David Aaron at BRAFA 2021

31 janvier 2021

Sesklo-culture idol, Possibly Nea-Nikomedeia, Northern Greece/Macedonia, 6th-5th Millennium B.C., Clay, H 19.2 x W 8.5 cm. David Aaron at BRAFA 2021.

Provenance: Kunsthandel Henrich, Frankfurt, 1960’s or 1970’s; Leiding Collection, acquired from the above in the 1960’s or 1970’s; Mr Bernd Gackstätter Antiken Kabinett, Frankfurt, acquired from the above; private collection of Dr Kuhn-Lucht, Berlin, acquired from the above in the early 1990’s; thence by descent.

ALR: S00201059. Accompanied by Interpol certificate.

Often given the name ‘Venus idols’, Neolithic statuettes of the exaggerated female form can be found in various guises across the Near East, the greater Mediterranean area, and also in Eastern, Central and Western Europe. Although they vary greatly in style, they are often sitting or standing with steatopygous forms comprising of corpulent buttocks and overexaggerated bellies and breasts.

Sculpted from raw clay, the simplistic form of this idol has been naively created by strategically placed cuts and moulding. The rounded legs were probably made from the soft clay being formed into a ball and then cut to divide the two limbs. The flat body protrudes at the stomach, suggesting that the idol represents a pregnant female. The shoulders are squared off, with the moulded arms pressed against the front of the body, it almost appears that she is holding a round item in each hand. This can also be seen in the Nea-Nikomedeia idol on display at the Archaeological Museum in Veroia, where the idol appears to be holding an item in one hand, and another tucked under her left arm. We can only guess as to the symbolism of this.

The head of the idol is formed of a simple straight long solid cylinder of clay, facial details are extremely minimalist, the nose created by the artist pinching the clay, and the eyes and eyebrows are single straight cuts on the surface. There is no suggestion of a mouth.

The 'Kofler' figure, statue of a man, Egypt, Middle Kingdom, 2050-1710 B.C., Acacia wood, bronze, bone, H 35.8 cm. David Aaron at BRAFA 2021.

Provenance: Previously in the Private Collection of Mr Ernst and Mrs Marthe Kofler-Truninger, Luzern, Switzerland, c.1950. The inventory number “A.156” on the base of the sculpture refers to this collection; private collection, UK.

ALR: S00142466.

Exhibition: Le don du Nil, Art égyptien dans les collections suisses, Genève, Basel, Bern, Zürich, Luzern, 1978.

Published: Exhibition catalogue, Le don du Nil, Art égyptien dans les collections suisses, Bâle, 1978, pp. 33-34, n° 112; L’art Egyptien du moyen empire, Egypte Afrique & Orient n° 31, Biri Fay, October 2003; L'Homme qui Marche, Franck Maubert, 2016, p. 45 & p. 124.

This exceptional wooden statue of a male is an exquisite example of the skill with which Egyptian sculptors executed their works. It is constructed from different elements, with the face and both arms being worked separately from the body. In the forehead a dowel is visible, used to connect the facial mask to the rest of the head. Originally, the figure would have been covered in a very thin layer of plaster stucco and brightly painted.

The slender figure is shown in a strong vertical pose, with his back straight and head held high. The short round wig the man is wearing, leaves his earlobes visible. The most striking feature of the delicately carved face are the carefully detailed eyes. Within a contour of bronze, the original bone inlay is preserved. Round pupils have been added in black paint. Both arms are held alongside the torso, the hands balled in fists. The right hand turns slightly outwards and is perforated to hold an attribute which is now missing. A short kilt or ‘shenti’ is fastened around the man's waist with a belt.

The forward motion of the left leg creates a sense of movement, this virtual movement is typical for ancient Egyptian wood figures and aims to create a sense of liveliness in order to allow the deceased to retain the functionality of his body.

