Specialties
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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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Attractive Pink Sandstone Post-Gupta Male Torso
Catalogue:
Antiques:
Regional Art:
Asian:
Indian Subcontinent:
India:
Pre 1492 item# 738399
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Apolonia Ancient Art
303-321-7351 gallery
$2675.00
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This attractive pink sandstone torso is from the Post-Gupta period, circa 9th century A.D., and is from central India. This piece is approximately 14 inches high and is mounted on a custom metal stand. The male seen here may be Vishnu, the preserver, and is probably the most widely worshipped of the Hindu deities in India, and although he is seen as representing stability, he has, through his avatars, a multifaceted character. Over the centuries, he has managed to absorb other cults, making them part of his essential oneness. He is seen here wearing a collar and an intricate three-part jewelled belt, and his posture is centered towards the viewer. This piece has spotty white calcite deposits and has more wear at the back of the piece. This indicates a burial pattern with the front of the piece probably lying face down, and with the back side exposed to the elements. This burial pattern and the calcite deposits are excellent indications of authenticity, and this is very important, given the large number of fakes on the international market. This piece is also a scarce depiction of Vishnu, as he is seen as an over-weight older male. This piece has a great deal of eye appeal and is an excellent example of medieval period Indian art. Ex: Arthur Millner collection, London. 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
$875.00
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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. 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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Cute Geometric Greek/Anatolian Votive Bronze Bull
Catalogue:
Antiques:
Regional Art:
Ancient World:
Greek:
Bronze:
Pre AD 1000 item# 685120
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Apolonia Ancient Art
303-321-7351 gallery
$2375.00
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This cute standing bronze bull is complete, and dates circa 750-700 B.C. This piece is approximately 3.5 inches long by 2.25 inches high. This piece is solid and was cast as one complete piece. This scarce piece is probably Greek, as examples of this type have been found at Delphi, Olympia, and Samos. These pieces were votive in nature and this is why they have been found at these sacred Greek sites. (See H.V. Herrmann, Die Kessel der Orientalalisierenden Zeit, Teil I, OlympForsch VI, 1966, no.114. for an analogous example that was found at Olympia.) This piece has a round almond eye and the tail is designed between the hind legs, and these are features that are seen in Greek art during the early Geometric period, circa 8th century B.C. Pieces of this type have been found in Anatolia and northern Syria, and have been found in many locations in the ancient Greek world. This is why pieces of this type are classified as being "Anatolian" and/or "Northern Syrian", but it probably is the case that many of these pieces may also have been made in Greece, and one probable site is Olympia. This period is also known as the "Orientalizing" period of Greek art, as there was extensive trade between Greece and the the Levant (eastern Mediterranean). This piece has a dark green and brown patina with dark green mineral deposits. The design of this piece is also very analogous to another example that is seen in the Munich Glyptothek Museum (See attached photo.) The piece offered here, and the Glyptothek Museum example, are both approximately the same size as well, and both have short cropped horns, incised line design on the flat forehead, and a round almond eye. This scarce piece is not often seen on the market and is from a private Swiss collection. Ex: Leo Mildenberg collection, Zurich. Published:"More Animals in Ancient Art from the Leo Mildenberg Collection" by A.P. Kozloff and D.G. Mitten, Part III, Mainz am Rhein Pub., 1986, no.17. Ex: Christie,s Antiquities, London, Oct. 2004, no.372.
