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Christie's New York
April 12, 2022
Sale 20677

Egyptian cat
Lot 28, Egyptian bronze cat, 14 3/4 inches high, Ptolemaic Period, circa 332-330 BC
By Carter B. Horsley
The April 12, 2022 Antiqutieies auction at Christie's New York is highlighted by a good Egyptian bronze cat, some nice Roman marble and bronze figures,
a Roman pavonazzetto and Gallo antico kore, a Roman tinned copper cavalry parade helmet, a Sassanian parcel gilt silver footed plate with Narseh and a Sassanian cameo with a portrait bust of a king, and an attractive Luristan axe head.

The catalogue provides the following commentary about Lor 28, an Egyptian bronze cat from the Ptolemaic Period, circa 332-330 B.C.  It is 14 3/4 inches high,

"
This magnificent cat belongs to a small but important group of large-scale bronze feline sculptures. While Egyptian bronze cats range in size and quality, so rarely do they capture the majesty and dignity of the species as gracefully as the life-size example presented here. Of particular note here is the naturalistic modeling that allows the cat to come to life through form and expression. This cat sits upright in the standard pose with the tail curving forward along the proper right side. The large eyes are recessed for now-missing inlays, with the lids and inner canthi accented, once further imbuing it with a lifelike qualities. Tufts of hair are incised in rows on the interior of the alert ears, both pierced for now-lost earrings, presumably of gold. Further embellishments include the incised multi-strand broad collar with a wadjet-eye pendant suspended below from a cord.

"A close parallel can be found at The Metropolitan Museum of Art, slightly smaller in scale but with similar modeling and ornamental adornments including the broad collar with a suspended wadjet-eye pendant. Of that cat, D. Schorsch and J.H. Frantz consider it to be “one of the finest cat bronzes known” (“A Tale of Two Kitties,” The Metropolitan Museum of Art Bulletin 55, no. 3, p. 20). Given the larger dimensions and superb quality of the cat presented here, it must surely also rank amongst the most impressive examples to have survived.

"Bronze cats of similar scale are recorded in only a handful of museum collections. Other large examples include the famed Gayer-Anderson Cat, now in the British Museum, and examples in Berlin and Cleveland....

"This cat once formed part of the notable collection assembled by Robert Sturgis Ingersoll (1891-1973). Ingersoll was President of the Philadelphia Museum of Art from 1948-1964 and Chairman of the Museum’s Board of Governors from 1947-1959....

"This magnificent bronze cat is an enduring testament to Ingersoll’s keen eye and stands as one of the most impressive works of Egyptian bronze sculpture still in private hands."

The lot has an estimate of  $700,000 to $900,000 It sold for $1,115,100.

Sasanian silver footed plate

Lot 64, a Sasanian parcel gilt silver footed plate with Narseh, circa late 5th-6th Century A.D., 8 3/4 inches in diameter

Lot 64 is a Sasanian parcel gilt silver footed plate with Narseh, circa late 5th-6th Century A.D. It is 8 3/4 inches in diameter.

The catalogue provides the following commentary:

"Finely engraved on the interior is the Sasanian King Narseh on horseback, lassoing two onagers. He wears a diadem with long billowing ties and a fluted crown surmounted by a globe, the join tied with a fluttering ribbon. Over his trousers and tunic he wears a haltar, its central medallion tied with long steamers. A quiver ornamented with a vine motif is suspended from his belt. With the horse in full gallop, he holds a coil of rope in his right hand, which extends across his body and is held taut in his left hand, with the loop secure around the necks of the onagers....

"While the style of this plate suggests a 5th-6th century date, the form of the crown indicates that an earlier king is the subject. Based on the form of the crown, there can be no doubt that Narseh (reigned 293-303 A.D.) is depicted, since each successive Sasanian king wears a unique crown. The same crown is seen on a rock-cut relief at Naqsh-i-Rustam depicting Narseh's investiture and on his coins....

"For other plates depicting a royal figure lassoing an animal, see the example with bears in the Abkhazian State Museum and another in the Hermitage with a single onager (P.O. Harper and P. Meyers, Silver Vessels of the Sasanian Period, Volume One: Royal Imagery, pls. 9 and 29). The onager or wild Persian ass was the fastest animal in the deserts of Central Asia, and were difficult to catch even for an experienced rider. The Sasanian king Bahram V (420-438 A.D.) died while hunting them....

