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NUREMBERG CHRONICLE, 1493 THE GOLDEN CALF (THE CALF OF GOD) 1493 Woodcut. from "Liber Chronicarum." Printed by Anton Koberger text by Hartmann Sc...

A pair of monumental limestone sphinxes of Pharaoh Nectanebo I, from the processional avenue of the Serapeum of Memphis, 30th Dynasty, circa 379 - 360 BC. The sphinxes of the Serapeum have captivated travellers since Roman times. However, despite their significance, they are conspicuously absent from the collections of most major museums. Indeed, their existence in private hands is so improbable, and their imitations so numerous, that the present sphinxes were assumed to be modern copies throughout their recent ownership history. Finally recognised and conserved after an extraordinary chance discovery at a garden furniture sale...

Ring set with an intaglio representing Eros holding a torch and a butterfly (probably Psyche). Hollow setting Gold and carnelian Roman art, 1st-2nd century Intaglio size: 0.8 x 0.6 c...

Father Stefan Fridolin, "Schatzbehalter" (Treasury of the True Riches of Salvation): The 30th Figure - Astrological Diagram with Scene of the Nativity Woodcut, 1491 Unsigned, as issued Published by Anton Koberger Diagram has Zodiac signs on outer ring, planets in the lower registers, and Nativity in the center. Condition: Very good for a 15h century woodcut, with the usual slight age stains Sheet size: 11 1/2 x 8 1/4 inches Wogelmut was the teacher of Albrecht Durer and employed young Durer in many project of the last decade of the 15th century. Michel Wolgemut Biography Wolgemut trained with his father Valentin Wolgemut (who died in 1469 or 1470) and is thought to have been an assistant to Hans Pleydenwurff in Nuremberg. He worked with Gabriel Malesskircher in Munich early in 1471, leaving the city after unsuccessfully suing Malesskircher's daughter for breach of contract, claiming she had broken off their engagement. He then returned to his late father's workshop in Nuremberg, which his mother had maintained since Valentin's death. In 1472 he married Pleydenwurff's widow and took over his workshop;[3] her son Wilhelm Pleydenwurff worked as an assistant, and from 1491 a partner, to Wolgemut. Some consider Wilhelm a finer artist than Wolgemut, however he died in January 1494, when he was probably still in his thirties. Wilhelm's oeuvre remains unclear, though works in various media have been attributed to him. Woodcuts Michael Wolgemut, Danse Macabre, 1493 Two large and copiously illustrated books have woodcuts supplied by Wolgemut and his stepson Wilhelm Pleydenwurff; both were printed and published by Germany's largest publisher, the Nuremberger Anton Koberger, who was also Dürer's godfather. The first is the Schatzbehalter der wahren Reichthumer des Heils (1491); the other is the Historia mundi, by Schedel (1493), usually known as the Nuremberg Chronicle...

Head of a Satyr Roman, circa 2nd - 3rd century AD Carved and highly polished marble An extremely fine marble head of a satyr, depicted with ivy wreath, curly hair and pointed goat’...