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Near Eastern Sumerian Rock Crystal Bull Amulet
Catalogue:
Antiques:
Regional Art:
Ancient World:
Near Eastern:
Stone:
Pre AD 1000 item# 752891
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Apolonia Ancient Art
303-321-7351 gallery
$2675.00
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This piece is a carved rock crystal amulet that is in the form of a recumbent bull. This rare piece is Sumerian, and dates circa 3500-3200 B.C. This piece is approximately 1.1 inches long and .5 inches wide, and is very large for a rock crystal amulet of this type. There is also a bow drilled hole that runs from the top center to the bottom of the piece, and this was used to attach this piece to a necklace. These necklaces included additional animal amulets/seals, and other known types of these amulets and seals were made from red chalcedony, lapis lazuli, agate, and onyx. The rock crystal types are the rarest, as this hard stone was difficult to carve and had to be imported into the region (lower Mesopotamia). The Sumerian culture was one of the earliest cultures that used amulets and cylinder seals for commercial and religious reasons. This piece was produced during a period when urban culture was coming into existence, along with the formation of city-states, and the piece offered here marked the wearer with a social status, as amulets of this type were also thought to have been imbued with magical powers. Rock crystal pieces of this type are thought by many academics to represent wealth and power, and this may also explain the bull as a type. ( See "Art of the Ancient Near and Middle East" by Carel J. Du Ry, Abrams Pub., New York, 1969, pp. 32-48. In addition, see Sotheby's Antiquities, New York, "The Ada Small Moore Collection of Ancient Near Eastern Seals", Dec. 1991, no. 1-4 and 28. On page 14 the Reverend Paul Moore, the grandson of Ada Small Moore, mentions an ancient cuneiform text that reads: "A seal of crystal portends that he shall enlarge profits; his name shall be good." ) The bull seen on this amulet is seen in the recumbent position with the legs folded underneath, and the head is turned to the right. This design of the bull is in a compact position, and this makes the drilled eyes even more expressive. The stone is also translucent, and this also gives this bull amulet an animated look. This piece is complete and is in superb condition, save a small fracture seen on the upper head. This piece comes with a custom stand and can easily be removed. Ex: Sotheby's Antiquities, New York, Dec. 1995, no. 155. Ex: Private New York collection. I certify that this piece is authentic as to date, culture, and condition:
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Jama-Coaque Seated Shaman with Coffee Bean Symbols
Catalogue:
Antiques:
Regional Art:
Americas:
Pre Columbian:
Pottery:
Pre AD 1000 item# 824649
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Apolonia Ancient Art
303-321-7351 gallery
$1375.00
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This interesting piece is from the Jama-Coaque culture that lived in the tropical forest coast region of northern Ecuador near the Esmeraldas River. This area is also the region where the Spaniards first encountered the native South Americans. The piece offered here is approximately 10 inches high, dates circa 500 B.C.-500 A.D., and is intact, save for some missing coffee bean ends seen on the headdress and a very small section of the headdress behind the right ear, and this may have been done as this piece was a burial offering. These breaks appear to be very old, as there is wear in the break areas with burial deposits, and this may have been done to break the "mana" and/or magic of the piece for burial. The seated figurine may be a shaman that is seen wearing a headdress, shirt, earrings, and nose ring that are decorated with coffee bean symbols. He also has coffee bean designed eyes and is seen holding a lime pot in his right hand and in his left, a coca pod. (For the type see: "Pre-Columbian Art" by Jose Alcina Franch, Abrams Pub., New York, 1983, no. 595.) There are traces of painted designs seen on the lower legs, headdress, and skirt. This piece has spotty black mineral deposits and some minute root marking. An example and type that is now scarce on the market. Ex: Private Arizona collection. I certify that this piece is authentic as to date, culture, and condition:
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Mint Hellenistic Greek Canosan Cast Glass Plate: X-Rare
Catalogue:
Antiques:
Regional Art:
Ancient World:
Greek:
Pre AD 1000 item# 590958
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Apolonia Ancient Art
303-321-7351 gallery
$8400.00
