Roman Inscription Under the Name of VALERIO HERMIA
Reference #
SC_RM_1001
Civilization
Roman, 100 C.E. – 200 C.E.
Size
L. 45 cm, H. 40 cm
Condition
Fine Condition
Price
SOLD
Provenance
Baidun Collection
Showing 81–96 of 98 results
Roman-Egyptian Schist Stone Head Bust of Greco-Egyptian god Zeus Serapis
Roman-Egyptian Schist Stone Head Bust of Greco-Egyptian god Zeus Serapis
This Roman-Egyptian head bust of the Greco-Egyptian god Zeus Serapis is finely sculpted from black schist stone, and dates from the Roman-Egyptian Period, 100 C.E. – 200 C.E. Representations of Serapis are uncommon. The most famous representation of the deity is that by Bryaxis, the famous sculptor who is credited with creating the sculptures on the north side of the tomb of Maussollos – one of the wonders of the ancient world. Other works of Bryaxis include a bronze statue of Seleucus, king of Syria, five huge statues at Rhodes, and a statue of Apollo at Daphne near Antioch.
The depiction of Serapis is uncommon, and this sculptor’s attention to detail is evident in all aspects of the piece: Wavy hair locks flow elegantly down the back and sides of Serapis’ head, as hair bangs drape across his forehead. His thick, full beard of curly hair locks covers his face in the classic style of ancient Greece which regarded the beard as a badge or sign of virility; Greek beards were also frequently curled with tongs.
Even though from the earliest times in ancient Greece the shaving of the upper lip was not uncommon, here Serapis is depicted with full handlebar mustache which curls upward on both sides of his face, revealing only his bottom lip. The superb craftsmanship of this piece is manifest down to the finest details in Serapis’ eyes which reveal the corneas that are clearly distinguishable from the sclera of each eye, and each is accentuated by delicate, finely-crafted eyelids as well as with expressive, arched eyebrows which are visible under the hair bangs.
Some of these hair locks that cover the forehead are missing, as well as part of the nose which were broken in antiquity. The cult of Serapis was banned in 391 C.E. and many of the sculptures destroyed. Therefore this fine specimen is an uncommon example that has survived the ravages of history, and thus is a very notable piece of rare ancient art.
The Cult of Serapis / Sarapis
The cult of Serapis was introduced during the 3rd century B.C.E. on the orders of Ptolemy I of Egypt as a means to unify the Greeks and Egyptians in his realm. Sarapis was a syncretistic deity derived from the worship of the Egyptian Osiris and Apis (Osiris + Apis = Oserapis/Sarapis).
Serapis also gained attributes from other deities, such as chthonic powers linked to the Greek Hades and Demeter, as well as benevolence linked to Dionysus. However, although he was identified with various Greek gods, Serapis was above all – because of his authority and his association with rulers (the Ptolemies in this case) – identified with Zeus.
Ptolemy I Soter (r. 305–284 B.C.E) commissioned the syncretistic god Serapis in order that the native population of Egypt – who already had an extensive pantheon of deities – and the occupying forces of Greece could have a common ritual focus, and he centered the worship of the deity at Alexandria. Serapis (or Sarapis) was a Greco-Egyptian deity of the Sun first encountered at Memphis where his cult was celebrated in association with that of the sacred Egyptian bull Apis (who was called Osorapis when deceased). The god therefore shared a group of attributes common to Greeks (physically robust, bearded male) and to Egyptians (attire and accessories). He was originally shown seated, with a sceptre of power, wearing a grain measure on his head, accompanied by a snake (identified with the Egyptian royal uraeus) and with a dog (originally held to be Anubis, later Cerberus) by his side.
Sources:
1.) Art Fund – Bust of Zeus Serapis by Greek
2.) Met Museum – Gold statuette of Zeus Serapis
3.) Britannica – Serapis
4.) Britannica – Apis
5.) Britannica – Ptolemy I Soter
6.) Wikipedia – Serapis or Sarapis
7.) Wikipedia – Beards in Ancient Greece
8.) Wikipedia – Bryaxis
9.) University of Chicago – The Temple of Serapis at Alexandria
10.) Book – “Zeus” by Ken Dowden[/vc_column_text]
REFERENCE #
SI_RM_1099
CIVILIZATION
Roman-Egyptian Period, 100 C.E. – 200 C.E.
SIZE
H. 11.4 cm
CONDITION
Fine condition, some of the hair locks from the forehead are missing.
PRICE
$23,000
PROVENANCE
Ex French private collection, acquired 1975.