"This plate was part of an exceptional group of Sasanian silver works of art collected by Ayoub Rabenou in the 1960s that are now part of the permanent collections of many leading international museums, including The Metropolitan Museum of Art, The Cleveland Museum of Art, the Cincinnati Art Museum, the Louvre and the Abegg-Stiftung.
"

The lot has an estimate of $150,000 to $250,000.  It was passed at $120,0000.

cameo

The catalogue provided the following commentary:

"Sasanian cameos are exceedingly rare, with approximately only 50 examples known, a great contrast to the other glyptic arts of the period (stamp seals, ring stones, and clay bullae) that survive in large numbers (see p. 310 in M. Henig and H. Molesworth, The Complete Content Cameos). The sparsity of material makes this newly re-discovered royal cameo all the more significant.

"The cameo presented here is exceptional, not only for the quality of the carving and the rarity of the subject but also for its rectangular form, which is unique. It is the only known Sasanian example of this shape to survive from antiquity. In fact, even within the much larger Greek and Roman repertoire, square or rectangular gems are unusual (there are some Greco-Persian tabloids, such as no. 304 in J. Boardman, Greek Gems and Finger Rings; two Hellenistic examples, nos. 18 and 105 in D. Plantzos, Hellenistic Engraved Gems; and a Roman gem, pl. II, 34 in M.-P. Levesque de Gravelle, Recueil de pierres gravees antiques).

"The bust is enclosed within an unusual beveled frame, which, like the portrait itself, exploits the natural banded layers of the stone, caramel brown and bluish-white on a black ground. Narseh is shown in profile to the right, his wavy hair bound in a diadem, with a row of scrolling curls below the plain band. The diadem is knotted at the back of the head, with two long streamers billowing below. The narrow groove of the diadem exhibits scoring along its length that suggests it was once inlaid in gold, now lost. His relatively short beard is composed of similar scrolling curls, overlaid by his long serpentine mustache. He has an arching brow and a large, almond-shaped eye with the pupil and iris placed high and forward within the sclera. His long straight nose is rounded at the tip, and the lips are slightly parted. A drop-shaped pendant is suspended from his ear. Narseh dons a tunic with a six-petalled rosette at the shoulder and a smooth collar, with a decorative band worn diagonally over the shoulder punctuated by dotted circles along its length. The form of this garment, the hair style and the diadem are archaizing, recalling images of Parthian kings, especially of Mithridates II (121-91 B.C.), as seen on his coinage....

"While depictions of King Narseh are exceedingly rare, the attribution of this cameo to the king is confirmed by comparison to a garnet intaglio portrait in the Bibliothèque Nationale in Paris. The Paris gem and the cameo presented here share a number of stylistic traits, including the hair style and the treatment of the eye, nose, mustache and earring. Although the Paris gem has an inscription around its edges for Shapur (“the Mazdaean Lord Shapur, King of Kings of Iran”), it is thought to have been added later, perhaps during the reign of either Shapur II or III. The Paris gem is identified as depicting Narseh on account of the form of his crown, in this case a fluted diadem, since each successive Sasanian king wore a unique crown. The same fluted diadem is seen on a rock-cut relief at Naqsh-i-Rustam depicting Narseh’s investiture and on his coins.....

"Narseh was the seventh king of the Sasanian Empire, ruling from 293-303 A.D., the youngest son of Shapur I. During the reign of Shapur, he served as governor of the important eastern provinces of Hind, Sakastan and Turan. Following his father’s death in 270, the crown passed to an older son, Hormizd I, and after a brief reign of one year, he was succeeded by another of Shapur’s sons, Bahram I, who gave Narseh the governorship of the western province of Armenia. Bahram I’s reign was also short (271-274), and he was succeeded by his son Bahram II and shortly thereafter by his grandson Bahram III. His rule was opposed by the aristocracy, who favored Narseh, and when Bahram III’s army defected, Narseh ascended to the throne. During his reign the Sasanians and the Romans clashed, with Narseh eventually forcing the retreat of Galerius (serving as Caesar under the Emperor Diocletian) from Mesopotamia. Vowing revenge, Galerius later invaded Sasanian Armenia and won a decisive battle there (commemorated on his arch at Thessaloniki) in which Narseh’s harem and many nobles were taken into captivity. He was forced to sign a humiliating treaty and died a few years later.