Exceptionally Fine Wooden Sarcophagus Mask Third Intermediate Period, 21st Dynasty, circa 1069-945 BC. Acacia wood, rosewood, hippopotamus ivory Masterfully carved from a single piece of fine-grained hardwood, the present mask is characteristic of the most exquisite funerary art made during the 21st Dynasty, and was probably commissioned for a particularly high-ranking individual. The oval face displays a gently smiling mouth with full, outlined lips, furrows at the corners and a bow-shaped philtrum. The straight nose with rounded nostrils, the cheeks full and fleshy and the large, almond shaped eyes with heavy lids and tapering cosmetic lines, set below long, sweeping eyebrows. Social collapse across the Mediterranean in the Late Bronze Age meant that the 21st Dynasty in Egypt was a period of great turmoil. Trade routes were disrupted, governments collapsed, and mass migration occurred. Economic scarcity meant that traditional funerary practices in Egypt were also affected, with a lack of material and financial resources leading to the reuse of preexisting material. As a result, during the 21st Dynasty, 19th and 20th Dynasty coffins changed ownership rapidly and were heavily recycled for new purposes. Tombs were also unmarked allowing them to be shared by many people. These new practices brought forth a shift in the understanding of funerary paraphernalia. No longer important objects owned forever by the deceased, they were now simply seen as short-term transformative devices, whose symbolic and ritualistic meaning could be appropriated for others. However, paradoxically, the art of coffin-making also reached new heights during this period, and many of the richly dec- orated “yellow” coffins, characteristic of the 21st Dynasty, are remarkable works of art in their own right. Indeed, knowing that coffins were being reused throughout Egypt, the Egyptian élite set themself apart by commissioning lavish sarcophagi decorated with the images and texts meant to help guide them to the afterlife, and which would otherwise have adorned the tomb walls. As coffins were the chief funerary element which now identified the dead and allowed them a physical presence in the world of the living, their quality and appearance were of the utmost importance. The traditional coffin ensemble was made of three parts: a wooden mummy cover, which laid directly atop the mummy, an inner coffin, and an outer coffin, both made of a lid and case. Additional decorative elements, such as masks, were carved out separately and later glued or pegged to the lids. After the completion of the painted decoration, the sarcophagus was covered in a varnish to give it its yellow colour. Gilding was sometimes used for the coffins of the high priests’ families, notably on parts representing naked skin, such as the face mask. However, some of the élite tactically avoided gilding altogether as to ensure that their coffin would not be looted. When manufacturing the inner and outer coffins, particular attention was paid to the woodwork. Displaying the skill of the carpenter, this type of funerary art has largely remained unparalleled throughout Egyptian history. The principal wood used to craft the present mask is Acacia nilotica. The evergreen Egyptian acacia was considered sacred and said to be the tree of life, the birthplace of the god Horus, as well as symbolic of Osiris, the god of the dead and resurrection. The modelling of the face in the wood is superb, but the inlays also help mark this mask out as exceptional. Inlaid eyes and eyebrows were extremely rare and reserved to the finest and most expensive coffins. Traditionally, eyes were made of calcite, obsidian, or quartz, and eyebrows of coloured glass paste or bronze. Here, the pupils, eyebrows, and cosmetic lines are inlaid with Dalbergia melanoxylon, a rare type of wood which belongs to the rosewood genus. In antiquity, however, it was known as Ebony of the Pharaohs, from the Egyptian word “hbny”, meaning dark timber, because of its black, lustrous appearance. An extremely dense and hard wood requiring significant skill to work with, ebony was a luxury material highly coveted by the pharaohs themselves, to make furniture, decorative and funerary objects. The wood was imported with great effort from the southern Land of Punt, most likely modern Sudan, Ethiopia, Djibouti, and Eritrea, alongside other luxury goods such as gold and ivory. A magnificent ebony throne, recovered in the tomb of King Tutankhamun, illustrates the incredible aesthetic potential of this material and why it was so highly valued by Egyptian royalty. Only élite members of Egyptian society could have afford- ed Ebony of the Pharaoh inlays for their funerary mask. The sclerae on the present piece were once both inlaid with hippopotamus ivory. Whiter than elephant ivory, this type of ivory is also denser, and more difficult to carve. The use of this luxury material, reputed for its gleaming appearance, enhances the lifelikeness of the eyes. For the Egyptians, hippopotamus ivory was imbued with magic powers. The hippopotamus was indeed both feared and venerated due to its aggressive behaviour. Whilst the male hippopotamus was associated with danger and chaos, the female was benevolent and invoked for protection, especially of the house and of mothers and their children, through the hippopotamus goddess Tawaret. Thus, not only was hippopotamus ivory used as an inlay and to make practical objects, such as combs and clappers, but it was also used to make talismans like apotropaic wands or knives. Made during a time of scarcity where few could afford made-to-order coffins, the present mask could have only belonged to one of the highest-ranking individuals in society. Undoubtedly one of the finest Egyptian coffin...

Bochic Curated “Alexander Mocdon” Antique Cameo, Afghanistan 18k Gold & Carnilen ring Bochic Curated Antique Cameo From Afghanistan 18k Solid Gold & Antique ring This is the k...

An early Byzantine ring with a Roman cameo of a parrot perched on a palm frond. The parrot was a popular subject in the early Empire, no doubt for its intelligence and cleverness. T...