ROMANESQUE INITIAL ‘Q’ on a Leaf from a Monumental Bible
The initial in white, yellow, and blue, the shape of the ‘Q’ formed by an elaborate interlace pattern of white-vine scroll outlined in red, the infill with stylised foliage against a ground of green, 45 lines of text written in a handsome rounded protogothic transitional script in two columns, incipits in uncials touched red, initials in red (approximately 50 words, or 10 lines, trimmed from the bottom of each column, verso with adhesive stains to upper margin, not affecting the text). In a modern cloth binding. The recto opens with the end of thestandard Lucan prologue and continues with the beginning of Luke’s Gospel (Luke 1:1-25) — ‘Quoniam quidam multi conati sunt’; the verso continues with Luke 1:29-76. The layout of the text is unusual and interesting: verse 1 is here treated as the start of the book; often verses 1-4, the Dedication to Theophilus, are treated as a prologue, and verse 5 as the start of the Gospel proper. Both theMagnificat and the Benedictus, two of the six biblical canticles that were sung every week in all monasteries, are here written with enlarged red initials, their incipits in rustic capitals touched with red dots, and with left-justified red initials at the start of each phrase. The first lines of verses 18, 56, and 57 are treated similarly. The abstract, stylised design of the initial, with its intricate white-vine pattern and stark palette of primary colours testifies to the influence in Romanesque decoration of pre-Christian ornamental traditions. The fine example in the present leaf is closely reminiscent of an initial ‘A’ cut from another Romanesque bible, now at the Free Library in Philadelphia (Lewis E M 16:10)
Reference #
MS_BZ_1004
Civilization
Byzantine
Size
L. 38.2 cm , W. 27 cm
Condition
Fine Condition
Price
Price available upon request
Provenance
Baidun Collection
Sabaean Alabaster Relief
$4,000.00This expertly carved alabaster relief, dating from approximately 300–100 BCE, depicts the commanding head of a bull, exemplifying the high level of artistry achieved by Sabaean sculptors. The broad forehead and prominent, outward-curving horns are rendered with meticulous precision, capturing the animal’s majestic presence. Carved with subtle incisions, the detailed facial features include expressive eyes that convey a sense of calm strength, along with alert ears that subtly indicate the bull’s awareness. The animal’s facial contours are skillfully emphasized, contrasting with the smooth, polished alabaster surface of the rectangular block.
The relief reflects the cultural reverence for bulls within Sabaean society, where such figures symbolized fertility, power, and divine authority. The preservation of fine detail and polished finish underscores its significance as both a religious and artistic object. This piece offers valuable insight into the spiritual and artistic traditions of the Sabaean civilization, standing as a striking testament to their craftsmanship and symbolic imagery.
REFERENCE #
SI_SA_1003
CIVILIZATION
Sabaean, 300 B.C.E. – 100 B.C.E.
SIZE
L. 11cm, W. 10cm
CONDITION
Some natural weathering, Fine condition
PRICE
$4000
PROVENANCE
The Baidun Collection. Purchased from the Jerusalem Local Market, 1980’s.
Schist Achamaenid Wing With Phoenix
This schist wing, dating from the Achaemenid period circa 500–300 BC and measuring approximately 27.5 centimeters, exemplifies the sophisticated craftsmanship and symbolic motifs of the era. The carved stone fragment depicts a stylized wing, notable for its intricate workmanship and symbolic significance. Central to the design is a finely incised and carefully modeled relief of a phoenix, a mythological bird emblematic of renewal, immortality, and divine protection—an iconic motif in Persian art. The detailed depiction demonstrates the skillful use of incisions and relief carving, highlighting the artisans’ mastery of stonework.
Originally, this fragment would have been part of an elaborate furniture decoration, potentially serving as a decorative panel or ornament within a throne, throne room, or ceremonial setting. The use of schist, a durable and locally sourced stone, reflects both aesthetic preferences and the technical capabilities of Achaemenid artisans. The phoenix motif underscores themes of rebirth and divine authority, aligning with the rich iconography prevalent in Persian cultural and religious symbolism.
Today, this fragment preserves the fine craftsmanship and sophisticated iconography characteristic of Achaemenid decorative arts. Its preserved details provide valuable insights into the visual language and ceremonial ornamentation of the Persian elite, illustrating the grandeur and symbolic complexity that adorned the architecture and surroundings of the ruling class in the ancient empire. REFERENCE #
SI_PR_1019
CIVILIZATION
Persian, 500 B.C.E.
SIZE
H. 27.5cm
CONDITION
Fine Condition
PRICE
$27500
PROVENANCE
Jerusalem Private Collection, late 1970’s.
Silver Ribbed Achaemenid Wine Philae Bowl
From the Achaemenid period, particularly between circa 800-500 BC, numerous luxury vessels and ritual objects such as wine bowls are depicted in reliefs and artifacts recovered from excavations. These portrayals suggest that artisans began by shaping the vessel from a solid mass of silver, using a combination of chasing, hammering, and possibly casting techniques. The process would have involved roughing out the basic form, which was likely then refined through meticulous hammering and filing to achieve a symmetrical and balanced shape.
