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Zodiac set lot (12 pieces) with Thermoluminescence test (TL), Pottery, Chinese, Tang Dynasty, 618 - 907 A.D, 360 mm x 115 mm x 90 mm to 380 mm x 120 mm x 100 mm, Good condition. Includes Thermoluminescence test by Laboratory KOTALLA (Reference: 01B041223 and 02B041223).

The Tang Dynasty (618 – 907 AD) is widely regarded as a golden age of Chinese civilization, characterized by unparalleled cultural openness and artistic sophistication. During this era, the “Silk Road” facilitated a vibrant exchange of ideas, religions, and goods, which deeply influenced the empire’s aesthetic sensibilities. This period saw the perfection of Sancai (three-color) glazing techniques, where lead-based glazes in green, amber, and cream were used to create the vivid, fluid patterns that define Tang ceramics.

Among the most captivating artifacts from this period are the Zodiac set figurines, which were often placed in tombs to serve as spiritual guardians and markers of time. Unlike the purely animalistic representations found in earlier dynasties, Tang zodiac figures frequently adopted a zoomorphic form, featuring human bodies dressed in flowing scholarly robes with the heads of the twelve zodiac animals. These figures were typically crafted from earthenware and arranged in a specific sequence to represent the cyclical nature of the lunar calendar and to ensure the deceased remained in harmony with the cosmos.

The craftsmanship of these figurines reveals a fascinating blend of rigid ritual requirements and expressive artistry. Some sets were left unglazed with delicate hand-painted pigments, while others boasted the prestigious Sancai finish, reflecting the social status of the owner. By transforming the animals of the zodiac—from the Rat to the Pig—into dignified, anthropomorphic officials, Tang artisans elevated folk astrology into a sophisticated funerary art form. Today, these figurines remain essential icons of Tang heritage, symbolizing the era’s unique synthesis of spiritual belief and creative mastery.

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Dagger ‘Pugio’, Type Period I, Iron, Roman, Republic, 1st Century B.C, 300 mm x 60 mm x 15 mm

The origins of the Roman pugio, a short, broad dagger, are somewhat intertwined with the late Roman Republic and the period of transition into the Empire, as its shape is thought to derive from the daggers used by Iberian tribes. While archaeological evidence for the pugio in its standardized Roman form solidifies primarily in the late 1st century BCE—the end of the Republic—and the early Imperial period, the Romans were already familiar with the concept of a dedicated sidearm. The pugio served as an essential personal weapon for Roman soldiers, carried alongside the main gladius (sword) and providing a critical tool for close-quarters combat, often used for stabbing downward in a swift, lethal motion against a fallen or restrained enemy.

Characteristically, the pugio was defined by its wide, leaf-shaped blade and a prominent central ridge, designed for maximum rigidity and piercing power. The Republican and early Imperial versions share this core design but show stylistic and construction differences. Republican-era blades, or those immediately preceding the standardized Imperial forms, were generally more uniform and rugged. They featured an integrated tang that fitted into a simple hilt, often constructed from layers of wood or bone. Importantly, the pugio was a piece of military equipment, but it was also a badge of honor and status, especially for centurions and senior officers, a tradition that began to take root in the highly professionalized armies of the late Republic under figures like Marius and Caesar.

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Figure of a river god (probably Tiber) with she-wolf, Marble, Roman, 1st – 2nd Century A.D, 175 mm x 278 mm x 155 mm.

The pairing of the Roman river god Tiberinus (Father Tiber) with the she-wolf and the twins Romulus and Remus is a key motif illustrating the foundation myth of Rome. According to the legend, the twins were abandoned on the banks of the Tiber River by order of a wicked king. It was the river god, Tiberinus, who ensured their survival. The water god helped to save the infants when the basket they were placed in got stuck on the riverbank, and some sources explicitly state he saved them before they were found by the she-wolf. This association links the divine power of the river, which provided safety and nourishment, directly to the miraculous preservation of the city’s future founders.

The she-wolf, or Lupa, is one of the most famous symbols of Rome, representing the animal that ultimately nursed the abandoned twins in a cave known as the Lupercal until they were found by a shepherd. This moment, often represented in art by the Capitoline Wolf sculpture, is intrinsically connected to the river god Tiber because their abandonment in the river is the crucial step that leads to the wolf’s discovery and subsequent nurturing. The combined iconography of the river god, the she-wolf, and the twins tells a complete narrative of abandonment, divine rescue, and eventual foundation, emphasizing that Rome’s origins were protected by both the martial god Mars (the twins’ divine father) and the local genius of the land and water.