A Byzantine gold ring with a jewish menorah and an inscription. A typical early Byzantine ring made with soldered circular section wire and round bezel, engraved with a candelabra fo...

Stately in perfect proportion, this design is an elegant execution of form and function. Very unassuming in appearance yet every bit as formal as our other patterns, Craftsman's unad...

Ancient Roman first century AD red jasper intaglio of Apollo in later 18kt carat yellow gold. Size 8 Long 2,3cm Weight:14,92gr.

Ancient Roman 2rd Century AD intaglio with Minerva. Set to centre with an oval carnelian intaglio in a closed back roman set setting, finely engraved with an image of the goddess of ...

SCHORL TOURMALINE WITH AQUAMARINE Shengus, Roundu District, Gilgit-Baltistan, Pakistan 19.2 cm tall x 6.2 cm wide Gilgit-Baltistan (formerly known as the Northern Areas) is home to m...

A gold ring with a scarab of a bull. Etruscan, 4th - 5th Century BC. Ring size 8 The scarab measures 2cm x 1,4cm x 1.2cm The gold ring is original.

Ancient carnelian intaglio of the goddess Diana holding a bow in her right hand an reaching for an arrow from her quiver. Diana in Roman an Hellenistic culture was the goddess of wil...

Banded Iron Fossil Formation Circa 2.9 Billion y/o This spectacular banded iron formation from Port Hedland, Western Australia, provides evid...

TSAVORITE GARNET Merelani Hills, Lelatema Mountains, Simanjiro District, Manyara Region, Tanzania 2.55 cm tall x 3.2 cm wide A variety of grossular g...

VANADINITE ON BARITE Mibladen, Aït Oufella Caïdat, Midelt Cercle, Midelt Province, Drâa-Tafilalet Region, Morocco 12.7 cm tall x 14 cm wide The Drâa-Tafilalet Region of Morocco, best...

LIDDICOATITE TOURMALINE WITH QUARTZ Anjanbonoina, Antananarivo Prov., Madagascar 7.1 cm tall x 6.8 cm wide Liddicoatite is an uncommon form of tourmaline. It was first discovered in ...

This gold and bead necklace, was crafted by a pre-Columbian artisan from the Gran Coclé area of Panama. It represents a rich cultural tradition of adornment, utilizing some of the mo...

Necklace with a 123 BC ancient coin from the Parthian Kingdom. Gorgeous coin necklace, mounted with a genuine silver coin from the Parthian Kingdom. The coin is a silver Drachm of 1...

This complete cross-sectional slice from the Imilac meteorite has been prepared to reveal shimmering olivine and peridot gems embedded in an iron-nick...

A large silver gilt Byzantine ring from the middle to later Empire. The bezel shows saints Peter and Paul standing by a processional cross, both holding bibles. Note the shoulders of...

Folio from a Book of Hours, c.1475 Delft (Holland) red, blue and black Ink on vellum, c. 1475 Unsigned as is usual Most probably created at the Church of St. Agnes, by the women of t...

A pair of silver topped gold and diamond earrings. One is set with an old mine cut diamond weighing 3.26 carats and the other is set with an old mind cut diamond weighing 3.53 carats.

The flat oval stone engraved with a bust in profile to the right ; mounted as a ring in a modern gold setting (1.2 cm.) long; ring size 7½

Corinthian helmet with Bull Horns and Lotus Flower Decoration. Archaic Period, c.550-500 BC. Cast, hammered and incised bronze. An exceptionally well preserved example of one of the most iconic ancient Greek...

