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Roman Bronze Portrait Bust of a Young Caracalla.
Catalogue:
Antiques:
Regional Art:
Ancient World:
Roman:
Bronze:
Pre AD 1000 item# 665966
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Apolonia Ancient Art
303-321-7351 gallery
$3675.00
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This Roman bronze portrait bust dates circa 2nd century A.D., and is the terminal end for a leg that served as a table support for a folding tripod. These Roman bronze tripods were portable and moved with the Roman armies and/or wealthy families. This piece had a L-shaped hook at the back that supported a caldron that was at the center of the tripod. This piece is in the form of a portrait bust, and may depict the young Roman emperor Caracalla. This bust also has an attribute relative to Herakles, as the figure is seen wearing a lion's skin cloak. The face has a short cropped beard, a rounded nose, and a wide forehead which are prominent features of Caracalla. The head is slightly turned to the right as are many Roman marble portrait busts during this period. The hair is seen as thick rounded curls which may indicate a wig, as Caracalla was known to have worn a golden haired wig that was arranged in the German style. Caracalla was born in 188 A.D., and in 213 A.D. as emperor, he left Rome for Germany and defeated the Alamanni on the upper Rhine River. Caracalla often wore a flowing Gallic cloak which gave him his nickname, and the bust seen here shows a lion's skin cloak that is not only an attribute of Herakles, but is also an attribute of Alexander the Great. After Caracalla's victories in Germany, he planned an invasion of the Parthian east, and in 214 A.D., he mustered a great army for this oriental expedition, including a phalanx of sixteen thousand men, clothed and equipped like the Macedonians of old. Caracalla liked to see himself as a new Alexander the Great, and this may explain the lion's skin cloak seen on this piece. Caracalla met his end in 216 A.D., near Edessa in Media, and was stabbed to death by supporters of Macrinus. This piece may be a portrait of Caracalla for the reasons noted above, and there is a strong possibility that this stylized image is an image of Caracalla as seen in the guise of Alexander the Great. (The portraiture of Alexander the Great is noteworthy for the wide range of styles that were employed to portray his unique physiognomy. The treatment of the hair, for example, can be long and wavy, while others emphasize the cowlick seen above the forehead which is known as the "anastole". This "anastole" can be seen on the piece offered here, with the hair raising up as a curl from the center of the forehead. For several examples of this hair style see F. Antonovich, "Les Metamorphoses divines d'Alexander", Paris, 1996.) This bust is also analogous to the marble bust of Caracalla that is seen in the Staatliche Museen in Berlin, Germany. (See "The Art of Rome" by Bernard Andreae, Abrams Pub., New York, 1977, no. 551.) This marble bust dates circa 212 A.D., and was created on the occasion of Caracalla becoming sole ruler. This marble bust also has large hair curls and bare arms/upper chest, as seen in the bronze bust offered here. This piece is approximately 3 inches high and is mounted on a custom stand. This piece has a superb dark green patina with spotty dark red highlights. Ex: American private collection. Ex: Sotheby's Antiquities New York, Dec. 2006, no. 122. I certify that this piece is authentic as to date, culture, and condition:
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Greek Attic Black Glazed Stemmed Cup
Catalogue:
Antiques:
Regional Art:
Ancient World:
Greek:
Pottery:
Pre AD 1000 item# 988348
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Apolonia Ancient Art
303-321-7351 gallery
$825.00
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This piece is a Greek black glazed ceramic that is Greek Attic, and it dates circa 5th century B.C. This piece is approximately 2.3 inches high by 4.5 inches in diameter, and is intact in superb condition. The superb condition of this piece is also readily evident, as there is some black glaze seen on the bottom of the stem base, and this glaze has not worn off from a lot of use. (See attached photo.) There is also the strong possibility that this piece was made solely as a votive offering, as there is no wear on the bottom of the stem base. This piece has some multi-colored iridescense patina over the black glaze, and there are attractive minute root marks seen in various sections of the vessel as well. This piece has no handles that were attached to the main body of the vessel, and as such, is a scarce Attic black glazed type. This piece was used for drinking wine and/or water, and is a type that was used for everyday use, and may have been made as a votive offering. This piece is a nice large example for the type, and also has an esoteric shape. 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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Near Eastern Sassanian Steatite Ellipsoid Animal Seal
Catalogue:
Antiques:
Regional Art:
Ancient World:
Near Eastern:
Stone:
Pre AD 1000 item# 924673
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Apolonia Ancient Art
