Statuette of a standing woman, Pottery, Greek, 4th - 3rd Century B.C, 150 mm x 50 mm

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Hadrian, 117 - 138 AD, Egypt, Billon-Tetradrachm, 23 mm, 11,15 gr, Obv: AYT KAIC NEΡ TΡAIAN CEB ΓEΡM, laureate head right., Rev: L-E, eagle standing right, wings closed

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Jar with floral motif, Pottery, Chinese, Yuan Dynasty, 13th Century - 14th Century A.D, 200 mm x 190 mm

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Lekythos with net pattern, Pottery, Greek, Campanian, 4th Century B.C, 130 mm x 67 mm

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Funerary stele with inscription, Marble, Roman, 1st Century A.D, 170 mm x 275 mm x 20 mm

Dedicated by Valerius Sabinus to friend Tyranno 'VALERIVS SABINVS FECIT TYRANNO AMICO BENE MERENTI'

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Ushebti, Pottery, Egyptian, 1570 - 1100 B.C, New Kingdom, 160 mm x 50 mm, Good condition

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Jar, Pottery, Egyptian, 1570 - 1100 B.C, New Kingdom, 80 mm x 60 mm

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Sarcophagus lid, Pottery, Bronze Age, Canaanite, 1400 - 1200 B.C, 270 mm x 157 mm x 35 mm

The Canaanite sarcophagus lid is an extraordinary artifact that sheds light on the burial practices and artistic traditions of the ancient Canaanite civilization, which flourished in the Levant region from the Bronze Age to the Iron Age. These lids, typically crafted from stone such as limestone, were designed to cover sarcophagi, or stone coffins, that housed the deceased. The lids often featured intricate carvings and reliefs, reflecting both the artistic abilities of the Canaanites and their beliefs about the afterlife. Many Canaanite sarcophagi, particularly from the Late Bronze Age, show a fusion of Egyptian and local Canaanite influences, indicating the strong cultural exchange between these civilizations.

One notable characteristic of Canaanite sarcophagus lids is the stylized human face or mask often carved into the stone. This representation of the deceased, though somewhat abstract, was believed to honor and preserve the identity of the individual in the afterlife. The facial features, typically simple and symmetrical, were not highly personalized but followed conventional designs, which might have reflected the Canaanite belief in the continuity of the soul beyond physical death. Some lids also include decorative motifs, such as geometric patterns or symbols of fertility and protection, which were thought to ensure safe passage to the afterlife.

The Canaanite sarcophagus lid not only functioned as a protective seal for the body but also held religious and social significance. The craftsmanship and level of decoration on a sarcophagus and its lid could indicate the social status of the individual buried within. Wealthy or elite individuals were more likely to be interred in sarcophagi adorned with elaborate carvings and inscriptions. These artifacts provide valuable insights into Canaanite funerary customs, religious beliefs, and their interactions with neighboring cultures like Egypt. They are key pieces of evidence for understanding the broader Canaanite civilization and its place in the ancient world.

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Anatomical votive model of a foot, Terracotta, Etruscan, 5th - 4th Century B.C, 105 mm x 85 mm x 205 mm

In antiquity, the cult of a mother goddess and divine nurse (or kourotrophos) was prevalent throughout the Mediterranean, from Asia Minor to Sicily and from southern Russia to North Africa. The kourotrophos directly intervened in the affairs of men, her domain embracing all aspects of life and death.

From early in the Archaic period, images of kourotrophoi frequently appeared in the art of central and Southern Italy. These depictions commonly took the form of a seated female holding a swaddled child. Diana, Mater Matuta, Minerva, Persephone, Turan, and Uni are some of the goddesses worshipped as kourotrophoi in Italy.

Terracotta votive statues, statuettes, heads, busts, infants, and anatomical parts were common dedications to a kourotrophos at her sanctuaries in Etruria, Latium, and Campania. Examples are scattered worldwide in museums and private collections.

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Jar, Pottery, Roman, 2nd - 3rd Century A.D, 135 mm x 115 mm

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Skyphos with black and red bands, Pottery, Greek, Corinthian, 6th Century B.C, 50 mm x 105 mm

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Miniature kantharos, Pottery, Xenon ware, Greek, Apulian, 4th Century B.C, 65 mm x 60 mm

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Amphora support, Pottery, Egyptian, Middle Kingdom, 2055 - 1650 B.C, 57 mm x 105 mm

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Double unguentarium, Glass, Roman, 3rd - 4th Century A.D, 110 mm x 50 mm

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Inkwell, Pottery, Roman, Gaul, 1st - 3rd Century A.D, 35 mm x 60 mm

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Votive male head, Terracotta, Etruscan, 450 - 250 B.C, 220 mm x 140 mm

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Plate, Pottery, Terra Sigillata, Roman, 1st - 3rd Century A.D, 55 mm x 190 mm

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Head of an eagle, Limestone, Roman, 2nd - 3rd Century A.D, 95 mm x 100 mm x 135 mm

The aquila, or eagle, is one the most enduring symbols of Roman civilization. While different animals and mythological creatures served as meaningful signifiers throughout the Republic and Imperial eras, the eagle continuously symbolized power and authority.

The eagle was considered majestic and transcendent, to the point that live birds were often caged on emperors' funeral pyres. Once they broke free and flew skyward, the Romans considered it a manifestation of the deceased emperor's transition to godhood.

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