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Statuette of a Fat Lady, Pottery, Chinese, Tang Dynasty, 618 – 907 A.D, 303 mm x 110 mm x 83 mm, Good condition. Includes Thermoluminescence test by QED Laboratory (Reference: QED1211/FC-0204).

During the Tang dynasty (618–907 CE), China experienced a period of extraordinary cultural prosperity, artistic refinement, and cosmopolitan openness. The ceramic figures known today as Fat Ladies—portrayals of court women with full, rounded faces and voluptuous bodies—reflect both the ideals of beauty of the time and the sophistication of Tang funerary art. These sculptures, often found in elite tombs, were created as mingqi (spirit objects) intended to accompany the deceased in the afterlife, ensuring comfort, elegance, and the continuation of social status beyond death.

The figures typically depict court attendants dressed in long flowing robes with layered garments, high-waisted skirts, and elaborate coiffures arranged in large chignons or wing-shaped buns. Their serene expressions, gently tilted heads, and subtle hand gestures convey grace and dignity. The robust physiques—so different from the slender forms admired in other periods—reflect the Tang aesthetic that associated fullness with beauty, wealth, and good fortune. This ideal was famously linked to the influence of the imperial concubine Yang Guifei, whose celebrated plumpness epitomized sensuality and refinement at the Tang court.

Technically, these sculptures were made of earthenware and often decorated with pigments or sancai (three-colored) lead glazes in amber, green, and cream tones. The use of such vivid glazes, combined with delicate modeling, created figures of striking realism and charm. Many examples show traces of painted cosmetics, such as red lips and rouged cheeks, further emphasizing their fashionable appearance and status as embodiments of worldly elegance.

Together, the Tang Fat Lady figures offer a vivid glimpse into the tastes, values, and daily life of the Tang elite.

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Anatomical votive model of a head, Terracotta, Etruscan, 5th – 4th Century B.C, 300 mm x 190 mm x 100 mm, Good condition. Includes Thermoluminescence test by QED Laboratory (Reference: QED2533/EG-0103)

Etruscan votive models, particularly anatomical offerings and effigies, are fascinating artifacts that reveal much about the religious practices and medical concerns of ancient Etruria, especially between the 4th and 2nd centuries BCE. These votives were typically deposited in sanctuaries and sacred springs as acts of devotion or supplication to the gods, often in the hope of healing a specific ailment or in thanks for divine intervention. Crafted from terracotta, bronze, or occasionally stone, these models replicate human body parts—eyes, limbs, internal organs, breasts, genitalia—and are often found in large numbers at healing sanctuaries associated with deities like Menrva (Minerva) or Aplu (Apollo).

The anatomical votives represent a symbolic language of health and bodily integrity. For example, a votive eye might be offered in hopes of curing blindness or infection, while a model uterus could be linked to fertility concerns. Their realism varies: some are stylized and schematic, while others are surprisingly naturalistic, possibly even individualized. These offerings served a dual role: they were both ritual acts and communicative gestures, voicing the suppliant’s needs in a tangible, visible way. Some scholars have proposed that these votives may also reflect early understandings of anatomy and pathology in the Etruscan world, hinting at empirical observation rooted in experience, if not systematic medical science.

In addition to anatomical models, votive heads and full-figure statues were also common, often life-sized or larger. These heads, usually depicting serene or pious expressions, might represent the donor themselves or serve as idealized images of the human devotee in relation to the divine.

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Chinese statuette of a horse, Northern Wei Dynasty, Pottery, 386 – 535 A.D, 530 mm x 470 mm x 195 mm, Good condition, repaired. Includes Thermoluminescence test by QED Laboratory (Reference: QED2533/EC-0102)

The Northern Wei Dynasty, which reigned from 386 to 534 AD, was a pivotal period in Chinese history characterized by a fusion of nomadic and Han Chinese cultural influences. Founded by the Tuoba clan of the Xianbei people, the dynasty was marked by significant territorial expansion and cultural achievements. The Northern Wei Dynasty played a crucial role in the Sinicization of northern China, adopting many aspects of Han Chinese culture while retaining elements of their own nomadic heritage. This period saw advancements in art, literature, and Buddhism, with the latter becoming the state religion during the reign of Emperor Xiaowen, who initiated policies to sinicize the dynasty further.

