Apolonia Ancient Art offers ancient Greek, Roman, Egyptian, and Pre-Columbian works of art Apolonia Ancient Art
All Items : Antiques : Regional Art : Ancient World : Byzantine : Pre AD 1000 item #1102815
Apolonia Ancient Art
$685.00
This attractive piece is a Byzantine bronze cross that has a nice silver inlaid design. This piece dates circa 4th-7th century A.D., and is approximately 1.9 inches high by 1.9 inches high by 1/16th inch thick. This piece has an attractive silver inlaid design which has a detailed "circle-and-line" type design. This piece also has a nice dark green patina with some light green and red surface deposits. There are also five small holes seen in this piece which were likely used to sew this piece into a garment. This piece is in superb condition, and could easily be worn as a pendant today. This piece also comes with a custom black plexiglas display stand, and can easily be removed, as it simply hangs on the stand. Ex: Joel Malter collection, Los Angeles. Ex: Private New York collection. (Note: Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pre AD 1000 item #1366390
Apolonia Ancient Art
$1,625.00
This attractive piece is a standing Nayarit warrior that dates circa 100 B.C.- 250 A.D., and is approximately 11.2 inches high. This warrior is seen wearing a helmet and barrel armor, and is holding a club with both hands at the front of his body. There appears to be a strap that is seen passing between his legs, along with a belt around his waist which may have supported the barrel armor seen on his upper torso. This armor is also seen wrapping around his body, and the helmet has several knobs at the top that offered added protection. He is also seen wearing earrings, along with a small nose ring. The barrel armor was also designed where the warrior could duck down into the barrel, and the helmet would then seal at the top of the barrel and protect his entire upper body, neck, and head from spear and/or arrow attack. The warrior has a very expressive face, and appears to be smiling while fulfilling his role as a protector of the deceased, and in addition, this piece may also represent the deceased as well. The facial expression seen on this piece is also more animated than most Nayarit examples of this type. This piece is also a light tan terracotta, and has no repair/restoration. A choice example that is in superb condition. Ex: Dr. Gunther Marschall collection, Hamburg, Germany, circa 1980's. Ex: Private German collection. (Note: Additional documentation is available to the purchaser, including a TL authentication test document from Kotalla Lab, no. 40R270317, and EU Export and US Customs Import documentation.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Ancient World : Near Eastern : Pre 1800 item #1075389
Apolonia Ancient Art
$625.00
This interesting document is a Persian illuminated manuscript page that depicts two hunters slaying two running deer. This piece is likely late 17th-18th century A.D., and is approximately 7.5 inches wide by 9.9 inches high. This piece is in superb condition, and has very vibrant black, light blue, yellow, red, white, and brown colors. One side of this page has two lines of elegant nasta'liq script, seen above a fine-line drawn scene, and there are three lines of script seen in the upper left side margin. In addition, there is a single line of script seen in the upper left side corner of the fine-line drawn scene. The back side of this detailed document has 21 lines of script, and there are several lines of script that appear to be added notes that are seen in the left margin of the page and between several lines of the text. The fine-line drawn scene has two hunters on horseback, and they are hunting two deer, as one hunter shoots an arrow into a jumping deer, while the other chases a running deer with a sword. The scene has very vibrant colors, and the sky above the light blue mountains, the saddle blankets, the arrow quivers, and the sword are all highlighted with a gold gilt. The light blue mountains and foreground are also meant to convey a magical world, and in combination with the gold gilt highlights, give the scene an ethereal perspective. The scene may also represent a Persian myth of the hero Rostam, who carried out the "Seven Labours of Rostam", and the "Fourth Stage" of this myth involves Rostam traveling on horseback through an enchanted territory where he finds provisions including a ready roasted deer. This myth is likely what is portrayed on the manuscript page offered here, as Rostam is also the mythical national hero of "Greater Persia" which originated with the first Persian Empire in Persis circa 1400 B.C. This piece is a better example than what is normally seen on the market, and has great eye appeal. This piece is ready for mounting, and is in a protective plastic cover with a hard backing which is made for storage and shipping. Ex: Private New York collection. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1239527
Apolonia Ancient Art
$3,265.00
This rare piece is a Salinar/Viru culture monkey "transformation" type vessel that dates circa 400-200 B.C. This piece is approximately 9 inches long by 7 inches high, and is in superb condition with no repair/restoration. This piece is a standing quadruped with a stylized lobed monkey's head, and a short tail is seen curled at the back. This piece is seen standing on sturdy legs, with each flank painted with mythical creatures that have bared fangs and claws. The whole piece is covered with a light yellow-brown slip, and the mythical creatures and facial elements are painted in a light reddish-orange color. This piece is also a "stirrup-handle" type piece that is also designed as a "whistle" type vessel, as it makes a shrill sound when one blows into the raised end of the handle, and as such, this vessel was also likely a "ceremonial" type vessel. In addition, this piece also represents a "transformation" type vessel, as the stylized lobed head on the monkey has human and animal features. This rare early Andean culture ceramic may also be a prototype for the subsequent Moche I ceramics, and as such, this type of piece set the standard for Andean ceramics that have a great deal of realism regarding both human and animal representations. This intact piece has no restoration/repair, some spotty light brown mineral deposits, and is a superb to mint quality example for the type that is seldom seen on the market. Another analogous example of this culture is seen in Lempertz Pre-Columbian Art, Brussels, Jan. 2010, no. 49. (See attached photo. The Lempertz example also has an analogous painted mythical creature on the flanks as the piece offered here, and both of these pieces may have been produced in the same workshop.) This type of piece is x-rare to rare, and has a high degree of eye appeal. Ex: Dr. Ernst J. Fischer collection, Germany, circa 1980's. Ex: Auktion Ketterer 163, 1986. Ex: Private German collection. (Note: Additional documentation is available for the purchaser, including a TL test from Gutachten Lab., 01/14/1991, no. 369012, and EU Export and US Customs Import documentation.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pre AD 1000 item #1367369
Apolonia Ancient Art
$2,365.00
This vibrant Nazca globular vessel dates to the Middle Nazca Period, circa 300-600 A.D., and is approximately 10 inches high, by 9 inches in diameter through the center of the piece. This piece has very vibrant dark red, orange, cream, black, white, and light aquamarine colors. This piece was painted over a light brown/tan clay, and has perfect globular symmetry in it's creation. This attractive piece has a flat "basket handle" that covers the top opening, and this opening also has an esoteric flared lip. This piece is also larger than other examples of this type, and is a type not often seen relative to Nazca ceramics. This piece features a powerful image of a "spirit god", which has also been termed a "demon-feline god", and this god has a mirror image of itself seen on each half of the vessel. (For an explanation of this composite god see "Culturas Precolumbinas Nazca", by J. Antonio de Lavalle", Lima, 1986.) This "spirit god" has a facing head with open and noticeable white eyes, a linear open mouth with a tongue protruding, a multi-colored and segmented necklace, and trailing legs with a textile cape that has two attached trophy heads and a facing head at the end. This figure also appears to be in flight, and is an excellent representation of a god in the spirit world. A major theme of Nazca ceramic art features complex figures with feline faces and human trophy-heads probably alluding to war, the taking of heads, and the use of blood offerings to earth, sky, and water. Similarly dressed figures may also have appeared in ceremonial rites. This piece was repaired from several fragments, as is usually the case relative to large-scale Nazca ceramics, and is approximately 98% original. A nice large piece with very powerful and vibrant iconography. This powerful piece also comes with a clear Plexiglas ring base. Ex: Private German collection, circa 1960's. Ex: Dr. Gunther Marschall collection, Hamburg, Germany, circa 1970's. (Note: Additional documentation is available to the purchaser, including a TL authenticity test from Kotalla Lab, Germany, no. 28R270317, and EU Export and US Customs Import documentation.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Ancient World : Greek : Pre AD 1000 item #1243639
Apolonia Ancient Art
