Specialties
|
Masterpiece Miniature Roman Silver Eagle Figurine
Catalogue:
Antiques:
Regional Art:
Ancient World:
Roman:
Pre AD 1000 item# 594619
|
click for details
|
Apolonia Ancient Art
303-321-7351 gallery
$2865.00
|
This Roman silver eagle is nothing short of a masterpiece. This piece dates circa 1st century B.C. to the 1st century A.D. The quality and detail seen on this piece is mint to superb, and this piece probably was made by a gem engraver and/or coin die celator. This miniature silver piece is approximately 1.25 inches high, weighs approximately 11 gms, and sits on a custom clear/black plexiglas base. This piece rotates around on a small pin that is centered within a clear plexiglas post. This piece is also solid, as it was cast, then hand-worked with minute detail. This remarkable minute detail is especially seen within the wings and upturned head, and this type of workmanship reminds one of the Greek coins of Acragas, circa 472-420 B.C., that show a standing eagle in the process of devouring a captured hare. A coin such as this may have served as a model for the exceptional piece offered here, as the Roman artists strove to duplicate the earlier Greek artists. The minute detail, seen within the feathers of the wings and the tension portrayed in the neck with a slight twist, could only have been produced by a very accomplished artist. The pose of this piece is very refined from every angle, which is another point that defines this piece. The patina of this piece is aged to a light gray, which indicates that this piece has had contact with oxygen for quite some time and that it has not been recently cleaned. An exceptional piece with fine detail and one of the best Roman miniatures that has been offered. Ex: Private German collection. Ex: Private New York collection. (Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:
|
|
Mint Roman Glass Flask with Elongated Neck
Catalogue:
Antiques:
Regional Art:
Ancient World:
Roman:
Glass:
Pre AD 1000 item# 590960
|
click for details
|
Apolonia Ancient Art
303-321-7351 gallery
$925.00
|
This nice Roman glass flask dates circa 2nd century AD and is in mint condition, with no breaks and/or chips. This piece is approximately 7.4 inches high and is a light green color. There are heavier surface deposits seen on one side, and this suggests a burial pattern. There are spotty mineral deposits and areas of muti-colored iridescence seen in sections of the vessel. This vessel is larger than most examples, as it has a tall elongated neck, and is a nice example. Ex: Joel Malter collection, Los Angeles, CA. I certify that this vessel is authentic as to date, culture, and condition:
|
|
Mint Roman Glass Tear Drop Vial with Blue Iridescence
Catalogue:
Antiques:
Regional Art:
Ancient World:
Roman:
Glass:
Pre AD 1000 item# 1143948
|
click for details
|
Apolonia Ancient Art
303-321-7351 gallery
$585.00
|
This attractive piece is a Roman glass tear drop vial that dates circa 1st-2nd century A.D. This piece is approximately 5.25 inches high, and is mint quality with no minute cracks and/or chips. This piece has an extremely thin upper lip which was rounded and folded out, and has a small section on one side that was formed into a small spout. This design allowed a great deal of control in pouring a fine liquid. This piece also has an attractive light blue multi-colored iridescence, which covers a light blue colored glass. This piece also has a transition point where the neck meets the main body of the vessel. For the type see "Ancient Glass in the Carnegie Museum of Natural History", by Andrew Oliver, 1980, no. 89. This piece also stands upright, and fits into a custom plexiglas and wooden display stand. Ex: Joel Malter collection, circa 1995. Ex: Private CA. collection. I certify that this piece is authentic as to date, culture, and condition:
|
|
Costa Rican Jade Avian Votive Pendant
Catalogue:
Antiques:
Regional Art:
Americas:
Pre Columbian:
Stone:
Pre AD 1000 item# 1027901
|
click for details
|
Apolonia Ancient Art
303-321-7351 gallery
$1,265.00
|
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: Arte Xibalba, Osprey, Fl. I certify that this piece is authentic as to date, culture, and condition:
|
|
Persian Illuminated Manuscript Page depicting Rostam
Catalogue:
Antiques:
Regional Art:
Ancient World:
Near Eastern:
Pre 1800 item# 1075483
|
click for details
|
Apolonia Ancient Art
303-321-7351 gallery
$1,275.00
|