One of the remarkable cultural artifacts from the Northern Wei Dynasty is the Horse Minqi statuettes. These miniature horse sculptures, typically crafted from ceramic, are renowned for their exquisite detail and craftsmanship. The Horse Minqi statuettes are believed to have served various purposes, including burial goods, offerings, and decorative items. They often depict horses in dynamic poses, capturing the vitality and grace of these animals. Some sculptures also feature riders, reflecting the importance of horsemanship and cavalry in Northern Wei society.

The Horse Minqi statuettes not only showcase the artistic achievements of the Northern Wei Dynasty but also provide valuable insights into the cultural and military practices of the time. Horses held great significance in nomadic cultures, symbolizing power, mobility, and prestige. As such, the production of these statuettes highlights the importance of horses in Northern Wei society, both in practical terms, such as transportation and warfare, and in symbolic and cultural contexts.

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Ossuary with lid, Limestone, Hellenistic / Early Roman, North Africa, 3rd Century B.C – 1st Century A.D, 215 mm x 265 mm x 210 mm, Good condition

A Roman ossuary is a container or structure used to hold the bones of the deceased, often employed in funerary practices where space and custom favored the secondary burial of skeletal remains. While ossuaries are more famously associated with Jewish burial traditions in Roman Judea, similar practices were present in the broader Roman world, particularly in areas influenced by Hellenistic and Eastern customs. In the Roman context, an ossuary might take the form of a stone box, urn, or ceramic vessel, typically used after the body had decayed and the bones were collected for permanent storage.

These containers were often elaborately decorated or inscribed with the names of the deceased, religious symbols, or commemorative texts, reflecting both personal identity and belief systems concerning the afterlife. In regions like Judea during the 1st century BCE to the 1st century CE, ossuaries were commonly carved from local limestone and bore inscriptions in Greek, Latin, or Aramaic. Their use suggests a complex interplay between Roman funerary laws, Jewish purification practices, and broader Greco-Roman mortuary traditions.

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Anatomical votive model of a stomach, Terracotta, Etruscan, 5th – 4th Century B.C, 197 mm x 115 mm, Good condition.

Etruscan votive models, particularly anatomical offerings and effigies, are fascinating artifacts that reveal much about the religious practices and medical concerns of ancient Etruria, especially between the 4th and 2nd centuries BCE. These votives were typically deposited in sanctuaries and sacred springs as acts of devotion or supplication to the gods, often in the hope of healing a specific ailment or in thanks for divine intervention. Crafted from terracotta, bronze, or occasionally stone, these models replicate human body parts—eyes, limbs, internal organs, breasts, genitalia—and are often found in large numbers at healing sanctuaries associated with deities like Menrva (Minerva) or Aplu (Apollo).

The anatomical votives represent a symbolic language of health and bodily integrity. For example, a votive eye might be offered in hopes of curing blindness or infection, while a model uterus could be linked to fertility concerns. Their realism varies: some are stylized and schematic, while others are surprisingly naturalistic, possibly even individualized. These offerings served a dual role: they were both ritual acts and communicative gestures, voicing the suppliant’s needs in a tangible, visible way. Some scholars have proposed that these votives may also reflect early understandings of anatomy and pathology in the Etruscan world, hinting at empirical observation rooted in experience, if not systematic medical science.

In addition to anatomical models, votive heads and full-figure statues were also common, often life-sized or larger. These heads, usually depicting serene or pious expressions, might represent the donor themselves or serve as idealized images of the human devotee in relation to the divine.

#ancient #ancientart #ancienthistory #artefact #artifact #ancientartifacts #antiquities #antiquity #art #artobject #ancientworld #history #classical #archaeology #etruscan #etruria #votive #exvoto

Mummy mask, Gesso and linen, Egyptian, Roman period, 1st – 2nd Century A.D, 165 mm x 150 mm x 110 mm (without stand)

These masks, typically dating from the 1st to 3rd centuries CE, were placed over the faces of the deceased as part of the mummification process in Roman-period Egypt. They were designed to preserve and idealize the appearance of the deceased, blending Egyptian funerary customs with Greco-Roman portraiture. While earlier Egyptian masks were more stylized, those of the Roman period often incorporated realistic features, echoing Roman traditions of individualized portraiture.