"The practice of cutting cameos, invented during the Hellenistic Period, was adopted by the Sasanians from the Romans. It is well known that following the sack of Antioch by Shapur I in 253 A.D., many Roman artisans were brought to the Sasanian homeland (see for example the Roman style mosaics from the Royal Palace at Bishapur, Iran, no. 87 in P.O. Harper, The Royal Hunter, Art of the Sasanian Empire). One of the most outstanding Sasanian cameos in existence is a large oval layered sardonyx depicting Shapur I and the Roman Emperor Valerian (pl. 183 in B. Fowlkes-Childs and M. Seymour, The World Between Empires, Art and Identity in the Ancient Middle East). Both are on horseback, with Shapur grasping Valerian by the wrist, symbolic for the Roman Emperor's capture at the Battle of Edessa in 260. As with the Bishapur mosaics, it is thought to be the work of a Roman craftsman.

"The modern history of the Narseh cameo is equally as rich as the ancient one. It was collected by Jean-Pierre Collot (1774-1852), the French banker and intimate of Napoleon Bonaparte. After financing the Coup of 18 Brumaire which brought Bonaparte to power in 1797 with five hundred thousand francs in gold, Collot was appointed commissary for the French army in Italy (see p. 355ff, L.A.F. de Bourrienne, Memoirs of Napoleon Bonaparte, vol. 1). This highly lucrative role enabled Collot to participate in the art-buying frenzy which followed the French invasions of Venice and the Papal States. His collection included Old Master paintings as well as engraved gems, including a magnificent cameo acquired from the Museum Christianum in the Vatican depicting the head of St. John the Baptist on a dish. This cameo was attributed to the engraver Matteo del Nassaro (circa 1490-1547), and was seen in 1806 by the antiquary Aubin-Louis Millin de Grandmaison in Collot’s jolie dachyliotheque, or gem cabinet, in Paris.... While much of his collection was sold at auction after his death, the Sasanian cameo was gifted by Collot to his daughter Victoire Pauline Antoinette Collot (1814-1895), La Marquise de Lillers. It would remain in the family until its sale at auction in Paris in 2018.

"The cameo was originally mounted in a decorative engraved gold frame of circa 1810, presumably commissioned by Jean-Pierre Collot. This was later embellished with a more elaborate mount of silver-topped gold circa 1850, likely commissioned by La Marquise following her inheritance. The mid-19th century rectangular mount has two rows of small old mine-cut diamonds enclosing a central row of larger old mine-cut diamonds. The top and bottom rows are centered by a large old mine-cut diamond, and the frame is surmounted by a central ring and a symmetrical undulating ribbon, also set with old mine-cut diamonds. The velvet-lined box bears the French heraldic crown for a Collot marquis on the exterior of the lid."

The lot has an estimate of $600,000 to $800,000.  It was passed at $580,000.

Roman Satyr

Lot 108, Roman marble satyr, 41 inches high, circa 2nd Century A.D.

Lot 108 is an Roman marble satyr, circa 2nd Century A.D.  It is 41 inches highIt was offered at Sotheby's in London July 14, 1986 and then was with Royal Athena Galleries in New York and with the Mougins Museum of Classical art in France in 2008. where it was exhibited until 2020.

The catalogue provides the following commentary:

"Here the satyr has his legs crossed, right in front of left, in quite a pronounced way - perhaps dancing. His head is lifted up and his right arm is held aloft holding a pedum -- the remains of which can be seen at the back of his head. Similar stances with pedums held high can be found in the British Museum (Arachne database no. 10649) and an older Silenus in the Vatican (no. 20082).

"Satyrs are represented either with the god Bacchus or shown on their own in various activities, including making music, dancing and holding the infant Bacchus (nos. 214-215 in Simon, "Silenoi," in LIMC). A satyr such as the one above probably would have been commissioned by a wealthy Roman to decorate his villa or gardens; Bacchus’s association with nature, his mastery of the countryside and its produce (in particular wine), as well as relaxation and leisure, made him and his followers – satyrs, maenads and animals such as fauns and goats -- a fitting choice for garden ornamentation."

It has an estimate of $60,000 to $80,000.  It was passed at $48,000.

Roman margle of Silvanus
Lot 105, Roman marble of Silvanus, 23 7/8 inches high, circa 2nd Century A.D.

Lot 105 is a Roman marble statue of Silvanus, circa 2nd Century A.D.  It is 23 7/8 inches high and was with the Brummer Gallery in New York in 1948 and appeared  at Sotheby's New York in 1981 and 1993.  It has an estimate of $100,000 to $150,000.  It sold for $100,000.


Roman alabaster head of Serapis

Lot 112, Roman alabaster head of Serapis, circa 2nd Century A.D., 9 inches high

Lot 112 is a very handsome Roman alabaster head of Serapis from circa 2nd Century A.D.  It is 9 inches high.  It has an estimate of $150,000 to $200,000.  It sold for $151,200.