South Arabian Alabaster Inscription Calcite Alabaster circa 1st century A.D. ‘’Consequently, neither white marble of Paros nor any other stone which men admire can be compared with the precious stones of Arabia, since their whiteness is most brilliant, their weight the heaviest, and their smoothness leaves no room for other stones to surpass them.’’ - Diodorus Siculus, Library of History, Book II, 52.9 This inscription, finely worked on an alabaster tablet, is a remarkably well preserved example of Ancient South Arabian script, with its distinct bold, angular forms, written in the Qatabanic dialect - that is, the dialect spoken by the people of the kingdom of Qataban, which ruled much of modern day Yemen from the 7th Century B.C. to the 2nd Century A.D. The text, which reads: ‘[... ...]sa?d and Ma?add?i- / (of the lineage) of Hawfa- / She entrusted Anb- / against any malfeasance (which would remove it) from its place’ - indicates that it likely served to commemorate a temple offering. The quality of the script, incised so neatly into the surface of the alabaster, tells us that this piece was commissioned by somebody of considerable wealth and prestige, employing a scribe of equally considerable expertise. South Arabia was known throughout the ancient world for its incredible wealth - so much so that the Romans termed the region ‘Arabia Felix’ - literally, ‘Happy, or Fortunate, Arabia.’ That wealth was built largely on the trade of spices and incense, in which the Kingdom of Qataban played a major part. According to Pliny the Elder, this was the sole country through which frankincense could be exported, first being collected in the city of Shabwa, on the South Arabian coast, and from there travelling by camel up to Gaza, to be shipped all across the Mediterranean - not only that, but all growers of myrrh across Arabia were required to give a quarter of their yield to the king of the Qatabanians. As such, the kingdom became exceedingly rich and powerful, and Pliny goes on to tell us that ‘The nations of the Larendani and the Catabani, and the Gebanitæ [...] occupy a great number of towns, the largest of which are Nagia, and Thomna (the capital of Qataban) with sixty-five temples, a number which fully bespeaks its size.’ Because of the nature of its exports, frankincense in particular - the ‘sweat of of the gods’ according to the Egyptian Book of the Dead, and perhaps most famous as one of the three gifts brought to the newborn Christ - being closely associated with the divine, South Arabia’s reputation in antiquity was as a mysterious, almost sacred, and - crucially - extraordinarily wealthy region, at the very edge of the known world; in the words of Herodotus: ‘’Enough of marvels, and yet the land of Arabia gives off a scent as sweet as if divine.’’ This inscription invokes the protection of god Anbay, the judge-oracle of the chief god ‘Amm, who he served as an attendant. Much of what we know of the religious life of the ancient South Arabians comes to us from early Islamic texts, describing what is known in Islamic scholarship as ‘Jahiliyyah’ - the age before the advent of Islam in Arabia. What comes across in much of these texts is that these religious practices placed a great deal of emphasis on sacred stones, perhaps linked to the brilliance of the alabaster which is local to the region, and which a great many of the cult-objects produced in this time are made from. Hisham ibn-Al-Kalbi’s Book of Idols records: ‘’The Arabs were passionately fond of worshipping idols [...] Whenever a traveller stopped at a place or station in order to rest or spend the night, he would select for himself four stones, pick out the finest among them and adopt it as his god, and use the remaining three as supports for his cooking-pot.’’ This inscription was once in the collection of the intrepid British-Australian travel...

A perfect quality, elegant, unique Byzantine architectural gold ring decorated with filigree and granulation. The bezel is set with a intaglio c...

Viking gold stamped ring. A large yellow gold ring featuring a curved bombe' shaped plaque, with raised linear detail to the centre and decorated with a series of repeated triangular...

Roman Lion Gemstone in Gold Ring 3rd-4th century AD A cameo intaglio of a lion advancing with original setting in high carat gold. Size 7 3/4 Weight 5.88gr.

Of rectangular form, with a Greek cross cut from a sheet of gold leaf set beneath a layer of pale blue glass, mounted in 22kt yellow gold, the intaglio 15mm wide, finger size 7 1/2 W...

Roman coin, as of Augustus, circa 3rd Century AD Top size : 26mm x 23mm 18kt yellow gold brushed. gross weight approximately 13,23 grams; Size : 9

Tyrannosaurus Rex Tooth in Fossil Matrix. Late Cretaceous, circa 65 Million years before present. Lance Formation, Marchant Ranch Quarry, Niobrara County, Wy...

Fossilised Colla Wood Cross-Section Miocene, circa 23-5 Million years before present Recovered near the town of Zile, Turkey Fossilised wood fragment displ...

Oval bezel set with a orange coloured agate intaglio (13.7 x 11.6 mm) carved with a profile of Roman goddess Salus. Bezel 1.5 x 1.3 cm. Ring size 59. Weight 4.43 g. Salus (Latin: sa...