The creation of such a mask began with a base made from layers of linen soaked in plaster or gesso, shaped over a mold or directly on the wrapped mummy. Once dried, the surface provided a durable canvas for paint and gilding. Artisans painted the mask in vivid colors, often emphasizing eyes and lips, and in more elite examples, used gold leaf to highlight divine or noble status. This use of inexpensive materials like linen and gesso allowed for a wide distribution of funerary masks, not only among the elite but also among middle-class Egyptians influenced by Roman customs.

Iconographically, these masks retained many traditional Egyptian motifs, such as wigs, broad collars, and divine symbols, even as the facial features conformed more to Roman aesthetics. This cultural hybridization reflected the religious syncretism of the time—where Greek, Roman, and Egyptian deities were often worshipped in blended forms, such as Serapis or Isis-Fortuna. Thus, the masks served both protective and symbolic functions, guiding the soul in the afterlife while honoring the deceased’s social identity.

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Antefix of Potnia Theron, Terracotta, Etruscan, 3rd – 2nd Century B.C, 375 mm x 200 mm x 65 mm, Good condition, repaired

Antefixes were vertical, decorative blocks placed at the end of roof tiles on temples and other structures, often richly adorned to ward off evil and celebrate divine figures. In this case, the Potnia Theron, a goddess archetype inherited from the wider Mediterranean iconographic tradition, is portrayed in dynamic symmetry, flanked by wild animals—usually lions, panthers, or birds—symbolizing her dominion over the natural world.

The representation of the Potnia Theron in Etruscan art reflects both local religious beliefs and Near Eastern or Greek influences. Her iconography—arms outstretched, grasping animals by their necks or wings—is not merely decorative but conveys her role as a protector and controller of the liminal space between civilization and the wild. Etruscans may have associated this figure with deities like Artumes (related to Artemis) or Uni, reflecting how imported motifs were recontextualized within their own pantheon. The antefix, therefore, functioned both as an apotropaic device and a statement of divine order overseeing the temple and its surroundings.

Crafted in terracotta, such antefixes also illustrate the Etruscans’ technical skill and aesthetic sophistication. The vivid polychromy (now often faded), expressive modeling, and formalized composition would have made a vivid impression on worshippers approaching the temple.

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Greek aryballos depicting a winged deity and a panther

ITEM Aryballos (Oil bottle) depicting a winged deity and winged panther MATERIAL Pottery CULTURE Greek, Corithian PERIOD 7th - 6th Century B.C DIMENSIONS 180 mm x 170 mm diameter CONDITION Good condition. Includes a certificate of search in the stolen works of art of Interpol database PROVENANCE Ex European private collection, Ex Arete - Galerie für antike Kunst (1984), Ex private collection, Ascona (1978), Ex private collection E.B.B. A Corinthian aryballos is a type of small, round ceramic container used primarily for holding perfume or oils in ancient Greece, particularly during the Archaic period (circa 700–500 BCE). Known for its distinctive shape, the aryballos typically had a narrow neck, a rounded body, and a small handle. These vessels were often crafted in the Corinthian style, characterized by rich decoration and fine craftsmanship. Corinthian pottery was highly regarded throughout the ancient Mediterranean, and the aryballos was commonly used by athletes in the gymnasium to store olive oil or scented oils for body care. The use of such vessels was part of a wider tradition in which the Greeks sought to maintain personal hygiene and enhance physical fitness, making the aryballos both practical and symbolic of elite lifestyles. The Read the full article

Roman head of a Satyr

ITEM Head of a Satyr MATERIAL Marble CULTURE Roman PERIOD 1st - 2nd Century A.D DIMENSIONS 152 mm x 110 mm x 103 mm (without stand), 195 mm x 118 mm x 111 (with stand) CONDITION Good condition. Includes stand PROVENANCE Ex American private collection, New York, acquired before 1980s 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. Read the full article

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Bronze Age sheet with incised decoration

