Specialties
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Persian Illuminated Manuscript Page depicting Hunters
Catalogue:
Antiques:
Regional Art:
Ancient World:
Near Eastern:
Pre 1800 item# 1075389
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Apolonia Ancient Art
303-321-7351 gallery
$1,275.00
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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:
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Greek Hellenistic Votive Mask of a Young God/King
Catalogue:
Antiques:
Regional Art:
Ancient World:
Greek:
Pre AD 1000 item# 1130376
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Apolonia Ancient Art
303-321-7351 gallery
$1,865.00
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This appealing piece is a Greek terracotta mask that is in the form of a young God and/or King. This piece dates circa 2nd-1st century B.C., and is approximately 4.9 inches high by 4.7 inches wide. This intact piece is complete, and has spotty dark black and brown earthern deposits both on the front and back side surfaces. This beautiful piece was mold made from a light tan terracotta, and has sharp detail. This piece is in the form of a young God and/or King who is seen with an upward gaze, and is wearing a diadem band on the forehead. The diadem band is also a Greek Hellenistic symbol of royalty, along with being an emblem of sovereignty, and this mask may also portray a king and/or a character in an ancient Greek play. This terracotta mask is a votive type piece, and is likely a tragic type theater mask. Votive masks of this type were often dedicated to shrines by individuals who were linked to the theater, and were often dedicated after a trilogy of plays were performed that recounted one of the serious mythological dramas. The single hole seen at the top of the forehead also allowed this piece to hang as a votive offering, and is a scarce type. This piece also hangs on a custom black plexiglas stand, and has a great deal of eye appeal. Ex: David Leibert collection, New York, circa 1980's. I certify that this piece is authentic as to date, culture, and condition:
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Roman Bronze Portrait Bust of a Young Caracalla.
Catalogue:
Antiques:
Regional Art:
Ancient World:
Roman:
Bronze:
Pre AD 1000 item# 665966
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Apolonia Ancient Art
303-321-7351 gallery
$3675.00
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This Roman bronze portrait bust dates circa 2nd century A.D., and is the terminal end for a leg that served as a table support for a folding tripod. These Roman bronze tripods were portable and moved with the Roman armies and/or wealthy families. This piece had a L-shaped hook at the back that supported a caldron that was at the center of the tripod. This piece is in the form of a portrait bust, and may depict the young Roman emperor Caracalla. This bust also has an attribute relative to Herakles, as the figure is seen wearing a lion's skin cloak. The face has a short cropped beard, a rounded nose, and a wide forehead which are prominent features of Caracalla. The head is slightly turned to the right as are many Roman marble portrait busts during this period. The hair is seen as thick rounded curls which may indicate a wig, as Caracalla was known to have worn a golden haired wig that was arranged in the German style. Caracalla was born in 188 A.D., and in 213 A.D. as emperor, he left Rome for Germany and defeated the Alamanni on the upper Rhine River. Caracalla often wore a flowing Gallic cloak which gave him his nickname, and the bust seen here shows a lion's skin cloak that is not only an attribute of Herakles, but is also an attribute of Alexander the Great. After Caracalla's victories in Germany, he planned an invasion of the Parthian east, and in 214 A.D., he mustered a great army for this oriental expedition, including a phalanx of sixteen thousand men, clothed and equipped like the Macedonians of old. Caracalla liked to see himself as a new Alexander the Great, and this may explain the lion's skin cloak seen on this piece. Caracalla met his end in 216 A.D., near Edessa in Media, and was stabbed to death by supporters of Macrinus. This piece may be a portrait of Caracalla for the reasons noted above, and there is a strong possibility that this stylized image is an image of Caracalla as seen in the guise of Alexander the Great. (The portraiture of Alexander the Great is noteworthy for the wide range of styles that were employed to portray his unique physiognomy. The treatment of the hair, for example, can be long and wavy, while others emphasize the cowlick seen above the forehead which is known as the "anastole". This "anastole" can be seen on the piece offered here, with the hair raising up as a curl from the center of the