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This extremely rare Greek glass plate dates from the Hellenistic period, circa 4th-3rd century BC. This piece was probably made in Canosa, Apulia, that is in southern Italy. The vessel is approximately 6.25 inches in diameter by .8 inches high and is in mint condition with no stress cracks and/or chips. This piece is surprisingly heavy for its size as well, as this piece was cast in a two-piece mold and was then smoothed by grinding and polishing. Cast glass is thicker and denser than glass that was free blown, and is more difficult to produce. With the advent of glass blowing technology that was perfected by the Romans, they were able to mass produce glass vessels in great numbers with a wide range of shapes. The earlier Greek cast glass was limited to mostly plates, bowls, and cups with added handles. There are very few Greek cast vessels in the marketplace today, as most ancient glass seen on the market is Roman blown glass. This piece is the one and only "Canosan" glass vessel I have owned and have seen on the market in quite some time. This piece has subtle concentric circles that can be seen, and these were created from the grinding/polishing process. This piece is colorless with a greenish tinge and this color is the more common color for glass of this type. This color also matches the majority of the ten Canosan vessels that are now in the British Museum and were donated by the executors of Felix Slade in 1959. A shallow dish that is analogous to the piece offered here is from this group, and is seen in "Masterpieces of Glass" by D.B. Harden, British Museum Pub. 1968, p. 31, no.35. The piece offered here has a thick milky white patina that is adhered to the outer surface, and in places where this is missing, the glass has a multi-colored iridescence. There are also traces of minute root marking and mineral deposits. In "Early Ancient Glass", by Frederick Grose, Toledo Museum of Art, page 186 the following is seen: "To date, five hoards of glass vessels have been identified. Three are known to have been found in separate multichambered family tombs at Canosa; two are thought to have come from this locale but lack documentation. In addition, a few isolated examples from single burials can be attributed to the town. Elsewhere in Magna Graecia, vessels of the group have been found in Campania, at Reggio in Calabria, at Naxos and Morgantina on Sicily, and in Etruria. Outside Italy, sites in Greece, Asia Minor, along the Black Sea, and possibly Cyrenaica have also yielded examples. The number of recorded vessels of the group now stands at about sixty, illustrating a dozen main forms and variants, (see Fig.92)". The vessel offered here is of the type illustrated, in Figure 92 as noted above, as being a rarer form which is a circular cosmetic plate, with some of which have square rims. (For a Greek Hellenistic light green-tinted cast bowl of the same shape as the piece offered here, although it has a ring base at the bottom and is approximately 4.2 inches in diameter, see: Sotheby's Antiquities, New York, June 2003, no. 152. $6,000.00-$9,000.00 estimates.) If you are a collector of ancient glass, this may be one of the few opportunities to own an extremely rare Canosan glass vessel from this group and of this type. Ex: Joel Malter collection, Los Angeles, CA. circa 1965. Ex: Hadji Soleimani collection, London. Ex: Private New York collection. I certify that this piece is authentic as to date, culture, and condition:
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Greek Canosan Terracotta of Thetis on a Hippocamp
Catalogue:
Antiques:
Regional Art:
Ancient World:
Greek:
Pottery:
Pre AD 1000 item# 573299
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Apolonia Ancient Art
303-321-7351 gallery
$3275.00
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This rare and appealing piece, circa 4th century BC, is a Greek terracotta that shows the Nereid (sea-nymph) Thetis riding a hippocamp, and she is bringing a new set of sacred armour from the forge of Hephaestus to her son, Achilles, who was then able to use this armour for the seige of Troy. She is seen holding a cuirass and Corinthian type helmet in her right arm, and her left arm is holding the neck of the hippocamp. The hippocamp is a Greek mythical creature that was a combination of animals; the forepart of a horse and the hind quarters of a giant squid. Thetis is seen centered on this creature and appears to give the viewer a passing glance, as she is seen facing the viewer. This appealing piece has several mineral deposits and sections of original white pigment. The piece is intact, with no repair and/or restoration, and is mounted on a custom stand. This piece may have been attached to a larger vessel as an applique, as it was was mold-made as one contiguous piece and the piece has a slight curve, which is an indication that this piece was attached to a vessel with a curved wall. This piece is possibly Greek Canosan, and is approximately 6.25 inches long by 6 inches high. This rare piece is also a superb example of a Greek ceramic of this type which also depicts this Greek myth, and is rare in the market, as figural depiction of this Greek myth is rare. Ex: Private English collection. Ex: Private New York collection. I certify that this piece is authentic as to date, culture, and condition:
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Sweet Greek Bronze Squat Lekythos
Catalogue:
Antiques:
Regional Art:
Ancient World:
Greek:
Bronze:
Pre AD 1000 item# 768450
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Apolonia Ancient Art
303-321-7351 gallery
$3675.00
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This sweet Greek bronze vessel is known as a "squat lekythos", and dates to the second half of the fourth century B.C., circa 350-300 B.C. This intact vessel is approximately 3.5 inches high by 3.5 inches wide at the top. This attractive piece has an exceptional emerald dark green patina with dark blue and light brown deposits. There are also minute lines that are extremely fine that run around the main body of the vessel, and it took an artist with a great deal of skill to engrave these fine lines around the vessel. This type of vessel was used as a perfume vase, as it contained a valuable oil and/or unguent. The very wide, funnel-shaped mouth enabled one to control the flow of the liquid and this also served as a platter for application. This piece was used by a wealthy woman, as this type of vessel is rare in bronze, and this vessel was an essential component of her toiletry. An analogous example was sold in Christie's Antiquities, New York, June 2001, no. 165 ( $5,000.00-$7,000.00 estimates, $5,875.00 realized.) Another example of this type ( 4.25 inches high.) was found in Grave Beta, Dervini, Greece, and is now seen in the Museum of Thessalonike. For this piece see "The Search for Alexander" by N. Yalouris, Little, Brown and Company Pub., 1980, no. 133, page 169. This type of vessel was also produced in silver and is extremely rare, and usually does not have the fine line design as the piece offered here shows. Ex: Private New York collection. I certify that this piece is authentic as to date, culture, and condition:
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Massive Moche Seated Royal Prisoner
Catalogue:
Antiques:
Regional Art:
Americas:
Pre Columbian:
Pottery:
Pre AD 1000 item# 621516
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Apolonia Ancient Art
303-321-7351 gallery
Price on Request
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This massive seated Moche polychrome ceramic is approximately 18.25 inches high and is in superb condition. This piece has no over paint, the colors are all original, and it is intact, save for some very minor repair to some minor stress cracks in the main body. This piece dates circa 200-500 A.D. and is from the Middle Mochica period. (For the type see Christopher Donnan, "Moche Art of Peru", Museum of Cultural History, University of California, Los Angeles, 1978, no. 247.) This massive vessel is a seated prisoner who is seen facing forward with his hands clasped at the front. There is a rope seen around his neck and he is nude, as he was stripped of all clothing and jewelry, which was the custom for live Moche captives that were about to be sacrificed to the gods. This prisoner is probably royal, as he has large holes in the lower ear lobes that held large ear flares that the Moche elite were associated with, and his hands are at the front. Virtually all of these Moche prisoner ceramics have their hands tied behind their backs, but this prisoner is seen in a more dignified manner, and this may indicate his elevated status. The portrait of the royal person seen here may be one of an actual individual, as the Moche produced ceramics that are as realistic as a photograph, as they strove to depict actual living individuals. (For Moche production of true portraits of individuals see C. Donnan, "Moche Portraits of Ancient Peru", University of Texas Press, 2004.) The vessel seen here is an important example of Moche art, not only for the fine art seen, but also relative to the rare type. The seated prisoner with the hands in front may signify that he is pleading for his life, but more likely, he is offering himself to the gods. This is what truly separates this piece from other Moche ceramics of this type, and in addition, the head of this piece is as large and detailed as most singular Moche portrait-head vessels. This superb large scale piece has spotty black mineral deposits in sections of the vessel and has exceptional eye appeal. Ex: Kate Kemper collection, London. Ex: Private CA. collection. I certify that this piece is authentic as to date, culture, and condition:
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