Figures of this type were commonly included among the grave goods of aristocratic tombs. Their presence there was connected to the ancient Egyptian concept of the ‘ka’. The term is usually translated as “spirit” or “double”, yet the all-encompassing meaning of the concept still eludes us. The ‘ka’ was an entity which secured the physical and mental activities of man. It could designate human individuality as a whole, referring to character, nature and disposition.

Although the Egyptians desired their sculptures to be preserved for eternity, as these housed the spirits of gods and deceased ancestors, they considered wood to be an appropriate material to carve statuary and became highly skilled at sculpting. Each material used for sculpting had a particular meaning. Wood in general was sacred to the mother goddesses Nut, Hathor and Isis, who were often depicted as trees providing shade and sustenance for the deceased. In addition, wood sculpture was able to convey the idea of movement and was therefore commonly used for striding figures. Native species such the acacia, sycamore fig and tamarisk were often poor in quality, but carpenters developed a range of ever-improving techniques in order to make the most of the wood they had at their disposal. Imported varieties such as cedar and ebony were confined to temples and tombs of the pharaoh and highest officials due to their valuable nature.

Cuneiform tablet with dedication, Babylon, Isin-Larsa Period, Reign of Rim-Sin I, 1822-1763 B.C., Indurated limestone, H 11.7 cm. David Aaron at BRAFA 2021.

Provenance: Elias S. David (1891-1969), New York; thence by descent; Antiquities, Christie's New York, 4 June 2015, Lot 115; Paris Art Market, acquired at the above sale; private collection, acquired from the above

ALR: S00200430. Accompanied by Interpol certificate

Rectangular in form, one convex side and one flat, with fourteen lines of Sumerian cuneiform on each side, recording the restoration of the Temple E-a-ga-ga-kilib-ur-ur for the goddess Ninegal by the wife of King Rim-Sin of Larsa, reading: 'For the goddess Ninegal, great lady who holds all the me’s in her hands, who looks at the numerous people, supreme advisor who looks after the black-headed people, whose ways are not rivaled, aristocrat whose word excels in the assembly, whose name is noble enough for praise, reliable goddess from (her) father who engendered her, whose utterance is favourable, great daughter of the god Sin, her lady, Simat-Eshtar beloved spouse of Rim-Sin, King of Larsa, daughter of Warad-Nanna, when the goddess Ninegal, her lady, called her good name, she built for her E-a-ag-ga-kilib-ur-ur, the residence suitable for her divinity, to establish the life of Rim-Sin forever, and for her own life. She enlarged its e-shu-si-ga more than it had been previously. She placed there for the future her foundation inscription proclaiming her queenly name'.

The Goddess Ninegal, was known as the 'Queen of Heaven' and was later assimilated into Inanna in the Old Babylonian period, and further combined with the goddess Ishtar by the Akkadians to become Inanna-Ishtar. She was the patron goddess of the Eanna temple at the city of Uruk, which was her main cult centre. During the post-Sargonic era Ninegal became one of the most widely venerated deities in the Sumerian pantheon, with temples across Mesopotamia. As Inanna-Ishtar she appears in more myths than any other Sumerian deity.

Amethyst ointment vase, Egypt, Middle Kingdom, 12th Dynasty, 1991-1778 B.C., Amethystine quartz, H 9.4 cm x D 6.6 cm. David Aaron at BRAFA 2021.

Condition: complete with minor reconnections to breakages.

Provenance: Dr Elie Borowski (1913-2003), Basel, since at least 1955; private collection of Dr Rudolph Schmidt (1900-1970), Solothurn, Switzerland, acquired from the above on the 18th June 1955 for SFR 4,000 (accompanied by copy of journal entry from 18th June 1955); thence by descent to his sister Erica Peters-Schmidt in 1970; thence by descent to Malte & Janie Peters in 1988; private collection.

ALR: S00150055

Published: Agyptische Steingefasse der Sammlung Rudolph Schmidt Solothurn (Agyptologische Hefte des Orientalischen Seminars der Universitat Zurich 2), Zurich, 1988, n° 78; Ancient Egypt: Masterpieces from Collectors and Collections, 5th-10th June 2012, Brussels, Belgium, p. 41.