A Roman intaglio carved in a lentoid citrine. The subject is a vigorously engraved bust of Hercules to the right. The subject is beautifully rendered with the facial features in part...

An amethyst double faced intaglio with a standing cockerel to the right with a palm frond behind and inscribed 'IAW' with a star. The reverse shows an ibis with an inscription above....

A very interesting gnostic intaglio made on a dark grey mottled agate. The front shows two snakes whose tails seem to turn into rods(?) which are then held in the mouths of the oppos...

Large spectacular iridescent ammonite fossil. 75 Million y/o A magnificent example of one of the most spectacular fossils. A large and int...

Cypriot Plank Idol Early Bronze Age III - Middle Bronze Age I, c. 2100 - 1850 BC. Low fired burnished earthenware pottery with lime-filled incisions A Cypriot plank idol, an iconic form of human representation from Bronze Age Cyprus...

A Roman period magical or 'Gnostic' lapis lazuli intaglio with a seated lion with a solar disc holding a scarab, seated on a crocodile which in turn above a scorpion. On the reverse ...

Untitled (Standing Female Nude) Graphite on paper, c. 1930 Signed bottom right: Lorski (see photo) Sheet size: 9 5/16 x 5 13/16 inches From a sketchbook created while the artist was working in Paris Condition: Good Thin spots verso from previous mounting Soft vertical fold running across image Barely visible on recto Provenance: Estate of the Artist Dawson's Auctioneers and Appraisers, 2001 Amity Art Foundation Boris Lovet-Lorski Lithuanian/Russian/American 1894-1973 Sculptor, painter, and printmaker, Boris Lovet-Lorski was born in Lithuania in 1894. His mother died when he was age three. His father was affluent and owned real estate. Boris grew up in a privileged environment. He studied architecture and then fine arts at the Imperial Academy of Art in Petrograd, Russia (now Saint Petersburg). Following the revolution in 1917 and its aftermath, Boris immigrated to Boston to live with his brother. In the 1920’s, his stylized, Art Deco inspired sculptures, lithographs, and paintings proved to be popular among the American elite. He exhibited frequently, holding his first solo exhibition in Boston, 1920. In the following years, Boris exhibited in New York at Marie Sterner Gallery, Jacques Seligmann Galleries and Wildenstein and Company. He lived in Paris from 1926 to 1932 where he befriended Joseph Hecht, and was exposed to the works of Pablo Picasso, Ossip Zadkine, Contantin Brancusi and Aristide Maillol. In 1932 he returned to America where he became a citizen later in the decade. Lovet-Lorski exhibited in the United States, South America, Europe and Asia. He was a member of the Society of Independent Artists (New York), the National Academy of Design (New York), and the Lotos Club (New York), as well as several Parisian salons. His work is in the permanent collections of numerous museums including the Musée Luxembourg, Bibliotèque Nationale, and the Petit Palais in France, the British Museum in London, the Metropolitan Museum in New York, the National Gallery in Washington, the Los Angeles County Museum of Art. (A more extensive list of his works in museums follows) He is considered one of the most successful and recognized sculptors of his generation. His creative influence can be seen in many of his contemporary artists. He died in Los Angeles in 1973. Regarding his iconic Art Deco sculptures of Cretan Dancers: “The stylizing of the Cretan allegories, used in figures of animals such as horses and bulls, symbolizes the ancient power of the South. These figures reveal a spiritual sensuality as he strives to attain a symbol of the earth and universe endowed with musical values. If man is the center of his idea of life and nature, it is because of the laws that govern the movement of stars and history. The link binding his figures together has, in a sense, a Pythagorean harmony.” Salvatore Quasimodo, Milan, 1967, quoted from Bush, Boris Lover-Lorski: The Language of Time, page 12. Lovet-Lorski created sculptures of the following major figures I.J. Paderewski, Prime Minister of Poland Arturo Toscanini, Italian Conductor Lilian Gish, Actress President Franklin D. Roosevelt Mrs. M. C. Niarchos, wife of Stavros Niarchos President Abraham Lincoln James Forrestal, Secretary of the Navy, First Secretary of Defense Pope Pius XII Dr. Albert Einstein, theoretical physicist President Dwight D. Eisenhower Albert Schweitzer, theologian, organist, writer, humanitarian, philosopher, and physician General Charles De Gaulle, President of the Fourth and Fifth Republic, France John Foster Dulles, Secretary of State, 1953-1959 President John F. Kennedy Works by Lover Lorski are in the following public collections: Albright-Knox Art Gallery, Buffalo Art Institute of Chicago Bibliotheque Nationale, Paris Brandeis University, Waltham, MA British Museum, London Boston University Brooklyn Museum California Palace of the Legion of Honor, Sam Francisco...