The catalogue provides the following commentary:

"Serapis was a syncretistic deity first introduced in Alexandria by Ptolemy I Soter (r. 305⁄304-282 B.C.) to unite his heterogenous society encompassing Greeks and native Egyptians. As A. Stewart concludes....“the synthesis was shrewd, embracing on the Greek side Dionysos in his capacity as a god of a joyous afterlife, and Hades-Pluto as simultaneously god of the Underworld and the god of fertility (via his association with the earth, Persephone, and through her the life-giving Eleusinian Mysteries); and on the Egyptian, the Apis bull, worshipped in death at Memphis (whence the cult was introduced to Alexandria) as Osor-Hapi and as such identified with Osiris, the pan-Egyptian fertility god…[who was] set to rule over the dead.” The all-embracing nature of Serapis proved popular beyond Egypt and in subsequent centuries the god’s cult was exported throughout the Roman world (see p. 104 in E. Vassilika).

"The most celebrated cult statue of Serapis was sculpted by Bryaxis in Alexandria between 286-278 B.C. and depicted the god with luxurious curls that were characterized by three locks that fell vertically over his forehead (see Stewart, op. cit., p. 203 and pp. 83-84 in M. Bieber). However, as B.S. Ridgeway informs...., the spread of Serapis’ cult throughout the Graeco-Roman world makes it “impossible, in the present state of our knowledge, to determine which cult image was copied by the extant replicas.”

"Serapis is depicted here with thick, wavy locks framing his finely-carved face, including the characteristic curls falling onto his forehead. He has a full beard parted into two larger central curls and his mustache extends over his upper lip. The god’s head is surmounted by a modius decorated with olive branches. The head is mounted onto a later bust and socle, likely from the 19th century....

"This bust was collected by Howard K. (1914-2002) and Benedicte Traberg (1921-2008) Smith. Howard was one of the most prominent journalists of the 20th century, having been part of “The Murrow Boys,” CBS radio broadcasters associated with Edward R. Murrow during World War II. During his long career, Howard reported on the 20th century’s most seminal events including the Battle of the Bulge, the Nuremburg Trials and the Civil Rights Movement. Benedicte, also a journalist, first met Howard while reporting on World War II from Berlin for a Danish newspaper. This Serapis was included in a larger collection of antiquities, furniture and books that adorned the couple’s home on McArthur Boulevard overlooking the Potomac River.


Roman Pavonazzetto and gallo antico kore

Lot 104, Roman pavonazzetto and Gallo antico kore, 27 1/4 inches high, circa 1st Century A.D.
Lot 104 is a Roman pavonazzetto and Gallo antico kore, circa 1st Century A.D.  It is 27 1/4 inches high.
The catalogue provides the following commentary:

"Despite the centuries-long notion that the ancient world was fashioned only of gleaming white marble, it is now recognized that the Greeks and Romans applied bright pigments to their statues and buildings. In addition to painted stones, the use of naturally occurring colored marble also became popular, begining with the reign of Augustus (27 B.C.-14 A.D.), Rome’s first Emperor, and continuing throughout the Imperial Period. The unusual statue presented here is sculpted from two very distinct colored marbles: pavonazzetto and giallo antico. The first, with its stunning purple to grey veining against a white background, was quarried in Docimium in Asia Minor. The second, typically dark yellow, sometimes with pink or red veining, was quarried in the hills surrounding ancient Simitthus in Tunisia (see see M.L. Anderson and L. Nista, eds., Radiance in Stone, Sculptures in Colored Marbles from the Museo Nazionale Romano, pp. 73, 93).

"This statue is in the form of an archaistic kore, or maiden, loosely inspired by Greek prototypes of the late Archaic and early Classical periods. She stands frontally, wearing an ankle-length peplos with a long overfold, the U-shaped and zigzag folds symmetrically arranged. Her arms fall along her sides with her hands pulling outwards on the edges of the skirt at her hips. The separately-made head is inserted into a concavity between the shoulders. She has centrally-parted hair bound in a diadem, with strands rolled back from the forehead over her ears, and long braids falling along her neck.

"The present example originally must have served as a caryatid, perhaps supporting a table, either singly or as a pair. The top of her head was likely re-worked in the 18th or 19th century in order to remove the remains of a pilaster, and the feet were restored from a different block of pavonazzetto. The material and quality of the sculpture suggest that it originated from Pompeii or another provincial workshop. For a related caryatid in pavonazzetto, which does not preserve its head, see the example from Tarragona, now in the Museo Archeologico, fig. 16 in M. De Nuccio and L. Ungaro, I marmi colorati della Roma imperial."