Note on the provenance: Rudolph Schmidt and his sister Erica, who had been close to him all his life, came from the well-known collector family Muller on their Mothers side. Both Schmidt’s uncle Josef Muller and his Aunt Dubi-Muller put on high-quality painting exhibitions. This collection, which included works from Pablo Picasso, Paul Cezanne, Fernand Leger and Henri Matisse later went to the ‘Kunstmuseum’, Solothurn.

The noteworthy and passionate collecting of Rudolph Schmidt was world renowned, and his name still carries respect and admiration. His collection included ancient Egyptian art, Luristan art, Greco Roman figures and works by Ferdinand Hodler, Giovanni Giacometti, Cuno Amier and others. Combining antiquity with classic Swiss modernism. He left a large number of important Luristan bronzes to the museum ‘Rietberg’ in Zurich, the pieces later published in 1992 by Judith Rickenback under the title 'Magicians with Fire and Ore. Bronze Art of the Early Mountain People in Luristan, Iran'. Upon his death in 1970, the collection was left to his sister Erica.

From the Old Kingdom onwards, many descriptive wall reliefs and paintings can be found depicting the production of various stone vessels. We can infer from these portrayals that the craftsmen started by firstly cutting the stone into the basic desired shape of the vessel, presumably with hammers and copper chisels. Pieces discarded in an unfinished state show that the outside of the container was fully finished and smoothed by rubbing with a hard stone. Only after the exterior shape was achieved did the craftsman start to hollow out the interior.

This vase, in a classic conical form with everted lip is created from amethyst, a hard quartzite stone with translucent and white opaque striations. The entire exterior and interior of the vessel has been buffed and burnished to give it a perfectly smooth and extremely tactile surface. The use of amethyst for such a sizable piece is extremely rare, as this semi-precious stone was usually reserved for small scarabs, personal tokens and amulets. The Egyptians believed that precious stones were imbued with talismanic properties would give protection against all manner of evil and negative influences.

During the Middle Kingdom there was a surge in popularity in the use of amethyst, much of which was mined from the Wadi el-Hudi, in the south of Egypt near Aswan. Which in modern times is an important archaeological site due to its high number of rock inscriptions and stelae.

It can be presumed that this vase originally had a simple, low profile round lid, also carved from amethyst. Small jars of this style were placed within tombs to hold various ointments and unguents, many examples found are inscribed with the names and titulars of Kings.

The custom of burying stone, faience and pottery vessels inside the tombs of kings and other individuals of high status goes back to the late Predynastic and the Archaic Period. As the development of tools and use of materials evolved, the styling of these vessels changed. There are a number of examples of noticeably similar vessels which come from the same era of Egyptian history, two of which can be found in the Metropolitan Museum in New, York (see accession numbers: 26.7.1439a.b and 04.18.48a,b). And although both served the same purpose and have a striking simplistic beauty, neither has the same presence or importance of this remarkable amethyst vessel.

The ‘Elvis’ Acroterion, Roman, 2nd century A.D., Marble, H 33.5 cm. David Aaron at BRAFA 2021.

Provenance: previously in the Amati Collection, London, acquired in the mid-1970’s; the Graham Geddes Collection, Melbourne, Australia; sold at: The Geddes Collection, Bonhams, London, 15th October 2008, Lot 65; Musée d’Art Classique de Mougins (MACM), France, inventory number MMoCA46, acquired from the above sale (with French cultural passport 219868)

ALR: 5112.WW. Accompanied by Interpol certificate.

Exhibition: On loan to the Classics Department, University of Melbourne, Australia, March 1979-December 1983; Musée d’Art Classique de Mougins (MACM), France, June 2011-April 2020.

Published: The Geddes Collection, Bonhams, London, 15th October 2008, Lot 65; J. Pollini, Roman Marble Sculpture, in M. Merrony (ed.), Mougins Museum of Classical Art, 2011, p. 104, fig. 64.