303-321-7351 gallery
$565.00
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This Sassanian seal has an image of an animal, possibly a wolf or a fox. The carved image is seen on the flat side of the piece, and this piece dates circa 4th-5th century A.D. The carving is done by the creation of deep lines which accent the limbs and head of the animal. This piece is made of a hard black steatite, which is very difficult to carve, and consequently, there are few Sassanian seals that are made from this material. This piece is approximately .6 inches high, and has six carved round decorative circles that are carved in high relief. These circles are a hallmark of fine Sassanian artistic style, and this type of carving is seen on carved Sassanian glass beakers. (For the type see "Masterpieces of Glass in The British Museum", by D.B. Harden, London, 1968, no.137.) There is also a bow-drilled hole that is seen at the center of the piece, and this piece was probably part of a necklace. There are some dark brown deposits seen in various sections of the piece, and there are some minute stress cracks which are an excellent mark of authenticity. This type of seal is scarce, as the material is made of a hard black steatite and the degree of workmanship is very high. This piece is from modern day Iran and the black steatite stone is native to this region. Ex: Joel Malter collection, Los Angeles, CA. Ex: Private CA. collection. I certify that this piece is authentic as to date, culture, and condition:
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Egyptian Alabaster Cosmetic Aryballos
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Antiques:
Regional Art:
Ancient World:
Egyptian:
Stone:
Pre AD 1000 item# 859366
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Apolonia Ancient Art
303-321-7351 gallery
$865.00
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This nice Egyptian vessel is an aryballos which probably held a cosmetic and/or a precious unguent. This piece dates to the Late Period, circa 550-330 B.C., and is approximately 2.5 inches high. This intact piece has a nice dark brown patina with some minute wear on the outer rim, which indicates this piece was used in antiquity and was not a votive object. This piece also has two small lug handles which allows one to easily grip this vessel. This piece is also very translucent when it is back lit and/or when it is placed outside in the daylight. This piece sits on a custom marble black base and an old French collector tag is included. Ex: Private French collection. Ex: S. Linde collection, Berlin, Germany. I certify that this piece is authentic as to date, culture, and condition:
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Rare Mayan Poison Bottle with God K and God L
Catalogue:
Antiques:
Regional Art:
Americas:
Pre Columbian:
Pottery:
Pre AD 1000 item# 1107318
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Apolonia Ancient Art
303-321-7351 gallery
$3,275.00
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This rare Mayan ceramic is a small bottle known as a "poison bottle". This piece dates circa 600-900 A.D., and is approximately 3.9 inches high by 1.75 inches wide. This exceptional piece is larger than most examples, and is intact, with no repair and/or restoration. This piece was used by the Maya as a container that was used to contain precious contents such as red cinnabar, which was the most common product that this type of vessel contained. Red cinnabar was widely traded in the ancient Mayan world, and was used in religious Mayan ceremonies, tombs, ceramics, and jewelry. Red cinnabar is a known preservative of organic matter, which made red cinnabar sacred to the Maya due to it's preservation properties, and this was important relative to the Mayan concept of eternal life. Red cinnaber is extremely toxic in concentrated quantities, as it is mercury based (HgS), and this is why this type of vessel is known as a "poison bottle". This piece also has no noticable traces of red cinnabar on the inside surfaces. This superb vessel has a mold pressed scene of the Mayan gods K and L facing one another, and each rounded side of this vessel has a mold pressed double-banded Mayan glyph band. The double-banded Mayan glyph bands, seen on each rounded side of this vessel, are identical, as they were mold pressed from the same molds. The mold pressed scene of both Mayan gods, seen on both flat Sides A and B, is identical as well. Side A is slightly more clearer than Side B, as the same mold was used to press each side; and this mold filled with some loose material from pressing Side A, which subsequently produced an image on Side B that was not as sharp. This is the case with most of these Mayan molded bottles, and this slight loss of detail is also an excellent mark of authenticity. God K, seen standing to the left facing God L, has a snake foot seen behind, and a smoking scroll that is seen emerging from his forehead. God K is a major Mayan deity, who personified royal power and was a protector of royal lineages. God L, seen standing on the right facing God K, has a wide-brimmed hat with a Moan bird, and a jaguar-hide cloak with indented spots. God L is also one of the principle Mayan gods that presided over the underworld. This scene