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This massive and extremely rare piece is a Greek iron sarissa spear head that dates to the Hellenistic period, circa 4th century B.C., and is approximately 22.5 inches long by 2 inches wide at the blades mid point. This piece is intact, and is in superb condition with a hardened earthen over glaze which has helped to preserve this extremely rare iron weapon. The metal seen on this piece is for the most part very compact with very little flaking, and is in very stable and solid condition. The condition of this piece is remarkable, given the fact that it is made from iron, and not bronze. This piece is all the more remarkable, in that it has survived intact after sustaining substantial battle damage. This battle damage can be seen with the two bends in the blade, and a small part of the end of the shank which was moved out from the blow to the piece. The blow to the piece traveled from the tip end to the shank, and did not shatter the weapon, as the blow appears to have been on the side of the blade, thus causing the two bends in the blade and the small section at the end of the shank to move out and expand. This piece was likely carried by an infrantryman, and was fitted to a wooded shaft about 12-15 feet long. This heavy lance was carried with two hands, and is known as a "sarissa". This type of weapon was also developed by Philip II, who was the father of Alexander the Great, and was king of Macedonia circa 359-336 B.C. His military genius transformed his army with many innovative weapons and battle tactics, and the weapon offered here was one such weapon. The finest weapons during the Hellenistic period were iron, rather than bronze, and were forged and hand beaten into shape. These iron weapons were extremely sharp and durable, and iron swords from this period could easily take off a mans arm at the shoulder, and penetrate bronze shields. The fact that the piece offered here did not shatter during battle proves that this piece was hammered again, and again, to give it strength and durability. (For the Hellenistic Greek weapon types see "Greece and Rome at War", by Peter Connolly, United Kingdom, 1998.) This piece is extremely rare and is seldom seen in this condition on today's market. This piece comes with a custom metal stand and stands upright. Ex: Private German collection. (Note: Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1088689
Apolonia Ancient Art
$7,800.00
This extremely rare piece is an attractive canteen type vessel that has been classified as Nazca culture, circa 500-600 A.D. This piece is approximately 7 inches high by 8.75 inches wide, has a small raised opening, and is heart shaped. This piece also stands by itself, as it has a flat bottom, and is very easy to handle with both hands due to it's "V-shaped" design. This esoteric "V-shaped" piece has a beautiful and even dark red glaze, and may have been designed to represent a human heart. In addition, this piece has a small extended central top spout, which somewhat resembles a blood vessel for a heart. This piece also has two lug handles, seen on each side of the vessel, and these handles were made in order to suspend the vessel. The suspension of this vessel acted as an aid for one in the careful pouring of a liquid, and as such, this vessel was probably created for ceremonial use. It is also possible that, given the heart shape, the handle design, and the dark red color of this esoteric piece, the liquid contained within this vessel may have been human blood which was used for ceremony. This piece was also lavishly published with a full page color photo in "Art of the Andes, Pre-Columbian Sculptured and Painted Ceramics from the Arthur M. Sackler Collections" by Paul Clifford and Elizabeth Benson, The Arthur M. Sackler Foundation and The AMS Foundation for the Arts, Sciences, and Humanities, Washington D.C. publishers, 1983, no. 143. (See attached photo.) The following description of this piece is seen in the above publication on page 268: "The widest area of this kidney-shaped canteen is at the top. Its short spout has a thickened rim, and loop handles are attached to the sides just below the shoulder. The entire vessel is painted with a red slip. Such a vessel shape does not appear in any of the literature, but there is a similar piece in a New York collection known to the author. (The following is a footnote relative to the New York example: "Seen while on loan to the Duke University Museum.") The surface color and finish are comparable to the Nazca panpipes in Number 142 (See attached photo.), and the bottle is therefore included with the Nazca material, although actual provenance is not known. The minimum age indicated in the thermoluminescence analysis indicates that the piece was fired in antiquity, but does not provide any basis of dating beyond that minimum age. Further technical measurements, such as trace element analysis of the clay and analysis of the slip with which the vessel was painted may, in the future, provide a method for establishing provenance, if comparisons can be made with similar analysis of other objects". (The following is a footnote regarding the two thermoluminescence (TL) tests that were performed on this piece by the Sackler Foundation: "OX-TL reference no. 381f1, 02/08/83 and 05/26/83 estimates that the sample tested has a minimum age of 470 years according to results of two TL tests, one to analyze fading.") The bottom of the piece has an inventory no. N-110, and there are two minute holes which indicate where the two above TL tests were taken. This intact piece is also in mint condition, and has an even glaze that is a brilliant deep red color. This extremely rare piece is also one of the top esoteric vessels, if not the most esoteric vessel offered by the Sackler Foundation. This piece is extremely rare, and so much so, it has also been labeled as "Teotino culture" by some pre-Columbian experts. In addition, this piece has been published as "Nazca (?) culture" by the Sakler Foundation, and has had extensive academic research and testing by their pre-Columbian academics, including Elizabeth Benson and Paul Clifford. The description of this published piece offered here, therefore follows the Sakler academic description as: Nasca (?), Peru, South Coast. Ex: Arthur M. Sackler collection, circa 1970's, accession no. N-110. Published: "Art of the Andes", (As noted above), 1983, no. 143. (Note: Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Ancient World : Greek : Pre 1492 item #1268018
Apolonia Ancient Art
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This beautiful and vibrant piece is a Greek Apulian lidded mug that dates circa 310 B.C. This piece has been attributed to the Kantharos Group, and is approximately 8.25 inches high with the lid. This beautiful piece is also known as a kothon, and this type of vessel normally has a knobbed lid and extended neck, as seen with the piece offered here. This piece is mint quality, with no repair/restoration, and has very vibrant white, yellow, red, and black colors. This piece has a rounded knobbed handle seen at the top center of the lid, and there are two female heads seen on the top of the lid, along with a detailed acanthus pattern between. There is also a large female head seen on the main body of the vessel facing left, along with the top section of a white and red wing that is seen curling up at the front of her face. The female head is also seen wearing a detailed sakkos in her hair that is highlighted with dotted and cross patterns, and is also wearing an elaborate earring and dotted necklace. This figure likely represents a winged "Eros", and this portrait type is also known as a "lady of fashion", and is thought by many academics to also represent Demeter and/or Persephone. To the ancient Greeks the fertility of the ground was closely associated with the autumnal sowing. The return of life and burial is symbolized in the myth of Persephone's abduction and return, and gave rise to the ritual of the Eleusinian Mysteries, in which the worshippers believed that the restoration of the goddess to the upper world promised the faithful their own resurrection from death. This lidded vessel probably held a burial offering such as grain, or a product that could have been used by the deceased in the afterlife. This attractive vessel also has highly decorative floral patterns that are seen on each side of the lady's portrait, and a single "Herakles-knot" type designed handle. This piece is better than most examples of it's type, and another analogous example of this type of vessel of nearly the same size and condition was offered in Christie's Antiquities, New York, Dec. 2011, no. 138. ($3,000.00-$5000.00 estimates, $5,250.00 realized. See attached photo.) The piece offered here is among one of the best examples offered on the market, and is scarce in this mint condition. Ex: G. van Driesum collection, circa 1970's. Ex: Michael Waltz collection, Germany, circa 1970's-1980's. Ex: Private German collection. (Note: Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Ancient World : Greek : Pre AD 1000 item #1396425
Apolonia Ancient Art
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These eight complete Greek "sling bullets" date to the 5th-4th century B.C., and are approximately 1 to 1.6 inches in length, by .4 to .7 inches in diameter. These pieces all have some light mineral deposits, and have a light dark gray-brown to tan patina. These relatively heavy lead pieces were mold made, and one can easily discern each half of the piece that was fitted into a "two-part mold". These pieces were fitted into a hand sling that generated tremendous force and speed as they were released from the sling. These weapons also have an almond shape, as most lead "sling bullets" have, and this shape provided a stable aerodynamic flight. These pieces also have some light marking and minute impact dents that indicate that many of these pieces were likely in battle. In addition, four of these pieces have lettering, and often refers to a city, a military general, or a battle message. These interesting pieces are all different sizes, and a custom display case is included. Ex: Joel Malter collection, Los Angeles, CA., circa 1990's. Ex: Private CA. collection. I certify that these pieces are authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Ancient World : Greek : Pre AD 1000 item #1388453