Acroteria were originally a decorative petal-shaped ornament or statue crowning the pediment in classical Greek architecture. The first acroteria date back to the second half of the 7th century B.C. They evolved into more complex shapes and eventually figure statues such as Niké or groups of statuary in the 6th century B.C. More than mere ornament, they were used to balance the vertical and horizontal architectural lines of buildings, enhancing the architectural harmony and rhythm.

They also ornated sarcophagus lids, where sculptors favoured expressive faces: the acroterion, placed in a corner, was seen at different angles and therefore had to be very striking from different perspectives. The powerful and often exaggerated facial features were framed by a luscious mane of billowing locks and facial hair to add dimension and volume. Some creatures, mythical characters or deities were particularly suitable for such ornamentations. They were traditionally represented with a certain exuberance in mythological iconography and therefore better suited than gods such as Athena who was portrayed with more austere and severe traits. For instance, creatures and divinities associated with the cult of Dionysus, with their energetic faces, or Attis, a Phrygian deity who became a solar god in the 2nd century A.D. and wore a Phrygian cap, possess attributes or characteristic features which provided the sculptors with perfect shapes to support the function of the acroterion.

In this example, the hair is styled in a Phrygian cap-shape, resulting in a towering quiff we now associate with Elvis’ signature look. The quiff complements an exaggerated profile, with eyes wide-open and articulated, set beneath a strong frowning brow line. The plump lips are slightly parted, displaying the upper row of teeth. The jaw is framed by locks of hair swept at the back in a serpentine line. Such strong features would have made the corners of the sarcophagus focal points, highlighting its importance and the individual(s) it honoured.

Mosaic fragment with fish, Late Roman, circa 4th to 5th century A.D., Mosaic, H 36.5 x W 60 cm. David Aaron at BRAFA 2021.

Condition: fragment of lower right corner, in good condition

Provenance: Mathias Komor (1909-1984), New York, Inventory Number H889; Myron L. Mayer, (1919-1981) and Nancy R. Mayer (1921-2019), New York, acquired from the above 1966; thence by decent

ALR: S00200630. Accompanied by Interpol certificate.

Note on the provenance: Mathias Komor (1909-1984) was a renowned art dealer, based in New York specialising in Old Master paintings and ancient Near Eastern, African and Egyptian art. He kept extensive records and a strict inventory catalogue now in storage at the Getty research centre. Many of the pieces which passed through his hands can still be found today with his collection stickers still attached.

Torso draped with panther skin, Roman, 1st-2nd century A.D., Marble, H 52 cm. David Aaron at BRAFA 2021.

Condition: very minor areas of fill and natural weathering, otherwise in very good state of preservation.

Provenance: previously in the private collection of J. McLeod, London, 1960-1970; private collection of Sylvan Berger, Munich, acquired in the early 1980's; French Art Market; private collection, acquired from the above

ALR: S00151968

This torso represents an idealised version of the male form, and as such is both a handsome piece, and an interesting example of Imperial Roman taste of sculpture made in the Greek tradition. With a panther pelt draped over the right shoulder and broad chest. The musculature is sensitively rendered, and the taut strength of the body is well-conveyed. The S-curve of the body is a hallmark of works made in the style of the Classical Greek master Praxiteles, as is the slight twist of the torso to the right. This curving visual rhythm underpins the magnetism of the piece. In the absence of limbs, the taut turn of the body, the broad chest and the extension of the hip possess an energy and anatomical vitality

A torso depicting a youthful Dionysus, now in the collection of the Metropolitan Museum in New York, is of comparable stature and is relevant in various ways to the present piece. It similarly dates from the Roman Imperial period and emulates the sculptural style of fifth-century Greece. In light of the Met statue, it could be conjectured that the present torso was once that of a god, indeed possibly Dionysus, who is often depicted semi-clothed in drapery.

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