with both "standing gods" is rare, compared to the numerous examples of "poison bottles" of this type that show both gods seated. (See attached photo showing an example of the "seated gods" type. The "seated gods" example seen here is a drawing of a "poison bottle" that is seen in "The Smoking Gods", by Francis Robicsek, University of Oklahoma Press, 1972, p.187, Figure 210.) The intact piece offered here, has several minute dark black deposits, and there is some attractive dark brown kiln burnishing seen on the upper opening, Side B, and on the bottom surfaces. This burnishing was primarily a result from not enough heat/oxygen in the kiln when the piece was fired, and kiln burnishing is very common relative to Mayan light brown/tan ceramics of this type. This piece is a rare type, as it is a very large example, and is a "standing gods" type that is seldom seen on the market. In addition, this piece has a double-banded glyph band on each side, and usually, one sees the single glyph band on each side, or no glyph band at all. Ex: Lands Beyond Gallery, New York. (Circa 1980's, inventory no. DW475.) Ex: Private Arizona collection. I certify that this piece is authentic as to date, culture, and condition:
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La Collezione Archeologica Del Banco Di Sicilia
Catalogue:
Traditional Collectibles:
Books:
Contemporary item# 821957
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Apolonia Ancient Art
303-321-7351 gallery
$385.00
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La Collezione Archeologica Del Banco Di Sicilia is a boxed two volume set that was printed in 1992 by Edizioni Guida Pub. in Palermo, Italy. This beautiful two volume set is virtually unobtainable in the US, and is a superb corpus of ancient Greek ceramics that were produced in Magna Graecia (Southern Italy). If you are a collector of ancient Greek ceramics, this book is an excellent reference, as there are 648 pieces listed with B&W photos in Vol.1, and Vol.2 has line drawings, detailed descriptions, maps, and lavish color photos of the pieces listed in Vol. 1. Vol.1 is organized with sections such as: Vasi Preistorici, Terrecotte, Ceramica Figurata, Corinthian, Attica, Apulia, Siceliota, and Gnathian. Vol. 2 also groups these pieces into double page color fold outs, with catagories such as Fantastic Animals, Female Divinities, Nike Divinities, War Scenes, and Sport Scenes. This edition was printed as a limited edition and has not been re-printed, and is one of the most comprehensive references for ancient Greek ceramics outside the works produced by A.D. Trendall. All of the text is in Italian, and all the pieces have sizes listed, museum inventory numbers, and dates. The condition of this boxed two volume set is mint, save for some wear on the bottom side of the outer box. This is a very valuable reference for the collector, and one that has many pieces listed.
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Unique Greek Hellenistic (AE 23mm) Coin with Asklepios
Catalogue:
Antiques:
Regional Art:
Ancient World:
Greek:
Bronze:
Pre AD 1000 item# 810315
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Apolonia Ancient Art
303-321-7351 gallery
Sold
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This mint state ancient Greek coin was minted in the Hellenistic period, and was minted in Pergamon circa 300-200 B.C. Pergamon became important under Alexander the Great, and later became the capital of the Attalid dynasty founded by Philetairos, which ranked as one of the great cultural centers of the ancient Greek world. The obverse shows the bearded bust of Asklepios, and the reverse, shows a standing Muse with a three-stringed lyre behind, and the Greek lettering meaning "Per-gamon" at the front and behind. The Muses were originally considered to be three in number: Melete ("Practice"), Mneme ("Memory"), and Aoede ("Song"). At Delphi, the Muses were named after the three strings of the early ancient Greek lyre: Bottom ("Nete"), Middle ("Mese"), and Top ("Hypate"). Hesiod, however, has ascribed the Muses to the traditional number of nine, and had allotted each of them a name. This remarkable coin has a wonderful Hellenistc portrait of Asklepios, and is in mint state ("as struck") condition which is rare for a Greek bronze issue. This coin is approximately 23mm in diameter and 6.3 gms, and has an exceptional glossy dark green patina. This piece is also extremely rare, if not unique, and is not listed in "Greek Coins and Their Values" by David Sear, Seaby Pub., London, 1979. This coin is not seen on the market, and is not only an extremely rare type, but is also an exceptional Hellenistic Greek work of art. I certify that this piece is authentic as to date, culture, and condition:
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Lovely Greek Attic Kylix, Floral Band-Cup Group
Catalogue:
Antiques:
Regional Art:
Ancient World:
Greek:
Pottery:
Pre AD 1000 item# 961593
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Apolonia Ancient Art
303-321-7351 gallery