Apolonia Ancient Art
$385.00
This appealing piece is a Greek terracotta bust that dates circa 4th-3rd century B.C., and is approximately 3 inches high. This large bust is intact, save a small edge chip around the vent hole hole rim seen at the back of the head, and is a terracotta that likely represents a goddess such as Demeter. This goddess is also seen wearing an elaborate and thick diadem, and has a very serene face. Demeter was the mother of Persephone who was responsible for the change of seasons, and the "rebirth" of crops during the year. This piece is in it's natural "as found" condition, and has some spotty earthen and mineral deposits. This piece is a pleasing example for the type, and is mounted on a custom steel and Plexiglas display stand with a total height of approximately 4.7 inches. Ex: Munzen and Medaillen AG, Basel, Switzerland, circa 1960's. Ex: Private German collection, circa 2000's. (Note: Additional documentation is available to the purchaser, including EU Export and US Customs Import documentation.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pre AD 1000 item #1394012
Apolonia Ancient Art
$3,675.00
This intact and x-large piece is a Colima standing shaman/priest that dates to the Protoclassic Period, circa 100 B.C.-250 A.D., and is approximately 17.8 inches high. This powerful piece has a dark red glaze that covers the entire piece, and has some spotty dark black and brown mineral deposits, along with some attractive root marking. This figure is seen holding a rattle in his left hand, and a curved implement in his right which may be a ceremonial knife. He is also seen wearing a shell pectoral, short trunks, and a domed helmet/headdress that also has a spout emerging from the top of the head. His upper torso is also completely nude, save for the shell pectoral that is seen in the center of his chest. This powerful looking figure is also seen with a drug induced trance-like expression, and has narrow "coffee bean" type eyes that enhance his look. This figure appears to be conducting a religious drug induced ceremony, and this figure is likely a shaman/priest. This piece also stands very solidly, and is somewhat heavy, as it is a thick walled ceramic. A scarce piece for the culture, as it is also in intact condition. Ex: Private New York collection, circa 1980's. Ex: Sotheby's Pre-Columbian Art, May 1989, no. 105. ($1,500-$2,000.00 estimates, $2,860.00 realized.) Ex: Private Kansas collection, circa 1990's-2000's. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Stone : Pre AD 1000 item #1234381
Apolonia Ancient Art
$875.00
This scarce piece is an extremely large Mayan green jadeite tube that dates circa 600-900 A.D. This solid piece is approximately 8.5 inches long by 1.4 inches in diameter, and has a beautiful dark to light green color. The beautiful stone seen here is likely jadeite, rather than serpentine, as it is extremely dense. This interesting piece has a bow-drilled hole at each end which connect near the center, and the bow-drilled holes are approximately .5 to .6 inches in diameter which also slightly narrow within the tube. There is also a layer of gray calcite deposits seen on the inner surfaces, and a light mineralized patina on the outer surfaces as well. This piece is also not perfectly round, has a somewhat rectangular shape, and has a great deal of eye appeal. There is a very strong possibility that this scarce piece was used in Mayan smoking ceremonies, and/or may have been used in Mayan regalia and served as a decorative item in a headdress, a necklace, or a sacred ceremonial object. This piece is also somewhat heavy, as it is likely a dense green jadeite which was sacred to the Maya. According to Francis Robicsek, in "The Smoking Gods", University of Oklahoma Press, 1978, p. 73, Robicsek elaborates on the forehead tube that was used to identify God K: "Forehead tube thought to represent a cigar. This is a fairly constant trademark of this deity. The identification of God K of any portrait lacking the forehead tube is suspect. It is nearly always present on ceramic representations and on stone carvings, but is usually absent from paintings in the codices. The object may be tubular or funnel-shaped, or it may resemble a celt. Sometimes it is undecorated, but more often it is striated, dotted, or marked with oval symbols. It also varies greatly in size and, if painted, in color. As a rule the tube emerges from the forehead; however, in two paintings, both of them on Peten ceramics, it protrudes from the mouth. On most portrayals the handle of the tube is sunk into the head and it is not visible; on others it emerges at the nape. As discussed earlier, these tubes probably represent cigars, but the possibility that they may represent torches or celts cannot be excluded." In addition, the piece offered here may also have been used by the Maya relative to the relationship of the royal elite to God K, and may have been used by the Maya as noted above in some capacity as a decorative element and/or used relative to the smoking culture of the ancient Maya. This piece also sits on a custom display stand. Ex: Private CA. collection, circa 1980's. Ex: Private Arizona collection. Ex: Private CO. collection. (Note: Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Ancient World : Greek : Pre AD 1000 item #1356937
Apolonia Ancient Art
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This flawless piece is a Greek Apulian Xenon-ware kylix that dates circa mid 4th century B.C. This lovely little piece is approximately 7.75 inches wide from handle to handle, by 2 inches high, and is in mint quality condition with no repair/restoration. This piece has been attributed to the "Red Swan Group" and it is classified as being "Xenon-ware", which is a sub group of "Greek Apulian" ceramics. This piece has a lustrous black glaze with dark orange painted decorative elements, and features a "high footed base ring". The decorative elements include a red swan facing left, within a "double circular tondo", along with two "three dotted" symbols and a single "ivy leaf" symbol. These symbols are commonly seen on Apulian type ceramics, and may signify the artist in one particular workshop and/or the workshop itself. There are also two laurel wreaths seen on the piece, with one on the inner surface that frames the inner "double circular tondo", and another on the outer surface that runs around the piece. The two handles attached to the piece are upturned, and have some minute stress cracks which is normal for a ceramic of this type, and have no visual repair/restoration. The surfaces have some minute cracking which is also normal, and some spotty white calcite deposits seen mostly in the low relief sections of the vessel. The surface also has a preservative wax, which lends this attractive piece it's glossy appearance as well. Overall, an exceptional piece and a high quality example. (An analogous example of the same quality and size was sold by Sotheby's Antiquities, New York, June 1994, no. 396. $1,000.00-$1,500.00 estimates. See attached photo.) For the type see Margaret Mayo, "The Art of South Italy, Vases from Magna Graecia", Richmond, Virginia, 1982, no. 160. Ex: Private German collection, circa 1980's. (Note: Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Stone : Pre AD 1000 item #1162134
Apolonia Ancient Art
$1,235.00
This interesting piece is an Aztec flint blade which dates circa 1400-1525 A.D. This piece is approximately 6.3 inches high by 2.5 inches wide, and is a large example for the type. This piece is intact, save for a minute chip at one end, and has a beautiful light brown patina with some spotty black mineral deposits. This piece has a small hole near the center of the piece, and this hole is full of minute crystals which are imbedded in the inner cavity, and run to the outer edge of the hole on each side of the piece. It's quite possible that the small hole with crystals was formed from constant mineral drippings, as this piece may have been a ceremonial offering that was buried in a cave or underground tomb. It is interesting to note that the crystals not only extend to the outer edge on each side of the hole, but also over both edges on each side of the piece, and onto the outer carved/chipped planes of the outer flat surfaces near the edge of each side of the hole. This is an indication that the crystal mineralization, and the hole seen on this piece, developed after this piece was carved and buried. The patina and the mineralization are also excellent indicators which go far in establishing the authenticity of this piece, and there are many forgeries of this type of piece that have been on the market. The carving of this piece is exceptional and very well detailed as well, as one can easily see that the carved/chipped planes become smaller towards the edge of the piece, and this forms a blade of elliptical form that has extremely sharp edges. Aztec blades of this type have been used as a lance or knife blade, but the piece offered here was likely used only in a votive context. The flint stone of this piece is also semi-translucent, and according to Eduardo Matos Moctezuma in "The Great Temple of the Aztecs: Treasures of Tenochtitlan", Thames and Hudson Pub., London, 1988, p. 97: "Many objects of flint and obsidian, locally available raw materials, were also made by the Aztec artisans to be deposited in caches. Flint was most frequently chipped into knives and blades. Some of these knives were decorated with with