ITEM Sheet with incised decoration MATERIAL Silver CULTURE Bronze Age PERIOD 2nd millenium B.C DIMENSIONS 30 mm x 84 mm x 1 mm CONDITION Good condition LOCATION Museo Arqueológico Nacional (MAN), Madrid (Spain) During the Bronze Age, metal sheets made of precious materials such as gold, silver, and occasionally copper alloys were highly valued for their decorative and symbolic uses. These sheets were thinly hammered, often using cold-working techniques, to achieve a smooth, malleable surface suitable for various purposes. Their production required significant metallurgical skill, as artisans had to control the thickness and shape without breaking the metal. The use of these sheets demonstrates the technological advancements of Bronze Age societies in metalworking, particularly in crafting intricate and delicate items. Gold and silver sheets were primarily used in ritualistic and elite contexts, often to create jewelry, ceremonial objects, and funerary goods. They could be shaped into diadems, appliqués for garments or furnishings, and even into thin coverings for wooden or stone objects to give them a luxurious appearance. Some sheets featured engraved or repoussé decorations, with designs that reflected cultural symbols, religious motifs, or representations of power and status. The high value of these metals meant they were reserved for the upper classes, indicating social hierarchy and wealth. Read the full article

Bronze Age sarcophagus lid

ITEM Sarcophagus lid MATERIAL Pottery CULTURE Bronze Age, Canaanite PERIOD 1400 - 1200 B.C DIMENSIONS 270 mm x 157 mm x 35 mm CONDITION Good condition PROVENANCE Ex Museum Exhibiton of the Arbeitsgruppe für Biblische Archäologie, Germany (Deaccession) 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. Read the full article

Chinese statuette of a Fat Lady

ITEM Statuette of a Fat Lady MATERIAL Pottery CULTURE Chinese, Tang Dynasty PERIOD 618 - 907 A.D DIMENSIONS 655 mm x 265 mm x 210 mm CONDITION Good condition. Includes Thermoluminescence test by Laboratory Kotalla (Reference 05B101123). Includes Certificate of Authenticity from Dutch gallery PROVENANCE Ex Belgian private collection, acquired from Dutch art gallery 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). Read the full article

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Egyptian painted cartonnage foot from a mummy sarcophagus

ITEM Painted cartonnage foot from a mummy sarcophagus MATERIAL Linen and Gesso CULTURE Egyptian PERIOD Ptolemaic period, 3rd - 1st Century B.C DIMENSIONS 180 mm x 290 mm x 290 mm CONDITION Good condition PROVENANCE Ex French private collection, collector and antiques dealer, acquired before the 1990s The Ptolemaic Kingdom was an Ancient Greek state based in Egypt during the Hellenistic Period. It was founded in 305 BC by Ptolemy I Soter, a companion of Alexander the Great, and lasted until the death of Cleopatra VII in 30 BC. Ruling for nearly three centuries, the Ptolemies were the longest and most recent Egyptian dynasty of ancient origin. Alexander the Great conquered Persian-controlled Egypt in 332 BC during his campaigns against the Achaemenid Empire. After Alexander's death in 323 BC, his empire quickly unraveled amid competing claims by the diadochi, his closest friends and companions. Ptolemy, a Macedonian who was one of Alexander's most trusted generals and confidants, won control of Egypt from his rivals and declared himself pharaoh. Alexandria, a Greek polis founded by Alexander, became the capital city and a major center of Greek culture, learning, and trade for the next several centuries. Following the Syrian Wars with the Seleucid Empire, a rival Hellenistic state, the Ptolemaic Kingdom expanded its territory to include eastern Libya, the Sinai, and northern Nubia. To Read the full article

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Egyptian mummified hand with X-Ray

ITEM Mummified hand with X-Ray MATERIAL Bone and linen CULTURE Egyptian PERIOD Late Period, 664 - 332 B.C DIMENSIONS 200 mm x 73 mm x 30 mm CONDITION Good condition. Includes digital copy of the X-ray test PROVENANCE Ex French private collection, Auvergne, acquired before 1980s In ancient Egypt's Late Period (664–332 BCE), mummification techniques had evolved to become highly sophisticated, with an emphasis on preserving the body as a complete and eternal vessel for the afterlife. During this time, mummified bodies were carefully disassembled, treated, and reassembled to ensure preservation. Internal organs, including the liver, lungs, stomach, and intestines, were removed early in the process, as they were prone to rapid decay. These organs were usually embalmed separately and stored in canopic jars, each protected by one of the Four Sons of Horus, deities assigned to guard specific organs. However, by the Late Period, the practice shifted slightly, and sometimes the internal organs were treated and then wrapped in linen before being returned to the body cavity. In other cases, the jars were still used, but the shift indicated a concern with keeping the mummy intact as a whole. The heart, believed to be the center of intelligence and emotion, was often left inside the body because it would be weighed in the afterlife during the judgment by Osiris. Read the full article

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