The lot has an estimate of $40,000 to $60,000.  It sold for $138,600.

Shabri of Neferibre-Saneith

Lot 21, Shabti of Neferibre-Saneight, late Period, 26th Dynasty, reign of Amasis, circa 570-526 B.C., 7 5/8 inches high

Lot 21, is an Egyptian shabti of Neferibre-Saneight, late Period, 26th Dynasty, reign of Amasis, circa 570-526 B.C. It is 7 5/8 inches high.

The catalogue provides the following commentary:

"The name Neferibre-Saneith is basilophorous, incorporating the name of a king, here Neferibre, the prenomen of Psamtek II of the 26th Dynasty. In all likelihood, the deceased was born during the reign of that king (595-589 B.C.).

"The tomb of Neferibre-Saneith was discovered in 1929 at Saqqara, south of the funerary complex of King Ouserkaf (see E. Drioton and J.-Ph. Lauer, "Les tombes jumelées de Neferibrê-sa-neith et Ouahibrê-Men," Annales de Service des Antiquités de l'Égypte 51, pp. 469-490, and B. Porter and R. L. B. Moss, Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Reliefs, and Paintings, vol. III, pt. 2, p. 587). Along with the sarcophagus and three canopic jars, a total of 336 shabtis were discovered and removed, as recorded by J.-F. and L. Aubert: "a large number of these figurines were dispersed by the Service des Antiquités and found their way to public...and private collections" (Statuettes Egyptiennes, Chaouabtis, Ouchebtis, p. 230). This dispersal was completed by 1970, with the tomb mostly emptied by 1940.

"Repeatedly lauded as being amongst the most beautiful shabtis of the Late Period, the Neferibre-Saneith's shabtis are praised by Aubert and Aubert for their "haughty countenance, energetic and refined," and their achievement of a "fine silhouette....with subtle contours." Other shabtis for Neferibre-Saneith are in various institutions, including The Metropolitan Museum of Art and the J. Paul Getty Museum."

The lot has an estimate of $120,000 to $180,000.  It sold for $138,600.


GreekmarbleheadofHercules

Lot 84, Greek marble head of Hercules, Hellenistic Period, circa 3rd-2nd Century B.C., 7 1/2 inches high

Lot 84 is a very fine Greek marble head of Hercules, Hellenistic Period, circa 3rd-2nd Century B.C.  It is 7 1/2 inches high.

It has an estimate of $60,000 to $90,000.  It sold for $126,000.


The catalogue provides the following commentary:

"This bearded head of Herakles recalls the New York Herakles type, named for the example in The Metropolitan Museum of Art, which is based on a now-lost Greek original, likely in bronze, from the late 4th century B.C. (see no. 465 in J. Boardman, “Herakles,” in LIMC, vol. IV). The present example is a Hellenistic variant loosely based on this type. The lion’s head is well detailed, its fangs framing the hero’s face, its mane a mass of thick, flame-like locks, with some original reg pigment preserved. The hero’s hair is brushed back in thick, impressionistic locks that are minimally chiseled, the style recalling that seen on other Hellenistic originals such as the statue of Agias from the Daochos monument at Delphi, pl. 22 in B.S. Ridgway, Hellenistic Sculpture I, The Styles of ca. 331-200 B.C. His mustache and beard, divided at his chin, are similarly sculpted. His narrow eyes feature heavy upper lids."



Lot 94 gallo-roman limestone portrait head

Lot 94, Gallo-Roman limestone portrait head, Late Republican Period to Early Imperial Period, circa 1st Century B.C., 11 1/2 inches high

Lot 94 is a particularly stronag Gallo-Roman limestone portrait head, Late Republican Period to Early Imperial Period, circa 1st Century B.C.  It is 11 1/2 inches high.

It has an estimate of $15,000 to $20,000.  It sold for $40,320.

It was sold at Sotheby's New York in December 2008 and June 2012 and at Bonham's in London in 2012.


s22cantparadehelmet

Lot 90, Roman tinned copper cavalry parade helmet, circa late 2nd-first half 3rd century A.D., 11 inches high

Lot 90 is an impressive Roman tinned copper cavalry parade helmet, circa late 2nd-first half 3rd century A.D.  It is 11 inches high.

It has an estimate of $400,000 to $600,000.  It was passed at $300,000.