bits of shell and stone mosaic to form little faces in profile, resembling representations of the flint day sign in the Borbonicus. Similarly, obsidian (a volcanic glass) was chipped to form knives and blades with sharp cutting edges, but it was also carefully worked and polished into miniature imitations, such as small heads and rattles of the rattlesnake. Obsidian is an extremely dense and glassy stone, and is a difficult material to work; such miniatures attest to the skill of the Aztec craftsmen. While flint and obsidian implements symbolically and functionally evoke sacrifice and death, more overt evidence of ritual acts can be found in the numerous examples of worked crania. Sometimes a flint knife is placed between the teeth, like a tongue projecting from a grinning mouth, at other times another knife is inserted into the nasel cavity to create an animated image of death. We do not know wheather these objects were used as masks in rituals, or wheather they were made as symbols of death and sacrifice to be placed in offerings." (See attached photo from the text above, p. 98, ill. 80, of a skull mask with two analogous flint blades such as the example offered here.) The piece offered here was likely cermonial and was votive, but in exactly what context it was used, that is not certain, but whatever the case, the piece offered here is an extremely interesting and rare example of the type. This piece also comes with a custom wooden display stand, and can easily be removed. Ex: Private North Carolina collection, circa 1990's. Ex: H. Rose collection, New York. (Note: Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Ancient World : Greek : Pre AD 1000 item #1328068
Apolonia Ancient Art
$1,675.00
This attractive Greek bronze is a complete relief plaque that dates to the late Hellenistic Period, circa 2nd-1st century B.C. This piece is approximately 4.5 inches long, by 3.25 inches high, by 1.3 inches thick which is also an extremely high relief. This piece shows a striding panther that is walking left, and is seen looking back at it's handler which is a nude walking Eros. The nude walking Eros is also seen pulling a rope that is secured around the neck of the panther, and the walking Eros also has wings that are seen behind his back. The panther is seen with his head facing the viewer, and the body of the Eros is twisted with an open chest towards the viewer as well. The entire scene is framed by a Greek acanthus pattern at the top, and scrolls to the left and right. This plaque likely was an applique that was attached to a bronze hydria or a bronze vessel of some type, and is a scarce example. The panther was sacred to Dionysus, and the Eros may be a representative of Dionysus as well. This piece has a beautiful dark green patina with spotty red highlights. This piece is also intact, and has no repair/restoration. This attractive piece also hangs from a custom metal stand, and can easily be removed. Ex: Royal-Athena Galleries, New York, New York, circa 1980's. Ex: Private New York collection, circa 1990's. Published: Royal-Athena Galleries: "Gods and Mortals", 1989, no. 13. ($3,750.00 fixed price.) (Note: Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1022403
Apolonia Ancient Art
$1,265.00
This interesting piece is an Olmecoid standing figurine that dates circa 600-300 B.C. This piece is approximately 6 inches high, is a light tan clay, and has a thin light tan to clear polychrome glaze. This piece is intact, and has a solid body and a mold made hollow head, which was attached in antiquity. This figure is seen with both arms at the side, and the hands are positioned at the front holding a paunchy stomach, which indicates that this piece is a fertility and/or mother goddess. In addition, the lower torso is "pear" shaped and has wide hips. This piece also has many classic Olmec artistic style features such as the jaguar-like ears, eyes, and mouth. These features are a combination of human and animal, which are classified as "transformation art", which is a principle stylistic hallmark of Olmec art from central Mexico. This type of Middle Preclassic period fertility figurine has been found in Izapa (Mexico), Kaminaljuyu (Guatemala), and Chalchuapa (El Salvador); and has also been classified as the "Mamom" artistic style, which was produced by a "pre-Mayan" and/or Mayan culture. (For the "Mamom" artistic style, see "Maya, Treasures of an Ancient Civilization", Harry Abrams, Inc. Pub., New York, 1985, pp. 74-75.) This piece is scarce in this intact condition, as most pieces of this type are found broken, and is a much better example than what is normally seen on the market. This piece can also stand by itself. This piece comes with a custom stand, and can easily be removed. Ex: Julio Atalah collection, circa 1940-1967. Ex: Danny Hall collection, Houston, TX., circa 1967-2005. Ex: Saida Cebero collection, Sugarland, TX., circa 2005-2009. Ex: Private Florida collection. (Note: Additional documentation is available to the purchaser.) I certify that this pice is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Stone : Pre AD 1000 item #1027901
Apolonia Ancient Art
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This interesting piece is a carved jade pendant that is from the Costa Rican region, and dates circa 300 B.C.-500 A.D. This piece is approximately 1.5 inches high, and is part of a complete "axe-god" pendant. This piece likely formed a complete piece that was approximately 4.25 to 4.5 inches high, and may have been string cut into three near equal sections. This beautiful dark green jade piece is the upper section of a complete pendant, and is in the form of an avian head. The dark green color is even throughout the entire piece, and is from a high quality section of the stone from which it was cut. This detailed jade head has superb workmanship, and has bow drilled eyes, wing design cuts seen on each side, and a bow drilled hole through the side which the wearer was able to use in order to suspend this piece as a pendant. This piece was worn by the elite as a "power" type piece, and appears to represent either parrots or owls as emphasized by the tufts as seen at the top of the head. This piece is analogous to two examples that are seen in "Precolumbian Art of Costa Rica", Detroit Institute of Art, Abrams Pub., 1981, no.24 and 26. (See attached photos.) This piece also has an unpolished "septum" that is seen at the back of this piece, and was a result of string cutting a stone into three seperate pieces in order to produce three pendants. (For this manufacturing process see, "Precolumbian Jade" by Frederick W. Lange, University of Utah Press, 1993, pp.270-274.) This piece also has some spotty light brown surface deposits that are seen in several low relief points of the piece. This piece is rare, as it was a segment from a complete "ax-god", and this complete and sacred "ax-god" was likely cut into three segments so that each piece could have been given to family members of the prior owner. The piece offered here, subsequently became a votive grave offering, and the "power" of this piece passed from one generation to another. This type of segmented votive piece was also known to have occurred with the Olmec, as evidenced by Olmec hard stone pieces that are published in "The Olmec World, Ritual and Rulership", Princeton University, Abrams Inc. Pub., 1995, nos. 158 and 159. (The pieces illustrated are both jade masks that were string cut and/or broken into a section, and was then reworked and repolished. It is unknown whether these masks were broken accidentally or for a ritual purpose, but what is known, these pieces were valued as they were reworked and repolished. See attached photos.) The rare votive piece offered here was also reworked and repolished afer it was cut at the bottom, and this type of votive piece is seldom seen in the market, or in private/public collections. This piece is a superb example of Costa Rican jade. This piece is mounted on a custom stand and can easily be removed. This piece can also be easily worn on a cord as well. Ex: Private Mass. collection. Ex: Skinner: American Indian and Ethnographic Art Auction, May 15, 2010. Ex: Arte Xibalba, Osprey, Fl. (Note: Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Ancient World : Greek : Pre AD 1000 item #1375798
Apolonia Ancient Art
$3,675.00
This vibrant piece is a Greek Apulian "Red-Figure" lidded mug that dates circa 340-320 B.C., and is approximately 8.2 inches high with the lid, by 4.6 inches in diameter. This mint quality vessel is attributed to the "Darius-Underworld" workshop, and is also attributed as being by the "Stoke-on-Trent" painter who is thought to have worked in this workshop. The "Darius-Underworld" workshop produced several of the best painters for the period, and they all had their own distinctive attributes that are seen in their compositions. This mint quality piece has no repair/restoration, and in addition, has very vibrant black, white, yellow, and dark orange colors. This piece has a rounded knobbed handle seen in the top center of the lid, and there is a single female bust, along with a detailed floral and acanthus pattern. There is also a large female bust seen on the main body of the vessel facing left, along with floral patterns, and a large acanthus pattern below the single "double-ribbed" handle. This goddess is also seen wearing a detailed white and yellow sakkos in her hair that is highlighted with a "dotted and cross" pattern, an elaborate earring, and a dainty white dotted necklace. Her facial features are very pleasing, and she also seems to exude serene eternal youth. This portrait type is commonly known as the "Lady-of-Fashion", and is thought by many academics to represent Demeter and/or Persephone. The Greek myth of Persephone's abduction and return from the underworld gave rise to the belief that the restoration of the goddess to the upper world promised the faithful their own resurrection from death. The piece offered here is a much better example than what is usually seen on the market, due to it's mint quality condition, vibrant colors, and superb artistic style. This piece also has some minute spotty black mineral deposits, and has a nice dark even black glaze. An analogous vessel of this type was offered in Christie's Antiquities, New York, Dec. 2011, no. 138. ($3,000.00-$5,000.00 estimates, $5,250.00 realized.) Another analogous example was offered by Royal Athena Galleries, New York, Sept. 2010, in "One Thousand Years of Ancient Greek Vases II, no. 142. ($4500.00 estimate. See attached photo.) The mint quality piece offered here also has superb artistic style, and is not often seen on examples of this type. Ex: Private Swiss collection, circa 1970's. Ex: Private Illinois collection, circa 1990's. (Note: Additional documentation is available to the purchaser, including US Customs Import documentation.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Ancient World : Roman : Bronze : Pre 1492 item #1224239