The large wine bowl in question exhibits a broad, rounded profile with a wide opening, designed to facilitate the pouring and serving of wine during banquets or ceremonial occasions. Its surface is decorated with intricate engraved motifs, which may include geometric patterns, stylized florals, or mythological symbols, indicative of the sophisticated ornamentation favored by Achaemenid artisans. These engravings would have been executed with precise metal tools, emphasizing symmetry and aesthetic harmony.
This vessel was crafted from silver, a metal highly prized in Persian courtly culture for its brilliance and symbolic association with purity and wealth. The silvery sheen and fine workmanship would have signified the high status of its owner, most likely a noble or a member of the royal court. The rim of the bowl is reinforced and slightly everted, suggesting a functional consideration to prevent damage and facilitate handling.
The craftsmanship and fine detailing of this bowl reflect a high level of technological skill, characteristic of the Achaemenid metallurgists. Such a substantial vessel was probably used in prestigious contexts, including royal banquets or religious rituals, serving both a utilitarian and decorative purpose.
REFERENCE #
MW-PR-1018
CIVILIZATION
Persian, Iron Age
CIRCA 800 B.C.E. – 500 B.C.E.
SIZE
DIAMETER. 22cm, HT. 7cm
CONDITION
Fine condition.
PRICE
$8500
Provenance
Jerusalem Private Collection
Statuette of an Idol
Pink statuette of Sabaean idol with stylized representation for the eyes and nose set on an oval face. Rectangular body is marked by diagonal sash running along torso. Arms are folded at right angles from the shoulders, set above belted waist and smooth legs.
REFERENCE #
SI_SA_1015
CIVILIZATION
Sabaean, 3000 B.C.E. – 2000 B.C.E.
SIZE
H. 39 cm
CONDITION
Fine condition
PRICE
Sold
PROVENANCE
Former Swiss private collection, acquired ca. 1980.
Translucent Alabaster Cup
Alabaster cup from the Israelite kingdom period, dating to the time of King David, circa 1200–800 BC. This vessel has been carefully fashioned from fine, translucent alabaster, which remains in perfect condition, emphasizing the skill of its ancient maker. The cup measures approximately 6 cm in height and features a simple, elegant form with a rounded bowl and a narrow, slightly flared lip.
The use of alabaster, a soft stone prized for its translucence and smooth finish, suggests the object was valued and possibly used in ceremonial contexts. Both the interior and exterior surfaces have been polished to a glossy, refined texture, with no visible signs of damage or deterioration. Its translucent quality would have enhanced its visual appeal when held in light, creating a delicate play of shadow and glow.
Discovered in the Judean hills, this cup is linked to the material culture of early Israelite society during the Iron Age. Its form and material imply it may have played a role in rituals or religious offerings typical of the period, serving both practical and symbolic functions within domestic or religious settings. Objects of this nature are rare, providing valuable insight into the craftsmanship and spiritual practices of the ancient Israelites during the era of King David.
REFERENCE #
SW-CN-1019
CIVILIZATION
Mesopotamian, 1200 B.C.E. – 800 B.C.E.
SIZE
L. 6cm
CONDITION
Fine condition
PRICE
$1998
PROVENANCE
The Baidun Collection
Unrecorded Carolingian Commentary on Psalms
CAROLINGIAN COMMENTARY ON THE PSALMS, in Latin, two bifolia from a MANUSCRIPT ON VELLUM [Italy, 9th century] 280 x 380mm. 4 leaves (2 bifolia), ruled in blind, preserving most of two columns per page, each with 27 lines written in Carolingian minuscule in brown ink, numerous initials in two sizes in red (recovered from a binding, and thus very worn on one side of each bifolium, and with significant losses on three sides). In an archival folder. Provenance: Sotheby’s, 19 June 1990, lot 1. Legible passages of text consist of short phrases of Psalm 67: verses 6, 9-14, 16-17, 19, 22, and 25, presented as short lemmata interspersed by passages of commentary. The eight pages appear to be textually consecutive and would therefore originally have been the central two bifolia of their gathering. THE COMMENTARY IS THUS FAR UNIDENTIFIED, AND PERHAPS NOT PREVIOUSLY RECORDED. In the 9th century there were three main commentaries on the Psalms: Augustine’s Ennarationes in Psalmos, Cassiodorus’s Expositio Psalmorum, and Pseudo-Jerome’s Breviarium; the present fragment is none of these. Other much rarer ones were the Glossa ex traditionum seniorum, Bede’s Titulatio, and the commentary found in the Mondsee Psalter. See M. Gibson, ‘Carolingian Glossed Psalters’, in R. Gameson, ed., The Early Medieval Bible: Its Production, Decoration and Use, Cambridge, 1994, esp. pp.96
Reference #
MS_BZ_1002
Civilization
Byzantine
Size
L. 28 cm, W. 38 cm
Condition
Fine Condition
Price
Price available upon request
Provenance
Baidun Collection, Christies sale November 2013