Opening 36” W x 34 ½” H Overall 47” W x 41” H x 15"d Needs some restoration.

Ancient Roman intaglio Victory ring. Set to centre with an oval cornelian intaglio in a closed back Roman set setting depicting the full length figure of ...

This Roman Empire mosaic table is an iconic example of Classical history, featuring a 3rd-century mosaic of a Roman Charioteer. More than mere entertainment, the four charioteer team...

Viking stamped triangle ring in gold. A substantial gold ring with a central panel in relief, decorated with stamped triangular shapes and golden granules, with raised curved borders...

Ring designed as bezel set ancient silver roman coin. Centering silver coin depicting Gorgoneion medusa facing. Ring size: 7 and sizable Total weight: ...

14k, The Coin is Greek c240-290 BC approximately, Silver. A sleek 14k gold frame is the perfect foil for this large ancient silver coin. The look is casually glamourous, effortlessly...

Ancient Roman cornelian signet ring with engraving of Mars. Set with one central oval cornelian intaglio in a closed back rubover setting featuring...

Ancient Roman carnelian signet ring. Horizontally set with a single oval carnelian plaque in a closed back rubover setting featuring an engraved full length male figure, probably Mar...

Readings from the "Communion of Saints": folio from an Italian Missal Pigment on vellum Mid 17th century Provenance: Otto F. Ege (1888-1951) Phillip Duechnes Bookseller, New York, c. 1948 References And Exhibitions: Otto F. Ege Box Folio 27 Ege describes these folios as: Epistolary (Epistolarium), Italy, Middle 15th century Latin Text: Rotunda or Round Gothic Script, square rhetorical neumes Sister folio are in the following rare book libraries: Case Western Reserve University Cincinnati Public Library Cleveland Institute of Art Cleveland Public Library Denison University Kent State University Kenyon College...

Ancient Roman signet ring. Set with one central oval hardstone intaglio in a closed back Roman set setting engraved with a lion catching a ga...

Ancient Roman Hippocampus intaglio ring. Set with an oval nicolo onyx intaglio depicting a hippocampus facing left, in a closed back roman-set setting, flanked by broad integrated sh...

RING in 18kt yellow gold with a pivoting octagonal bezel, set with a roman silver coin AUGUSTO. Denario. Lugdunum (15-13 a.C.). R/ Toro a der.; IMP. X. FFC-108. SB-137. 18kt brushed...

The Roman Empire, circa 2nd century A.D. This heavy solid ring is cast in almost pure gold. The ring features a lapis lazuli intaglio finely engraved with a winged Eros (God of Love and Sexuality) armed with a bow. The lapis intaglio is set in a bezel and flanked by ribbed shoulders with deep grooves resembling fluted shafts of the classical columns. An ancient Roman intaglio ring...

Bochic Curated Antique Ring From Afghanistan 18k Solid Gold & Antique Turquoise Bochic Curated “Alexander Mocdon” Antique dome Afghanistan 18k Gold & Turquoise Ring This is the ki...

Caracalla Denarius. 210-213 AD . ANTONINVS PIVS AVG BRIT, laureate head right / MONETA AVG, Goddess Moneta standing left, holding scales and cornucopiae. 18kt brushed gold. Size 7 W...

This Roman silver ring is a beautiful example of the Henig type VIII, under his classifications of ancient rings. Rings of this shape - a round bezel, with keeled shoulders - is typi...

The stone red jasper, the head stylistically carved in high relief turning slightly to the left, 14mm wide. Size 6 1/2 Weight: 9,46gr.