Apolonia Ancient Art
$4,675.00
This superb Roman bronze of Attis dates circa 2nd-3rd century A.D., and is approximately 5 inches high by 3.5 inches high. This intact piece is in superb to mint condition, and is complete with no repair/restoration. This piece also has silver inlaid eyes which add to the lively and animated facial expression of this exceptional Roman bronze. This piece also has a beautiful dark green patina with some minute black mineral deposits, fine hair detail, and a finely designed Phrygian cap. There is a round hook at the back of the neck which may have been attached to a suspension chain, as this piece may have been part of a suspended bronze vessel or a furniture object. There is additional detail with incised dotted decorative crosses and line work seen on each side of the Phyrgian cap, which is also an attribute associated with the deity Attis. The head of this piece is also modeled in the round, and extends slightly forward from the lower bust, and this is another indication that this piece was likely attached to a rounded vessel. In addition, the majority of Roman applique pieces are not modeled in the round in the upper section like the example offered here, and simply have an open end at the back of the head. This piece therefore has a dual design, not only as an applique, but it is also designed like a Roman portrait bust. According to Phyrgian and Roman myth, the youth Attis was madly loved by the Phyrgian goddess Cybele, and she loved him so jealously that she could not bear him marrying the nymph Sagaritis. When Attis later proposed to Sagaritis, in a rage, she made him go out of his mind, and he castrated himself and died from his wound. Cybele, struck with grief, revived her dead lover and the pair were worshipped together throughout Phrygia and the Roman world. In a Lydian version of the myth, Attis is not killed by his castration, but by a wild boar, like Adonis. For the myth of Attis and Cybele see: "Gods and Mortals in Classical Mythology" by Michael Grant, New York, 1979. The lively and animated face seen on this appealing piece, reveals the mad love that Attis had for Cybele and Sagaritis, and as such, this piece displays a high degree of art. This piece hangs on a custom black plexiglas and steel stand, and can easily be removed. Ex: Private German collection, circa 1980's. Note: Additional documentation is available to the buyer. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pre AD 1000 item #1385336
Apolonia Ancient Art
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This scarce piece is a Colima water carrier figurine that dates to the Proto-classic Period, circa 100 B.C.-250 A.D., and is approximately 13.25 inches high. This piece is intact with no repair and/or restoration, and has a nice even deep red glaze over the entire outer surface, save the bottoms of the flat feet. This piece also stands solidly by itself, and the water carrier seen here has a large jar on his back that has detailed ropes and fittings which are not normally seen on scarce pieces of this type. This water carrier also has his hands behind his head in order to steady his heavy load, and he also has a serene expression which runs counter to one that has a heavy load on his back. This piece also has some spotty black mineral deposits, and the surfaces show little wear. An exceptional example seldom seen on the market. Ex: Sotheby's pre-Columbian Art, New York, Nov. 2006, no. 387. ($5,000.00-$7,000.00 estimates, $9,000.00 realized.) Ex: Private Kansas collection, circa 2000's. Published: Featured in the ATADA Online Show, Aug. 9-19 2018 (www.atada.org/online-show). I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Ancient World : Roman : Glass : Pre AD 1000 item #579338
Apolonia Ancient Art
$4,625.00
This x-large Roman glass jug dates circa 1st-2nd century A.D., and is approximately 7.5 inches high by 5.8 inches in diameter. This beautiful piece is also in mint condition, with no stress cracks and/or chips. This pleasing light green vessel has beautiful multi-colored iridescence and nice minute root marking. There are also five decorative wheel-cut (lathe) bands that run around the main body of the piece, and these bands may also have served as a measurement indicator of the level of the contained liquid. This was likely the case, as the five cut bands are evenly spaced on the vessel. There is also a thick strap handle that was applied to the upper shoulder and below the lip. The lip of this attractive vessel was also turned out and down, which formed a rounded edge. (For an analogous example, see Christie's Antiquities, New York, June 2001, no.213. This vessel is approximately 9.25 inches high, and has eleven decorative wheel-cut bands, three of which are deeply cut. $20,000.00-$30,000.00 estimates, and realized $23,500.00. Another recent comparable sold at Cristie's Antiquities, London, April 2010, no. 98, for 5625 Pounds, approximately $7600.00, and had 5,700-7,900 pounds estimates. This vessel is approximately 6.5 inches high and is a light green color with six decorative wheel-cut bands. See attached photo.) The piece offered here is an exceptional large example of early Roman blown glass, is very analogous to the two examples noted above, and is scarce in this mint quality condition. Ex: Private English collection. Ex: Joel Malter collection, Los Angeles, CA., circa 1980's. Ex: Private New York collection, circa 1990's. (Note: Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pre AD 1000 item #1392002
Apolonia Ancient Art
$875.00
This scarce piece is a Huari bowl that dates to the Middle Horizon period, circa 550-1050 A.D. This piece is approximately 6.5 inches high, by 6.8 inches in diameter, and has white, black, dark orange, and dark red colors. This interesting piece has a flat bottom and an oval opening at the rim. This piece has a mirror image design that appears to be a "jugate-designed" type image, which are two heads back-to-back with a shared central white eye. This image also likely represents a sacred mythical creature that could be part feline, as there are also black dots seen within the design that could represent jaguar spots. There are also two raised bands that rise above the main design, and in addition, there are white and black dots that frame the entire image which may be celestial in nature. There is a "key pattern" that forms a ground line, and they also divide the vessel into two halves, along with a "chevron" pattern that is a hallmark design seen on Huari ceramics. This vessel could have been used in a sacred ceremony, and may also have served as a seed storage jar. This piece also has an ancient repair, as indicated by two bow-drilled holes that held a cord wrapping which held a crack together. This piece is complete, and has some minor crack fill seen mostly at the base that was done 30 plus years ago. This piece also has some attractive spotty white calcite deposits seen on the inside and outer surfaces. An interesting piece that has a very complex design. Ex: Private German collection, circa 1970's. (Note: Additional documentation is available to the purchaser, including EU Export and US Customs Import documentation.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Ancient World : Egyptian : Pre AD 1000 item #1378394
Apolonia Ancient Art
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This scarce piece is an Egyptian faience two-faced amulet bust that dates to the Late Period, circa 713-332 B.C. This piece is approximately 1.25 inches high, and is an intact example. This piece was originally made as a figurine of the Egyptian god Pataikos, and has an attractive light green glaze. This interesting piece has nearly two identical "mold-made" faces seen on each side of the bust in a "Janus" type design. This appealing Egyptian bust also shows the two faces sharing the same bald head, and these faces have deeply molded features that convey a slight smile and serene expression. This piece was likely made as a "protector" type work of art, and may also have doubled as the god Bes and Pataikos, thus having additional protective powers. The Egyptian god Pataikos was derived from a Phoenician "dwarf-form", and was a "protector" type god which is also sometimes referred to as a "Ptah-Seker" god. Pataikos was also a popular god in ancient Egypt, and was always present among the workers in precious-metal workshops in Old Kingdom scenes of daily life. The piece seen here was also likely to have been intentionally and ceremoniously broken in antiquity, which subsequently killed the magic of the piece. This scarce piece is in superb condition, has a nice colored glaze, and is a large example for the type. This piece is also mounted on a custom display stand. Ex: Kathe Hartmann collection, Germany, circa 1950's. (Note: Additional documentation is available to the purchaser, including EU Export and US customs Import documentation.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1249675