This interesting document is a Persian illuminated manuscript page that depicts the Persian mythical hero Rostam on horseback escaping a dragon. This piece is likely late 17th-18th century A.D., and is approximately 7.5 inches wide by 10.75 inches high. There is some light brown paper ageing seen on the left side and at the bottom of the page, otherwise this intact piece is in superb condition. One side of this page has four lines of elegant nasta'liq script, seen above a fine-line drawn scene, and there are four lines of script seen below. The back side of this detailed document has 20 lines of script, and there are some light red lines that underline sections of script. The fine-line drawn scene has Rostam galloping to the left on horseback, and he is seen looking back at a fire breathing dragon that appears to be emerging from a hidden place. An analogous scene, of Rostam slaying a dragon from horseback with a sword, can be seen on another example offered by Sotheby's New York, "Indian, Himalayan and Southeast Asian Art", Oct. 1990, no. 7. (This piece is 7 inches wide by 11.2 inches high, $4,000.00-$6,000.00 estimates. See attached photos.) The piece offered here has great detail within the fine-line drawn scene, and the light blue, white, yellow, and red colors are very vibrant. In addition, the sky above the light blue mountains and the saddle blanket are both highlighted with a gold gilt, and this gives the scene an ethereal perspective. The light blue mountains and the foreground are also meant to convey a magical world, as Rostam was known in Persian myth to have carried out the "Seven Labours of Rostam", and the "Third Stage" of this myth involves his faithful horse awakening him in time to escape a monstrous dragon serpent, which later allowed Rostam to be able to slay this monster. This "Third Stage" scene of the "Seven Labours of Rostam" myth is likely what is seen on the manuscript 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 this document also 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:
|
|
X-Rare Early Islamic Glass Flask with Iridescence
Catalogue:
Antiques:
Regional Art:
Ancient World:
Near Eastern:
Pre AD 1000 item# 1027193
|
click for details
|
Apolonia Ancient Art
303-321-7351 gallery
$2,375.00
|
This extremely rare piece is an early Islamic glass flask, circa 6th-8th century A.D. This intact piece is approximately 2.8 inches high, and is a light green color with multi-colored iridescence that is seen on various inner and outer sections of the vessel. This piece is rather thick walled, has a fairly wide indented bottom, a short tubular neck that has a slight flattening at the base, and a pontil-mark on the bottom. In addition, the neck is folded to the inside, and there are three stepped bulges seen within the neck which are a light yellow, green, and purple color. This piece is likely an early example of Islamic glass, due to the overall fabric of the vessel and the neck design as noted above. This piece is from an extremely rare early Islamic glass group, and some of these extremely rare pieces from this group are also listed as "possibly Sassanian", but given the probable region, i.e. Syro-Palestinian or Cypriot, where this piece was likely manufactured, a Sassanian attribution from modern day central Iran is highly unlikely. This piece, as being from this extremely rare early Islamic glass group, is also one of the earliest Islamic glass examples recorded. An analogous example listed as "possibly Islamic and of possible Syro-Palestinian or Cypriot manufacture", approximately 2.5 inches high, is seen in "Roman and Pre-Roman Glass in the Royal Ontario Museum", by John B. Hayes, Royal Ontario Museum Pub., 1975, no. 670. (See attached photo.) Another extremely rare example is seen in Sotheby Park Bernet Inc., Important Antiquities, New York, Dec. 1978, no. 138. (This piece is nearly the same size as the piece offered here, and is listed as "probably later Sassanian or early Islamic, circa 5th-8th century A.D.") The example offered here has a type of construction within the neck that required a great deal of skill, and is more advanced than the typical late Roman blown glass that is seen in the 4th-5th century A.D. Islamic glass also tends to have several colors within the glass, in contrast to the Sassanian culture, which was known for producing faceted cut glass that was more uniform in color. The Sassanian culture, circa 6th-8th century A.D., was from central modern day Iran, and was very skilled at glass production, and they are known for being able to take a solid cube of glass and carve/sculpt this into a faceted cup, bowl, or a plate. The exceptional small flask offered here is not only in mint condition, but it is also a type that is not seen on the market or in private collections. This extremely rare piece is a little gem and would be an excellent addition to a collection of ancient glass. Ex: Ex: Joel Malter collection, Los Angeles, CA. Ex: Private CA. collection. I certify that this piece is authentic as to date, culture, and condition:
|
|
Mint Greek Xenon Kantharos with Wave Pattern
Catalogue:
Antiques:
Regional Art:
Ancient World:
Greek:
Pottery:
Pre AD 1000 item# 613441
|
click for details
|
Apolonia Ancient Art
303-321-7351 gallery
$1265.00
|
This superb piece is a kantharos that is intact and it is a scarce type. This Greek ceramic is classified as "Xenon ware", and was named after a similar kantharos that is now in Frankfurt that bears the inscription "XENON". This type of pottery represents a further aspect of Apulian pottery, which may be a combination of native Greek from southern Italy and mainland Greek, meaning a Greek artist from Attica. This vessel may also have been an importation from Attica into Magna Graecia (southern Italy). This type of kantharos also follows the earlier Greek Attic kantharos types known as a "Saint-Valentin" kantharos, which were produced circa 450 B.C. Both of the types noted above have a ring base and ellipsoid handles. This piece was produced circa 375-350 B.C. and is a glossy blackware with matt pinkish red designs. Xenon ware usually displays decorative motifs such as laurel, wave patterns, ivy leaf, and chevrons. All of these elements are seen on both sides of this piece, and the condition of this vessel is mint, as it is intact and the painted details are very vibrant. There are some spotty white calcite deposits with some root marking in sections of the vessel. This vessel is scarce in this condition and size, as it is approximately 4.25 inches high by 6.25 inches wide from handle to handle. Ex: Private German collection. I certify that this piece is authentic as to date, culture, and condition:
|
|
Moche Skeletal Portrait Head Ancestor Vessel
Catalogue:
Antiques:
Regional Art:
Americas:
Pre Columbian:
Pottery:
Pre AD 1000 item# 1054243
|
click for details
|
Apolonia Ancient Art
303-321-7351 gallery
$1,365.00
|
This interesting Moche vessel is in the form of a skeletal head, and it dates circa 200-500 A.D. This piece is approximately 6 inches high, and is intact with no repair/restoration. This piece is mold made from a light brown terracotta, and there are spotty dark black and brown dotted deposits. This piece has a great deal of eye appeal, as the eyes and mouth are framed with shrunken skin not unlike a death skull. There is some academics that think this type of Moche portraiture displays an ancestor from the underworld, or it may portray a sacrifical victim that is seen with his skin ceremoniously flayed back away from the face. Whatever the case may be, there are many Moche vessels that portray a skeletal figurine, and there is likely a spiritual and/or underworld connection to this genre of Moche art. This piece has a flat bottom and is also designed with an upward tilt, in order that the face looks upward at the viewer. This piece is truly a powerful Moche image, and may also represent a "transformation" piece that may be a bridge between the living and the underworld. Ex: Andrea Sarmiento collection, Miami, FL. Ex: Erika Roman estate, Santa Cruz, CA. I certify that this piece is authentic as to date, culture, and condition:
|
|
Greek Bronze Figurine Votive Model, Minoan/Mycenaean
Catalogue:
Antiques:
Regional Art:
Ancient World:
Greek:
Bronze:
Pre AD 1000 item# 987732
|
click for details
|
Apolonia Ancient Art
303-321-7351 gallery
$3,675.00
|
This extremely rare piece is a model that consists of five bronze figurines. These figurines are votive in nature, and are likely attributed to the Minoan/Mycenaean culture, and date circa LH III, 1400-1100 B.C. The five figurines are approximately 3.5, 3.4, 3.35, 2.0, and 1.75 inches high. The figurines all have a nice light to dark green patina, and there are spotty light brown deposits which are more prevalent on the inside surfaces of the figurines. The figurines are intact, save for the figurine that is approximately 2.0 inches high, which has a missing arm and a crack in the torso. In addition, the largest figurine which is approximately 3.5 inches high, was broken in half and was subsequently repaired with the break being visable. This break in the largest figurine may have been intentional as well, and could have been ceremoniously broken when these figurines were offered as a votive offering. These extremely rare figurines may have been a grave offering, and/or could have been an offering that depicted significant rituals that were associated with rites of passage that involved the dead. This theory was developed by Daniela Lefevre-Novaro, and her theory was supported by the figural