$2375.00
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This exceptional Greek Hellenistic terracotta was mold made from a light brown clay, and has spotty traces of a thin white glaze. This piece dates circa 250-150 B.C. and is in superb condition, with no apparent repair/restoration. This piece is very voluptuous, and has a very sensuous body and beautiful face. There is no question that this piece was meant to portray a young Aphrodite, the ancient Greek goddess of love. This piece is likely from Myrina in Asia Minor, as this center produced the finest of Greek terracottas in the late Hellenistic period. (For the type see "Classical Terracotta Figures" by James Chesterman, Ward Lock Limited Pub., London, 1974, no. 85.) This figure has her hair set in a detailed "melon-type" coiffure, and she is seen seated nude with her hands at her side. This piece was likely votive as well, and/or was possibly a fertility offering. This piece is exceptional in that the molding, relative to the hair and the face, is very detailed as it is beautiful. This piece is approximately 4.7 inches high and sits on a custom black plexiglas stand. A beautiful exceptional example that is not often seen on the market in this quality, as it is mint quality with beautiful traces of original white pigment. Ex: Private German 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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Cute Greek Attic Red-Figured Owl Skyphos
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Antiques:
Regional Art:
Ancient World:
Greek:
Pottery:
Pre AD 1000 item# 743233
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Apolonia Ancient Art
303-321-7351 gallery
$1675.00
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This cute Greek Attic red-figured ceramic is a skyphos, and dates circa 400-350 B.C. This piece is approximately 3.25 inches high, by 4 inches in diameter, by 6.75 inches wide that is handle to handle. This intact piece is 100% original, and there is no apparent repair or over painting, although there are some minute stress cracks. This piece is a much better example than what is normally seen, as the colors are very vibrant, and in addition, there is incised line design within the olive sprigs, and the artistic style of the owl is very lively. This piece also has some spotty white calcite deposits and an attractive multi-colored irridescent patina. There is a standing/facing owl seen on each side of the vessel, and each owl is seen centered between two olive sprigs. This piece is classified as "Attic", although there have been several Attic examples found in southern Italy, and these Attic pieces are often classified as "South Italic". What is known, is that many of these pieces were produced in Attic workshops for export, and others were copied in southern Italy for the local markets. The piece offered here is likely Attic, because the glaze is very vibrant, the shape of this thin-walled vessel matches other Attic examples, and there is incised line design work within the olive sprigs. Both of these types generally sell at near the same price levels, as there have been a number of these vessels on the market over the past ten to fifteen years. This piece is also a much finer example than what has been offered on the market. (For a recent comparable see Christie's Antiquities, New York, June 2006, no. 141. $1,200.00-$1,800.00 estimates, and realized $$2,640.010.) The standing owl was the civic badge of Athens, and this piece was made at a period when the Athenian empire was recovering from the disastrous Peloponnesian war. This symbolic vessel, with the owl seen on both sides of the vessel, served as an Athenian standard for her influence and power. Ex: Private Swiss 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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