forehead. For several examples of this hair style see F. Antonovich, "Les Metamorphoses divines d'Alexander", Paris, 1996.) This bust is also analogous to the marble bust of Caracalla that is seen in the Staatliche Museen in Berlin, Germany. (See "The Art of Rome" by Bernard Andreae, Abrams Pub., New York, 1977, no. 551.) This marble bust dates circa 212 A.D., and was created on the occasion of Caracalla becoming sole ruler. This marble bust also has large hair curls and bare arms/upper chest, as seen in the bronze bust offered here. This piece is approximately 3 inches high and is mounted on a custom stand. This piece has a superb dark green patina with spotty dark red highlights. Ex: American private collection. Ex: Sotheby's Antiquities New York, Dec. 2006, no. 122. I certify that this piece is authentic as to date, culture, and condition:
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Large Flawless Roman Glass Plate with Base Ring
Catalogue:
Antiques:
Regional Art:
Ancient World:
Roman:
Glass:
Pre AD 1000 item# 584209
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Apolonia Ancient Art
303-321-7351 gallery
$3265.00
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This flawless Roman glass plate is a light blue color and is approximately 9.4 inches in diameter by 2.25 inches high. This large piece dates circa 1st century AD and has a nice multi-colored patina. This piece has an applied ring base foot and a verticle wall with folded cordon at the base. This vessel has an exceptional high degree of workmanship, as the folds seen within this vessel form and strengthen the overall piece. This piece is very analogous in type, color, and size to the superb example recently sold at Christie's Antiquities, New York, June 2008, no. 143. ( $3,800.00 bid, $4,750.00 with buyer's premium. ) Ex: Christie's Antiquities, June 2001, no. 210. Ex: Private New York collection. I certify that this piece is authentic as to date, culture, and condition:
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Superb East Greek Silver Ladle, 6th-5th century B.C.
Catalogue:
Antiques:
Regional Art:
Ancient World:
Greek:
Pre AD 1000 item# 598355
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Apolonia Ancient Art
303-321-7351 gallery
$3,875.00
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This piece is a East Greek silver ladle that is of "Achaemenid" artistic style, otherwise known as the Persian Empire. This piece was likely made by a Greek artist, and this piece dates circa 6th-5th century B.C. This piece is a superb example and is complete, with no repair and/or breaks. This piece has a beautiful light gray patina, and has not been over cleaned, as there are several minute spotty black surface deposits. This piece was hammered into the shape seen here, and it has a shallow rounded bowl, a slender handle section of octagonal construction, and a looped rounded terminal section that terminates in the head of a bull/calf. The head of the bull/calf is finely molded and engraved. (For other published examples see Dietrich von Bothmer, "A Greek and Roman Treasury", The Metropolitan Museum of Art Bulletin, New York, 1984, p. 41, nos. 60-61.) This piece is also very similar to the piece seen in Sotheby's Antiquities, Important Antiquities from the Norbert Schimmel Collection, New York, Dec. 1992, no. 22. ($8,000.00-$12,000.00 estimates.) The Schimmel example is not only similar, but it is almost an exact match to the piece offered here. The bull/calf head is very analogous relative to both examples, and this is an indication that there is a possibility that both of these pieces came from the same workshop. In addition, the heights of both examples are nearly the same, as the Schimmel example is approximately 7.6 inches high, and the example offered here is approximately 7.75 inches high and weighs approximately 59 gms. These rare pieces were likely used to dip highly concentrated wine into water, as this allowed for an exact mix of wine to water, and the piece offered here and the Schimmel example may have both been made to exact specifications for mixing wine to water. The fact that this type of piece is silver, also points to the probably that this piece was formal table ware for a wealthy Greek noble. There is also a Byzantine period cross and globe stamped into the back side of the ladle, which is seen at the base of the handle. (See photo.) This piece was used later on, probably in the early Byzantine period circa 4th-5th century A.D., and likely in a Christian church or home. This piece survived for a long period of time, as it was utilized down into the Byzantine period. Another probable reason why this piece was used for a long period of time is that it is silver, and has a great deal of utility as a ritual piece. A custom black/clear plexiglas base is included and the piece is mounted on the base with clay and can easily be removed. Ex: F. Bernheimer collection. Ex: Sotheby's Antiquities, New York, Nov. 1989, no. 256. Ex: Private New York collection. Ex: R. Poland collection. Ex: Pierre Berge & Associates, Archeologie, Paris, May 2011, no. 209. (Additional documentation is available to the purchaser, including a French Passport Certificate.) I certify that this piece is authentic as to date, culture, and condition:
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Beautiful Roman Silver & Carnelian Legionnaire Ring
Catalogue:
Antiques:
Regional Art:
Ancient World:
Roman:
Pre AD 1000 item# 1130040
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Apolonia Ancient Art
303-321-7351 gallery
$2,875.00
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This beautiful piece is a Roman silver ring with a red carnelian that dates circa 1st-2nd century A.D. This piece is a size 7-7.5, and is approximately 17 mm wide across the top face, and 27 mm high from the top of the stone to the bottom of the ring. The silver ring bezel is solid silver, and the thick red carnelian is translucent which seems to glow in daylight, and this beautiful glowing effect is very noticable when the light hits this piece. Another noticable feature of this ring is that the flat face of the stone is carved with a standing eagle with outstreched wings, and above is a standing winged Victory goddess who is seen holding a victory fillet at the front. The standing winged Victory is also seen with her feet lifting off the ground, and is seen floating above the standing eagle, who in turn, is seen standing on a ground line. The combination of this design is very powerful, as it presents a "real world" symbol, with the standing eagle on the ground line which represents Rome and the power of Rome, and the floating Victory, which represents a "spiritual world" symbol, with the power of the Victory goddess. The meaning of this combined symbolism is "Victory for Rome", and the Roman eagle was a common symbol associated with the Roman legions, and was the most prominent standard of the Roman army. Roman legionnaires often had a private shrine with a Roman bronze or silver eagle which they worshipped for good luck, and many of these small bronze and silver eagles can be seen on the market today. The Roman soldier who choose this ring as his signet, not only shows his loyalty to Rome, but it also evokes the strength of the Empire and its military, and as such, this ring likely belonged to someone that was in the Roman military and/or was likely connected with it to a high degree. The artistic composition is very skillfully done, and the carving of this gem is better than most examples. The red carnelian gem is also a large example, and is approximately 20 mm high by 14 mm wide. The condition of the gem is superb, save for a small internal fracture that can be seen below the eagle. The silver ring bezel was solid cast, and has some minute root marking and checkering that is seen mostly under high magnification, and this is normal for a silver ring of this age. The patina is also a light grey, and is in its natural "as found" condition. Overall, this ring is an exceptional large example, can easily be worn today, and is rare example in the market. Another Roman silver ring dated circa 1st-2nd century A.D., with the same type of bezel design and a carved standing Ceres goddess, can be seen in Christie's Ancient Jewelry, Dec. 1999, no. 118, $5,000.00-$7,000.00 estimates. (See attached photo.) This piece also comes with a ring box for display. Ex: Private German collection, circa 1990's. (Note: This piece also comes with additional documentation that is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:
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Philip II Bronze (AE) 18 Coin with Superb Patina
Catalogue:
Antiques:
Regional Art:
Ancient World:
Greek:
Bronze:
Pre AD 1000 item# 875428
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Apolonia Ancient Art
303-321-7351 gallery
$285.00
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This Greek bronze coin is classified as an AE 18, and was minted by Philip II circa 359-336 B.C. The classification as an AE 18, derives from the average diameter of this type of coin which is approximately 18mm in diameter. The obverse displays the bust of Apollo seen facing the the left, and the reverse, shows a naked youth on a running horse that is facing right. The reverese has the name of Philip above and below, is a monogram which may be a mint control mark. This piece has a lustrous superb dark green patina that is much better than other examples of this type, and has a Very Fine Plus grade. See David Sear, "Greek Coins and Their Values, Vol. II", Seaby Pub., London, 1979, no. 6698 for the type. Ex: Private CA. collection. I certify that this piece is authentic as to date, culture, and condition:
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Superb Large Greek Geometric Trefoil Pitcher
Catalogue:
Antiques:
Regional Art:
Ancient World:
Greek:
Pottery:
Pre AD 1000 item# 1040039
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Apolonia Ancient Art
303-321-7351 gallery
$2,365.00
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This superb piece is a large Greek pitcher that dates to the Greek Geometric period, circa 8th-7th century B.C. This piece is approximately 10.75 inches high by 8.5 inches in diameter. This superb piece is a light gray terracotta and is near mint quality. This intact vessel also has no noticeable chips and/or abrasions which are usually associated with ceramics of this type. This attractive piece also has nice light to dark brown earthen deposits and minute root marking. There is a single strap handle and trefoil mouth which allowed water and/or wine to be poured in a controlled manner. This piece also sits on a ring base that stabilizes this vessel a great deal, and together with the trefoil spout, are design innovations that represent a huge leap in ancient Greek ceramic design/production. This piece is scarce in this size and near mint condition, and is a very attractive early Greek light gray ceramic. Another analogous example nearly the same size is seen in Sotheby's Antiquities, London, July 1991, no.245. Ex: Private CA. collection. I certify that this piece is authentic as to date, culture, and condition:
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Large Mayan Jade Helmeted Ballplayer Pendant
Catalogue:
Antiques:
Regional Art:
Americas:
Pre Columbian:
Stone:
Pre AD 1000 item# 1129230
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Apolonia Ancient Art
303-321-7351 gallery
$2,365.00
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This nice piece is a Mayan jade pendant that dates to the Late Classic Period, circa 550-950 A.D. This complete piece is approximately 2.5 inches wide by 2.25 inches high. This attractive piece is in the form of a head, which was carved and string-cut with a flat back and a frontal oval face. This scarce piece displays a helmeted head which likely depicts a Mayan helmeted ballplayer and/or a regal warrior type personage. Mayan jade pendants of this type are also referred to as a "bib type", and were often the central element of a jade necklace. The detailed face portrayed on this exceptional pendant displays almond shaped eyes, a straight square nose, a wide face, and an "open faced" type helmet. This helmet also displays a square designed glyph, which is seen in the upper center of the forehead, and this square designed glyph is also seen as the highest relief point of the frontal face of this pendant. This squared designed glyph may also represent a top view of the ballcourt itself. (See "The Sport of Life and Death: The Mesoamerican Ballgame", by E. Michael Whittington, Editor, Thames and Hudson Pub., 2001, and the article titled "The Architectural Background of the Pre-Hispanic Ballgame: An Evolutionary Perspective by Eric Taladoire, pp.97-115. The study of the evolution and the design of the Mesoamerican ballcourt is best explained by Eric Taladoire in the above article. He notes ballcourt design "Type V", which dates to the Early Classic Period, circa 250-550 A.D., and is a square enclosed rectangular structure with one of the short ends partially open. This ballcourt design also corresponds with the square designed glyph that is seen on the forehead of the piece offered here. Eric Taladoire also classifies this type of ballcount, "Type V", as being found mainly in the Mayan Highlands, along with Chiapas, and Oaxaca. The type of stone associated with the piece offered here is also common to the Mayan Highlands.) The facial designs of this piece were all string cut lines, and the back flat side of this piece also displays a horizontal string cut line as well. This piece also has five bow-drilled holes that were likely used to attach this piece into a necklace and/or into fabric. There is one hole centered at each side of this piece, and an additional three smaller sized holes, that are evenly spaced at the bottom of the pendant. This piece was carved from a light green stone that was also polished on the front face. This piece also has some spotty light brown and white mineral deposits, along with some minute root marking, and as such, has nice eye appeal. This piece is also larger than most pendants of this type, is scarce with the ballcourt symbol noted above, and is a superb complete example that has no cracks and/or repair. This piece also slides into a custom plexiglas and marble stand, and can easily be removed. Ex: Private German 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:
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