terracotta models that were found in the Minoan Kamilari burial complex in Kamilari, Crete. These figural models can now be seen in the Herakleion Archaeological Museum, and date circa LM 1A, 1600-1500 B.C. (See "Coming of Age in Ancient Greece" by Jenifer Neils and John Oakley, Yale University Press, 2003, pp. 40-43. See the attached photo of one of these models.) The five extremely rare bronze figurines offered here are likely three adults and two children, and may represent a family. The arms of all of the figures are seen extended up into the air, and this is an ancient Greek sign of mourning a death, which is often depicted on art from the Greek Late Bronze Age, circa 13th century B.C., and it is therefore logical to assume that the family of figurines seen here may all be mourning a family member. (For two examples of art from the Greek Late Bronze Age that depict images of individuals with raised arms in mourning, see the two larnakes from Tanagra, Greece, which are terracotta chests used as coffins. These pieces can be seen in the Thebes Archaeological Museum, and date circa LH IIIB, 1300-1200 B.C. See attached photos.) The raised arms may also depict and/or represent bull's horns, and these extremely rare pieces may also have served as another type of sacred offering as well, and the exact symbolic representation of these pieces is unknown. What is known, is that these votive pieces represent a culture that made many grave offerings that were grouped together in shrines that were, in many cases, found outside of graves or nearby. The largest bronze figurines have incised line design just above their flared bases, and on the upper torso. This linear artistic incised line design is also seen on many examples of early Greek art from the Late Bronze Age, circa 1300 B.C., down to the Geometric Period, circa 750 B.C. These figurines are also hollow, and have a round hole that is seen where the neck/head may have been attached to the upper torso. The neck/head could have been made from wood, or some other perishable material, and was attached into these holes with a dowel. The majority of these early Greek models are made from terracotta, rather than bronze, and this is another reason why these exceptional figurines are extremely rare. A custom wooden and plexiglas stand is included, and the figurines have a wooden dowel that holds them in place on the stand. These figurines can also be easily removed, as they simply lift off of the stand. Ex: Private German collection. (Additional documentation is available to the purchaser.) I certify that these pieces are authentic as to date, culture, and condition:
|
|
La Tolita Terracotta Votive Simian/Shaman Mask
Catalogue:
Antiques:
Regional Art:
Americas:
Pre Columbian:
Pottery:
Pre AD 1000 item# 905917
|
click for details
|
Apolonia Ancient Art
303-321-7351 gallery
$765.00
|
This dramatic piece is from the La Tolita culture that is from northern Ecuador, Esmeraldas region. The La Tolita culture takes its name from a famous site that is located on an island at the mouth of the Santiago River. This superb piece dates circa 400 B.C.-300 A.D., is a light brown terracotta, and is approximately 3.75 inches high by 4 inches wide. This piece is a mask that depicts a simian and/or shaman, and the expression is quite dramatic, as the fine detail of the teeth and nose is easily seen. What makes this mask so interesting is that this mask may represent a simian in a state of transformation, from animal to man, or vice-versa, and it may also represent a shaman with a mask who is seen representing this state of being. This transformation may also have been drug induced, as this culure was known to have used drugs in ceremony. This mask is also votive, and may have served as a spirit mask for a mummy bundle or effigy. There are several holes that run around the edge of this piece that may have been used for attachment. This piece is intact, and has no repair/restoration. There is also some original light white paint that is seen in some of the sections of this piece, along with some spotty dark black/brown mineral deposits. This piece is better than most examples that have been on the market, and is analogous to the example seen in the Museo Arqueologico y Galerias de Arte del Banco Central de Ecuador, Quito. (See "Pre-Columbian Art" by Jose Alcina Franch, Abrams Pub., New York, 1983, p. 432, no. 573.) This piece comes with a custom black plexiglas stand, and can easily be removed, as the mask simply hangs from a pin. Ex: Peter Hacintos collection, New York. Ex: Private Florida collection. I certify that this piece is authentic as to date, culture, and condition:
|
|
|
|
|