The catalogue provides the following commentary:

"This rare cavalry parade helmet is one of just a handful to have survived and displays the extraordinary lengths Roman craftsmen went to convey the high status of their patrons.  Crafted from a single metal sheet, this helmet is elaborately decorated in extensive repoussé work, including 3 mythical beasts and a gorgoneion. A high crest running along the dome has been fashioned in the form of a sea-griffin, with an eagle's beaked head emerging from the terminus and arching along the length, tapering in a fish or dolphin-like tail above the neck guard. The sea-griffin holds the head of Medusa in its forelegs at the crown. Each side is decorated in high relief with a sea-griffin. Originally all three creatures had now-missing ears riveted in place. The helmet is further ornamented with punched circles and dots along the edges of the dome and rim. With the hinged bronze facemask, which has now been lost, this warrior would have been poised for a dramatic effect in battle or ceremony.

"While the Greeks had transitioned into lighter and more open armor to maximize the senses, the Roman cavalry choose to cover their entire face and head, leaving only their eyes, nose and mouth visible. The closest surviving example is the Calvary Sports G type, from Heddernheim, dating to the late 2nd-early 3rd century A.D. It shares the beaked avian terminal (here an eagle) with a face on the crown (see pls. 376-377, pp. 128-129 in H. Russell Robinson, The Armour of Imperial Rome).
"


Luristan ax
Lot 53, Luristan bronze axe head surmounted by an ibex, circa 1200-900 B.C., 10 inches long

Lot 53 is a fine Luristan bronze axe head surmounted by an ibex, circa 1200-900 B.C.  It is 10 inches long
.

It has an estimate of $4,000 to $6,000.  It sold for $21,420.

Roman bronze Hercules

Lot 93, Roman bronze Hercules, circa 1st Century A.D., 12 3/4 inches high

Lot 93 is a Roman bronze Hercules, circa 1st Century A.D. from the collection of John W. Kluge that is being sold to benefit Columbia University.  It is 12 3/4 inches high
.

It has an estimate of $70,000 to $90,000.  It sold for $189,000.


Gallo-Roman bearded bronze Hercules

Lot 91, Gallo-Roman bearded bronze Jupiter, circa 1st-2nd Century A.D.

Lot 91 is a Gallo-Roman bearded bronze Jupiter, circa 1st-2nd Century A.D.  It is from the collection of John Kluge that is being sold to benefit Columbia University.This large and impressive solid-cast bronze figure depicts Jupiter nude, with robust musculature, standing with his right arm raised and his left hand lowered. In his right he must have originally held a scepter, while in his left the thunderbolt. He has thick wavy hair and a full beard divided at the chin. His eyes are inlaid in silver and his nipples are overlaid in copper. For a related example of similar scale, style and pose in Lugdunum, Musée et Théâtrés Romains, see S. Boucher, Recherches sur les bronzes figurés de Gaule pré-romaine et romaine, p. 141, fig. 243, pl. 52.

John Kluge (1914-2010) was a German-American entrepreneur who was the primary shareholder of Metropolitan Broadcasting Corporation, later renamed Metromedia, the successor of the Dumont Television Network. Kluge was a notable collector of ancient art, primarily of works in bronze, and a large portion of his collection was exhibited at the Museum of Fine Arts, Boston, in the 1996 show From Olympus to the Underworld, Ancient Bronzes from the John W. Kluge Collection. While the majority of his antiquities were displayed at his homes in Charlottesville, known as Morven, and Palm Beach, this bronze was brought by him to his home in the south of France, presumably because of its Gallo-Roman origins.


It has an estimate of $70,000 to $90,000.  It sold for $75,500.

Greek Brone Eros

Lot 93, Greek bronze Eros, Late Hellenistic Period circa 1st Century B.C., 8 3/8 inches high

Lot 93 is a Greek bronze Eros, Late Hellenistic Period circa 1st Century B.C. It is 8 3/8 inches high.


This lot was once with Mathias Komor and was auctioned at Christie's in New York in December, 2001 and at Bonham's in London in 2012.
It has an estimate of $10,000 to $15,000.  It sold for $12,600. 
Lot 4 is a fine Cyrpriot Picrolite figure from the Chalcolithic Period, circa lae 4th-early 3rd Milleniumn B.C.  It is 2 3/8 inches high.  It appeared at Sotheby's in London in December 1984 and was acquired by the current owner in 1993.  It was exhibited at the Metropolitan Museum of Art from 1993 to 2022.



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