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This lovely vessel is a Greek Black-figure Attic kylix that dates circa 480-450 B.C. This piece is approximately 3 inches high by 8.75 inches handle to handle. This piece is intact and is in mint condition, with no restoration and/or repair. This piece is attributed to the "Floral Band-Cup Group", which was produced by a Greek Attic workshop circa mid 6th century B.C. until 450 B.C. This group was also among the last of the Attic Black-figure ceramics that were produced, as they were supplanted by the more popular Attic Red-figure ceramics circa 450 B.C. S.J. Beazley first indentified and classified this group in 1932 in the "Journal of Hellenic Studies, No. 52". (For other examples see S.J. Beazley, "Attic Black-Figure Vase-Painters", Oxford, 1956.) The piece offered here is better than most examples, as it has an elegant esoteric shape that has perfect symmetry, is thin walled and well made, and has very vibrant colors. This piece is decorated with a row of palmate leaves in black glaze, with white dot and violet stem detail. This palmate design is the hallmark of the "Floral Band-Cup Group", and the painted design seen on this vessel is very detailed. The center tondo has a black dot center with an outer circle, and the handles are rectangular and are finely made. This piece has a great deal of eye appeal and is a mint quality little gem. Ex: Private New York collection. I certify that this piece is authentic as to date, culture, and condition:
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Huge Greek Blackware Guttos with Silenus Roundel
Catalogue:
Antiques:
Regional Art:
Ancient World:
Greek:
Pottery:
Pre AD 1000 item# 1004703
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Apolonia Ancient Art
303-321-7351 gallery
$2,865.00
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This scarce huge piece is a Greek blackware guttos that dates circa 4th century B.C. This attractive vessel is approximately 6.5 inches high by 6 inches wide from the top of the spout to the opposite side. This piece is intact and is in mint condition, save a small stress crack that is seen in the middle of the spout. The surface of this exceptional piece has a nice multi-colored iridescent patina with a rich glossy black glaze, and some spotty white calcite deposits. This piece is an extremely large example for the type, and there is no glaze loss and cracking which is usually seen as well. This vessel has an extended trumpeted spout, a looped handle, detailed attractive ribbed sides, and a roundel of a grimacing facing Silenus head with wild billowing hair. Silenus was a woodland deity in ancient Greek mythology, and this piece shows his image very well as the unruly companion of Dionysus. This roundel with the facing Silenus head was mold made, and the Silenus head has very high relief and is approximately .75 inches high. This type of vessel likely held precious oil, and was used in ceremony as well as for everyday use. There is only one opening into the vessel through the spout, and the looped handle gave one exact control over the liquid. The extended round footed base of this piece gave this vessel an added capacity for liquids, and Greek guttos vessels of this type do not usually have this design feature. This piece may have also been produced in Athens for export, and this type of vessel was also made in the Greek colonies of southern Italy. A nice intact scarce large vessel that is seldom seen on the market. Ex: J.J. Klejman, New York. Ex: Private New York collection. I certify that this piece is authentic as to date, culture, and condition:
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Greek Geometric Period Bronze Spiral Torque
Catalogue:
Antiques:
Regional Art:
Ancient World:
Greek:
Bronze:
Pre AD 1000 item# 943469
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Apolonia Ancient Art
303-321-7351 gallery
$925.00
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This solid piece is a nice Greek bronze torque that dates to the Geometric Period, circa 1000-800 B.C., and this type of piece has been found in central Europe and the Balkins. This piece is approximately 5.2 inches in diameter at its widest point, and has a nice dark green patina with some spotty dark green deposits. This piece was also able to flex, so that the wearer could easily slip the piece onto the neck, and this was also made easier due to the curved and rounded terminal ends that curve back away from the center. This piece has four sides from the terminal ends, and then graduates into a round, twisted spiral through the main body of the piece. In addition, this piece has an uniform diameter and this piece took a great deal of metallurgical skill to produce, due to the reasons noted above, and is a scarce piece in this superb condition. This piece was probably made for a young man or a woman, given the diameter of the piece, and was probably worn in life as well as serving as a votive grave offering. This piece can be worn today and is one of the best examples, as it is in superb condition with no cracks and/or repair, and has an exceptional patina. (Another example of this type and quality was offered at Bonhams Antiquities, London, April 2009, no. 288, 1,500-2,000 pound estimates.) Ex: Bonhams Antiquities, London, Dec. 1996, no. 45. Ex: Private New York collection. I certify that this piece is authentic as to date, culture, and condition:
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