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Pontius Pilate, 29 - 30 AD, Judaea, Prutah, Bronze, AE, 15 mm, 1,71 gr, Obv: IOVLIAC KAICAPOC, three grain ears bound together, Rev: TIBEPIOY KAICAPOC LIV, simpulum
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This nicely crafted dart point is arched on the bottom, with the tip and the left fin broken off, and is about 2 inches in length (50 mm).
The chert is well weathered indicating it could be many thousands of years old.
Abydos-vase, Pottery, Bronze Age, Egypt or Near East, 3000 - 2700 B.C, 190 mm x 105 mm
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Guttus with Heracles wearing lion's skin, Pottery, Greek, Magna Graecia, 4th - 3rd Century B.C, 90 mm x 95 mm
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Head of a Satyr, Roman, 1st - 2nd Century A.D, 152 mm x 110 mm x 103 mm (without stand)
Roman satyrs were mythological creatures derived from Greek mythology but adapted to fit Roman artistic and literary traditions. Originally, satyrs were depicted as wild, half-human, half-goat beings associated with the god Dionysus (Bacchus in Roman culture), revelry, and untamed nature. In Roman art, they were often shown with human upper bodies, goat-like legs, and small horns on their heads, embodying both the pleasures and excesses of Bacchic festivities. These figures appeared frequently in Roman frescoes, mosaics, and sculptures, often engaged in music, dance, or pursuit of nymphs, reflecting their role as symbols of indulgence and hedonism.
In literature and drama, satyrs were linked to comedic and theatrical traditions, particularly in satyr plays, which were a mix of tragedy and farcical humor. Though these plays originated in Greece, the Romans incorporated satyrs into their own theatrical performances and poetry, where they served as mischievous, often lustful figures mocking human folly. Roman poets such as Horace and Ovid referenced satyrs in their works, sometimes using them to explore themes of desire, nature, and the contrast between civilization and the wild. Their portrayal in literature often emphasized their uncivilized and playful nature, reinforcing their association with rustic life and the untamed countryside.
Satyrs also held a religious and symbolic role in Roman society, closely tied to Bacchic rituals and mystery cults. These cults, dedicated to Bacchus, involved ecstatic dances, feasting, and the consumption of wine, with satyrs serving as representations of the uninhibited freedom and pleasure sought in these rites. Some Roman villas featured satyr-themed decorations, particularly in garden sculptures and frescoes, emphasizing their connection to fertility and the natural world. Over time, satyrs became blended with the figure of the faun, a Roman woodland spirit, leading to a more refined and less grotesque depiction in later art and literature.
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Miniature olpe, Pottery, Xenon ware, Greek, Apulian, 4th Century B.C, 50 mm x 60 mm
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Mummy mask, Wood, Egyptian, Late period, 664 - 332 B.C, 300 mm x 180 mm
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Zemí figures are religious sculptures that were created by the Taíno people of the Caribbean. They are believed to represent deities or ancestors and were used in ceremonies and rituals.
Statuette of a Fat Lady, Pottery, Chinese, Tang Dynasty, 618 - 907 A.D, 655 mm x 265 mm x 210 mm
This beautifully-finished ceramic attendant was made during what many consider to be China’s Golden Age, the Tang Dynasty. It was at this point that China’s outstanding technological and aesthetic achievements opened to external influences, resulting in the introduction of numerous new forms of self-expression, coupled with internal innovation and considerable social freedom. The Tang dynasty also saw the birth of the printed novel, significant musical and theatrical heritage and many of China’s best- known painters and artists.
The Tang Dynasty was created on the 18th of June, 618 AD, when the Li family seized power from the last crumbling remnants of the preceding Sui Dynasty. This political and regal regime was long-lived, and lasted for almost 300 years. The imperial aspirations of the preceding periods and early Tang leaders led to unprecedented wealth, resulting in considerable socioeconomic stability, the development of trade networks and vast urbanisation for China’s exploding population (estimated at around 50 million people in the 8th century AD). The Tang rulers took cues from earlier periods, maintaining many of their administrative structures and systems intact. Even when dynastic and governmental institutions withdrew from management of the empire towards the end of the period – their authority undermined by localised rebellions and regional governors known as jiedushi –the systems were so well- established that they continued to operate regardless.
The artworks created during this era are among China’s greatest cultural achievements. It was the greatest age for Chinese poetry and painting, and sculpture also developed (although there was a notable decline in Buddhist sculptures following repression of the faith by pro-Taoism administrations later in the regime). It is disarming to note that the eventual decline of imperial power, followed by the official end of the dynasty on the 4th of June 907, hardly affected the great artistic turnover.
During the Tang Dynasty, restrictions were placed on the number of objects that could be included in tombs, an amount determined by an individual’s social rank. In spite of the limitations, a striking variety of tomb furnishings – known as mingqi – have been excavated. Entire retinues of ceramic figures – representing warriors, animals, entertainers, musicians, guardians and every other necessary category of assistant – were buried with the dead in order to provide for the afterlife. Warriors (lokapala) were put in place to defend the dead, while horses/ camels were provided for transport, and officials to run his estate in the hereafter. Of all the various types of mingqi, however, there are none more elegant or charming than the sculptures of sophisticated female courtiers, known – rather unfairly – as “fat ladies”. These wonderfully expressionistic sculptures represent the idealised beauty of Tang Dynasty China, while also demonstrating sculptural mastery in exaggerating characteristics for effect, and for sheer elegance of execution.
It is likely that the original purpose of the figure was that of a mingqi, terracotta figures designed to be included in a burial in order to accompany the deceased in the afterlife for protection, service and companionship.
They included daily utensils, musical instruments, weapons, armor, and intimate objects such as the deceased’s cap, can and bamboo mat. Mingqi also could include figurines, spiritual representations rather than real people, of soldiers, servants, musicians, polo riders, houses, and horses. Extensive use of mingqi during certain periods may either have been an attempt to preserve the image of ritual propriety by cutting costs, or it may have a new idea separating the realm of the dead from that of the living.
Though these were particularly popular during the Tang dynasty (618-906 AD), mingqi from a broad range of historical periods have been found, with this piece acting as a particularly early example of the practice.
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ESPADA
Montecristi
Siglo XVII
Bronce, marfil y cuero
Colección Dir. de Arqueología Submarina
SWORD
Montecristi
XVII Century
Bronze, ivory and leather
Underwater Archaeology Collection
Zoomorphic figure in the shape of a dog, dating from the Early Formative Period (200 BC - 500 AD), Colima Style, exhibited at the Chilean Museum of Pre-Columbian Art.
Lekanis with Ladies of Fashion and Palmettes, Pottery, Greek, South Italic Colonies - Apulia, 4th Century B.C, 105 mm x 85 mm
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Available in our shop! :-) www.yourantiquarian.com/product/greek-lekanis-with-ladies...
Statuette of Osiris, Bronze, Egyptian, Late period, 664 - 332 B.C, 92 mm
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