Apolonia Ancient Art
$4,275.00
This extremely rare piece is a Moche seated man that is Moche IV Period, circa 450-550 A.D., and is approximately 8.3 inches high. This interesting piece is intact, save for a minute filled stress crack in the upper stirrup-handle, and is in superb condition with vibrant dark red, light brown, and cream colors. This piece is a seated Moche man who is dressed with regal ear flares, a wrapped headdress, a dark red back sack, and a cream colored tunic. The individual portrayed here does appear to have some social status in a regal or religious context, as he is seen finely dressed, and he is also seen holding a ceramic in each hand which may point to a ceremonial activity. This individual displays a pronounced facial deformity, which was also held in high regard by the Moche, as this was thought to be a sign from the gods. Special status and sacredness may have been accorded to those who suffered diseases and other physical handicaps. The pronounced deformed face of this individual has skin drawn tight over the bones, and is likely the result of a tropical disease. The Moche were known for their realistic ceramic portraiture, and the piece offered here is a prime example of their skill for realism in portraiture. Moche ceramics that are medical related, and depict individuals with diseases and/or deformities such as this piece, are rare to extremely rare. Another analogous example that portrays a deformed face is seen in "The Spirit of Ancient Peru: Treasures from the Museo Arqueologico Rafael Larco Herrara", Thames and Hudson Pub., by Kathlenn Berrin, San Francisco, 1997, no. 69. (See attached photo. This portrait-head type vessel seen in the Larco Herrara Museum may also be a portrait of the same individual as seen on the ceramic offered here. Both pieces have analogous features and are both Moche IV Period.) The individual seen here with the deformed face and diminutive nose was likely caused by a tropical disease known as Mucocutaneous Leishmaniasis (ML), and this disease is found today in Bolivia, Brazil, and Peru. ML is contracted from a sand fly bite, and subsequently, ML symtoms include painful nodules inside the nose, perforation of the nasel septum, and enlargement of the nose and lips. Untreated, the disease leads to ulcerated lesions and scarring and tissue destruction predominately in the face and extremities which can be disfiguring. (See MedicineNet.com for more information regarding this disease.) The piece seen here likely displays the disease noted above, rather than a battle injury, or a ritualistic mutilation, but whatever the case, this interesting piece is an extremely rare Moche vessel that is seldom seen on the market. Ex: Gayle Grayson Gallery, Chicago, Ill., circa 1980's. Ex: Estate of Daniel J. and Ruth Edelman, Chicago, Ill. (Note: Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Ancient World : Roman : Pre AD 1000 item #1281148
Apolonia Ancient Art
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This pleasing Roman marble is a portrait of a young woman that dates circa 2nd century A.D. This piece is approximately 3.4 inches high by 2.25 inches wide. This piece has a break at the back, at the bottom of the neck, and at the back right side of the head. The flat break at the back is an indication that this piece was once part of a large carved relief, possibly a sarcophagus panel, and was broken away from the main part of the sculpture. This attractive bust is also designed with a three-quarter facing profile, and this is a Greek convention of art that was extensively copied by the Romans circa 1st-2nd century A.D. In addition, the head is leaning to the left, with the neck seen at an angle moving down to the right, and this is an indication that the body of this young girl was portrayed with movement, as seen within the entire scene that this this bust was originally attached to. The face of the young girl appears to be serene, and conveys an eternally young look which may also be an indication that this is also meant to be a portrait of a goddess, possibly Diana (Artemis) or Juno (Hera). The hair seen on this young portrait is also arranged in three layers, which was a Roman hair style that was popular in the 2nd century A.D. The face of this piece is also intact, with no breaks to the nose, chin, and cheeks. The mouth is also rendered in a very sensual way, and has a great deal of eye appeal. This piece is also somewhat analogous to the numerous Roman marble portraits that were produced circa 161-176 A.D. of Faustina II, who was the daughter of Antoninus Pius and Faustina I, and was later married to Marcus Aurelius in 145 A.D. (See attached photo of a young marble portrait bust of Faustina II, circa 161-176 A.D., and seen in "Art of the Ancient World", Vol. XXI, 2010, no. 26 by Royal Athena Galleries, New York.) The attractive piece offered here has a nice light tan patina, with some spotty dark brown and black mineral deposits, which are also readily seen over the entire piece. Overall, this piece is an attractive Roman marble, and is a choice example. This piece is also mounted on an attractive custom display stand. Ex: Private New York collection, circa 1990's. Ex: Fortuna Fine Art, New York. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Ancient World : Greek : Pre AD 1000 item #1274546
Apolonia Ancient Art
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This scarce and beautiful piece is a Greco-Scythian gold rosette plaque that dates to the 5th-4th century B.C. This piece is approximately 2.1 inches in diameter, by .2 inches high at the raised center, and is a large example for the type. This gold rosette has a dotted border, with eight round floral pedal designs that run around the central element of the piece. This central element is a green glass inlay that is supported by a raised gold band. There is also an additional dotted decorative band the runs around the central glass inlay. This piece was also hand punched into a mold, thus forming the raised designs that are seen on the front side of this striking piece. There is also a minute centering central dot seen on the back side, which is a Greek convention of art during the 4th century B.C. This complete and intact piece also has some black mineral deposits where this piece likely attached to a garment that may have been votive. There are also minute black and dark brown spotty mineral deposits, along with minute root marks that are seen in various sections of the piece. This piece is also not thin gold sheeting, and is solid with some tensile strength, and this is an indication that this is not solely a votive type piece, and may have been worn on special occasions as well. This piece is a floral design with the raised central green glass element, and the green glass likely represents the center of a flower. This piece is also likely from the Black Sea region, and is analogous to gold plaques that have been found there that have floral designs. (See attached photo of an analogous Greco-Scythian floral rosette that was found near ancient Kerch, south of the Sea of Azov. This piece is approximately the same size as the piece offered here. This piece was published in "The Splendor of Scythian Art" by M.I. Artamonov, New York, 1969, no. 149.) These floral designs can be explained by the Greek Eleusinian cult that flourished in the Black Sea region, and the worship of Demeter and Persephone which represented the "change of the seasons" and "birth and rebirth", and these concepts were also associated with the growth of flowers and agriculture. The scarce to rare piece offered here is seldom seen on the market and has great eye appeal, as this piece has a brilliant color. This piece can also be worn today, as it is a durable solid example, and it can easily be built into a pendant or necklace. This piece also has a custom display stand, and can easily be removed. Ex: Private French collection, circa 1980's. Ex: Fortuna Fine Arts, New York. I certity that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Ancient World : Greek : Pre AD 1000 item #1381567
Apolonia Ancient Art
$965.00
This attractive piece is a Greek black glazed glaux skyphos, and dates circa 4th century B.C. This piece is approximately 2.8 inches high, by 5.5 inches wide from handle to handle, and is in intact condition, with no repair and/or restoration. Overall, this piece is in superb to mint quality condition, save for some minor spotty roughness in the glaze of the outer surface, and has some spotty white calcite deposits. This piece has a deep lustrous black glaze seen on the inner and outer surfaces, and has a very distinctive design feature with one vertical and one horizontal handle. Both of these handles also have a different design, with the horizontal handle having a round design, and the vertical handle having a thick, flat design. The vertical handle was designed to hold this scarce vessel with the index finger, and the other handle was used to control the pouring of a liquid, such as concentrated wine that was mixed with water. The handle design also refers to the common name that this scarce type of vessel is known as, and this vessel type is often referred to as a "glaux skyphos". The bottom of the vessel has a small black dot, seen within a dark orange reserve, that is also seen within the bottom ring base. The piece offered here is seldom seen in this condition, and is one of the better recorded examples. Ex: Hans Piehler collection, Germany, circa 1940's-1960's. Ex: Private German collection, circa 2000's. (Note: Additional documentation is available to the purchaser, including EU Export and US Customs Import documentation.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Ancient World : Greek : Pre AD 1000 item #1359591
Apolonia Ancient Art
$2,165.00
This exceptional piece is a Greek silver fibula that dates to the Hellenistic Period, circa 4th-3rd century B.C. This attractive piece is approximately 2.2 inches long, by 1.6 inches wide. This piece also has a beautiful light gray patina, and some minute spotty black mineral deposits. This finely detailed piece is a solid example, and was made in sections, and was also designed with an acanthus design seen at one terminal end. The other terminal end has two raised knobs with a hoop between, and this raised hoop likely held a leather tie so that this fibula would not have been lost by the wearer. This piece was expensive in antiquity, and was worn only by a wealthy individual. This piece also displays five "paddle wheel" decorative elements, and each of these decorative elements have six raised knobs. The overall design of this attractive piece is very intricate, which also lends this piece a great deal of eye appeal. This type of piece was also used in place of a button to fasten the sleeves of the Greek chiton. (For the type and use see: "Greek Jewellery, 6,000 Years of Tradition", 1997, Athens, no. 78.) Another near identical example is also seen in the Metropolitan Museum, New York, Inventory no. 52.36. The exceptional piece offered here is one of the finest recorded examples, and is complete, save for the missing ultra-thin attachment pin. This piece is also attached to a custom display stand. Ex: Joel Malter collection, Los Angeles, CA., circa 1980's. (Note: Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pre AD 1000 item #1389023
Apolonia Ancient Art
$6,875.00
This powerful piece is a seated Colima warrior that dates to the Protoclassic Period, circa 100 B.C.-250 A.D., and is approximately 14 inches high. This reddish-brown seated warrior has long youthful limbs, and is seen with the raised right arm balanced on his knee. His cupped right hand perhaps once held an implement, or a lance made from perishable material. This warrior also appears to be in a trance, and has a rounded face with closed "coffee-bean" style eyes. He is also seen wearing a pendant tied around the neck, a headdress/helmet with a small "feline headed" medallion, and raised inlay stone tattoos on the shoulders. The left side of his nude torso is also decorated with a band of black geometric "line-design" tattoos. This piece has very realistic body molding seen on the back side of the vessel, and has a very angular nose. His ears are also pierced for earrings, and overall, this warrior exudes a regal like appearance. This piece was offered for the deceased, and was likely a "protector-type" figurine. The form of this Colima piece is also rare, and the figurine offered here is a rare example that is also known as the "Coahuayana Valley" type. This piece is also intact with no apparent repair and/or restoration, and has some spotty and minute black mineral deposits. A superb large example with a high degree of eye appeal. For the type see: R. Townsend, "Ancient West Mexico, Art and Archaeology of the Unknown Past", The Art Institute of Chicago, 1998. Ex: Sotheby's Parke Bernet, Pre-Columbian Art, New York, Dec. 1981, no. 165. ($2,200.00 realized.) Ex: Sotheby's Pre-Columbian Art, Nov. 2004, no. 268. ($4000.00-$6,000.00 estimates). Ex: Private Kansas collection, circa 2000's. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Ancient World : Greek : Pre AD 1000 item #1307575
Apolonia Ancient Art
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This exceptional Greek ceramic is a Messapian trozella that dates circa 400-300 B.C. This piece is approximately 7.9 inches high, by 8.25 inches wide from handle to handle. This piece has two applied strap handles to a pear-shaped body that has a raised foot. The handles also have four disks built into the handle junctions, and the description "trozella" has the meaning "little wheels", and "trozella" is a very appropriate description for vessels of this type. The esoteric piece offered here is an early example, as it has a shorter pear-shaped body with a footed base, rather than an extended body with a raised foot with a spread base. The earlier examples are much rarer, and often have beautiful detailed painting as the example has here. Vessels of this type also generally have painted sections that are worn, and in many cases the painted images are completely worn off, but the images seen on this exquisite vessel are nearly entirely intact, and can clearly be seen on both sides of the vessel. These vessels were also painted after the vessel was fired in the kiln, and were quickly re-fired again, and this is why the painted images seen on vessels of this type are generally faded and are not very bright. The painting seen on this exceptional piece is extremely fine and detailed, and shows reddish-brown acanthus patterns on the upper shoulder that are connected with a single fine line with added dots. There are added geometric "cross-and-line" patterns seen on various sections of the vessel, and the two boxes seen on the upper shoulder have dark red defining lines. The overall esoteric design of this vessel, along with the delicate painting, make this vessel one of the finest examples of this type that has been on the market. The description "Messapian" also refers to the Greek colonists and native Greek peoples that settled in the southern heel of Italy. It is unkown if this early example was produced locally, or was a production in a Greek city made for import into the region. Given the delicate Greek acanthus designs, and the fact that this piece is a rarer earlier example, I am leaning to the latter scenario that this piece may have been produced for import into the region. This piece also has some minute dark spotty black mineral deposits, along with some heavier root marking seen on the inside of the vessel and the upper flat rim. Another analogous vessel that is a later type, was offered by Sotheby's Antiquities, Dec. 2007, no. 129. ($5,000.00-$8,000.00 estimates, $4,688.00 realized.) The vessel offered here is rare on the market, as it is an early example, has delicately painted fine design work, and is in mint condition. Ex: Fortuna Fine Arts, New York, circa 1990's. Ex: New York private collection. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Ancient World : Roman : Pre AD 1000 item #1339702
Apolonia Ancient Art
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This extremely rare piece is a Roman bronze armor plaque that dates circa 2nd-3rd century A.D. This piece is approximately 4.75 inches high, by 2.2 inches wide at the top, and the high relief of this piece is about .25 inches. This striking piece has a beautiful dark green patina with some spotty dark red highlights, along with some spotty light to dark green mineralization seen mostly on the backside of the piece. In addition, this piece has some spotty gilt "tinning" seen in various sections of the front side of the piece. This piece was likely fitted into an armored cuirass below a shoulder plaque, and this cuirass likely had duplicate pieces that were also fitted into the cuirass on the other side of the chest. This piece may also have been interwoven into the fabric of the cuirass, and there is a square attachment slot seen at the bottom of the piece. This piece was hand beaten over a mold, and depicts a very muscular standing nude Mars holding a shield on the ground with his left hand, and in the right, he is holding and leaning on a spear. He is also seen wearing a helmet, and has a cloak draped over his arms. The muscular Roman war god Mars is also seen standing over a sea-panther with a coiled tail, and the entire scene is framed by a dotted border. There are very few Roman plaque armor examples such as the piece offered here, and most plaques are fragmentary, and are not complete and intact as the exceptional piece offered here. In addition, the majority of Roman armor was constructed with several bronze pieces which attached to a leather and/or fabric cuirass, and most of these sectional bronze pieces are individual finds. This piece is also in mint to superb condition, and has no repair/restoration, cracks, or chips. This type of piece is also analogous to another example that depicts the nude Roman war god Mars standing over a sea-panther, and is seen in Christie's Antiquities, "The Axel Gutmann Collection, Part I", London, Nov. 22, no. 87. (See the attached photo of this piece which is a shoulder plaque that is approximately 5.5 inches high, by 2.8 inches wide, circa 2nd-3rd century A.D., $6,300.00-$9,300.00 estimates.) For this type of armor, see M.C. Bishop and J.C.N. Coulston, "Roman Military Equipemt", London, 1993, pp. 139-142. This piece is mounted into a custom Plexiglas stand, and can easily be removed. Ex: Harlan J. Berk collection, Chicago, Ill., circa 1980's. Ex: Private Austrian collection, circa 1990's. (Note: additional documentation is available to the purchaser, including EU Export and US Customs Import documentation.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pre AD 1000 item #1370580
Apolonia Ancient Art
$2,875.00
This scarce Chavin ceramic is a gray-ware bottle that dates to the Middle Chavin Period, circa 1000-700 B.C., and is approximately 8 inches high by 4.8 inches in diameter. This piece is also among the earliest ceramics that were produced by any Andean culture. This exceptional piece also has a finely polished and raised design on each side of the vessel which is a mirror image of one another, and this design is likely a stylized avian such as the raptorial "harpy eagle". One can see the stylized oval incised eye at the bottom of the design, and the two rising "four banded" sectional wings and/or head tufts that rise above into the central body of the vessel. The balance of the main body of the vessel is covered with incised "surface punctations" that were produced by rolling a shell mold over the wet clay. This provided a background for the main design and further enhances the design for the viewer. The graceful raised neck of this interesting piece is also glazed, as well as the flat bottom of the vessel. The raised and incised finely polished design of the stylized raptor, also has design elements that are analogous to some of the elements seen on the so-called "Tello Obelisk", seen at Chavin de Huantar, Peru. There are also theories that the supernatural avian, seen on the piece offered here, was an attendant and/or messenger of a celestial deity, rather than dieties themselves. (See "Chavin and the Origins of Andean Civilization", by Richard Burger, Thames and Hudson, 1995.) The superb piece offered here is also intact, with no apparent repair/restoration, and is an excellent representation for the type. This piece also has some minute root marking, and some minute spotty black mineral deposits. There are also two minute holes for the TL authenticity samples taken from the inside of the upper lip, and the other is on the flat base of the vessel. Ex: Gunther Marschall collection, Hamburg, Germany, circa 1970's. Ex: Private German collection. (Note: Additional documentation is available to the purchaser, including a TL authenticity test from Kotalla Lab, Germany, No. 38R270317, and EU Export and US Customs Import documentation.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Ancient World : Greek : Pre AD 1000 item #1346703
Apolonia Ancient Art
$675.00
This scarce piece is a Greek bronze amulet that is seen in the form of the Greek goddess Baubo, and dates circa 5th-3rd century B.C. This piece is approximately 1.25 inches high by .65 inches wide, and is a complete example with no restoration/repair. This complete piece has a nice dark green patina with some light brown deposits, and is a solid cast example that likely served as a wearable amulet that hung from a necklace. This piece has a suspension hoop seen at the top of the head of the goddess, who is seen nude with her hands on her knees, and is revealing her over-sized vulva. The goddess Baubo was a fun-loving, bawdy, jesting, sexually liberated - yet very wise - goddess who played a crucial role in preserving the fertility of the land in ancient Greece. According to ancient Greek myth, Baubo stopped to rest in the city of Eleusis and had a conversation with the depressed Demeter, who was in deep mourning over the loss of her daughter Persephone who was abducted by Hades, the god of the underworld. Demeter abandoned her duties to bring fertility back to the land, until Baubo began chatting with Demeter using risqué remarks that brought a smile back to Demeter's face. Then, Baubo suddenly lifted her skirt revealing her vulva to Demeter who responded with a hearty belly laugh. Demeter's spirits were uplifted, and she was then able to persuade Zeus to release Persephone, which restored the fertility of the land. The piece offered here may have been worn by a woman, and/or a person who was also connected with the Eleusinian Mysteries. The followers of Baubo believed that enmity could be turned into friendship, and that all people are an integral part of the great cycles of nature. This piece is a scarce to rare example, and is a solid example that can easily be worn today. This piece also hangs on a custom display stand. Ex: Joel Malter collection, Los Angeles, CA., circa 1980's. (Note: Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Ancient World : Greek : Pre AD 1000 item #1325568
Apolonia Ancient Art
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This powerful ancient coin was minted in ancient Lydia, and is attributed to the king of Lydia, Kroisos, circa 561-546 B.C. This silver coin is known as a Siglos, which is a half-stater, and weighs 5.3 gms. This coin was also minted on the so-called "heavy standard", and this coin type is also found in electrum and gold. This coin is in about Extremely Fine condition (EF-/EF-), has good centering, is approximately 17mm wide, and has a nice light gray patina. This coin features a powerful imagae on the obverse, which is the forepart of a lion bearing his teeth with an open mouth, and is facing the forepart of a horned bull. The reverse features a two part incuse square punch. King Kroisos was also the first to abandon electrum coinage in favor of a bimetallic currency based on pure gold and silver. The coin offered here represents this shift in the minting of ancient Greek coinage, and likely was minted 50-75 years after the invention of coinage. A nice example for the type. References: SNG Tubingen 3656; SNG van Aulock 2876. Ex: Harlan Berk collection, circa 1980's. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Ancient World : Pre AD 1000 item #1356955
Apolonia Ancient Art
$1,285.00
This interesting piece is an Etruscan red-figure stemmed plate that dates circa 4th century B.C. This piece is approximately 5.45 inches in diameter, by 2.4 inches high. This piece has been classified as being from the "Genucilia Group", and the group name derives from an example that had the Etruscan name "P. Genucilia" inscribed under its stemmed foot. This piece also has been described as a "star plate", as noted by Prof. Mario Del Chiaro in "Etruscan Red-Figure Vase Painting at Caere", University of California, 1974. The "five pointed wave pattern" seen on the top side of this piece also resembles a "star burst". The "wave pattern" seen on these vessels are also known to have only five of these "points" as well, and why there is generally a "five pointed wave pattern" seen on these vessels is unknown. The "five pointed wave pattern" seen on this piece frames a young goddess facing left that is seen wearing long earrings and a sakkos over her hair. The sakkos has "X patterns" within, and the entire composition is done with a dark black polychrome over a light tan terracotta. This intact piece has a raised stemmed base, and has some spotty white calcite and mineral deposits seen in the low relief sections of the vessel. The bottom of the vessel has several old collection numbers seen including: "P401", "1026", and "Lot 60, Gray Coll., Sotheby's, June 88". This piece also has two "X" graffiti marks seen on the top side inscribed over the face of the young goddess. This piece was also used as an offering plate in sanctuaries, and the "X" pattern graffiti, along with the "X" patterns seen within the sakkos design, may also indicate the workshop where this piece was made and/or the artist who produced this piece. The overall design of this piece makes this a very interesting ancient ceramic, and is rare in this intact condition with vibrant painted images. (Another analogous example was offered in Christie's Antiquities, London, April 2011, no. 233. 800.00-1,200.00 Pounds estimates, 2125 Pounds realized. See attached photo.) Ex: Private English collection, circa 1980's. Ex: Sotheby's Antiquities, London, June 1988. Ex: Private New York collection. (Note: Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1320798
Apolonia Ancient Art
$3,265.00
This superb Mayan "orange glazed" bowl with a glyph band dates circa 600-900 A.D., and is approximately 5.25 inches high by 7.75 inches in diameter. This piece is intact, and has some heavy root marking, along with some white calcite and spotty minute dark black mineral deposits. This attractive piece has a flat bottom, and has a graceful rounded body which gradually narrows towards the rim. This piece has a bright "orange glaze" with a red and black band seen just below the rim. Below this decorative red and black banded design, a black painted glyph band is seen running around the vessel that consists of fourteen identical glyphs. The detailed glyph band was also painted from right to left, and the beginning and end of the glyph band is seen, as the last glyph painted does not have the added "speech scrolls". The "speech scrolls" were not added to the last painted glyph, because the artist ran out of room within the overall composition, and could not over paint into the first painted glyph. This repeating glyph is also analogous to the glyph seen in "How to Read Maya Hieroglyphs" by John Montgomery, Hippocrene Books Inc., New York, 2002, p. 146, Fig. 8-11. (See attached photo.) The glyph seen on the vessel offered here, along with the published glyph noted above, both have "speech scrolls" attached at the left side of the rounded main body of the glyph, and these "speech scrolls" represent a "quotative particle" in Mayan iconography, meaning as the term "quotative" indicates, certain particles (glyphs) attribute phrases to individuals as though these were the figure's utterances or actual speech. In the case of the glyph seen here, it is interpreted as "it is his saying", which may also be interpreted as "this vessel belongs to him". It is interesting to note that this glyph repeats again, and again, around the vessel within the glyph band, and in this case, the presence of this glyph tells us that this object belongs to someone. This type of possessive reference is a well-known reference seen in dedicatory Mayan ceramic texts. The piece offered here is as attractive, as it is interesting, and this type of Mayan ceramic is scarce on the market today. Ex: Arte Primitivo, New York, circa 1990's. Ex: Private German collection. (Note: Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition: