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Leg of an articulated doll. Smyrna, 3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 7 x 3 x 1.5 cm .This piece is part of an archaeological collection comprising 670 lots, considered the second most important after the Louvre (1094 pieces) and ahead of those of the Archaeological Museum of Istanbul (135 fragments) and the British Museum (108).According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, there was the most important Hellenistic and Greco-Roman workshop there, both in terms of the quality and originality of its production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.
Torso of an animal. Smyrna, 3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 5.5 x 8.3 x 4 cm; 6.5 cm with stand.This piece is part of an archaeological collection comprising 670 lots, considered the second largest after the Louvre (1094 pieces) and ahead of those of the Istanbul Archaeological Museum (135 fragments) and the British Museum (108).According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, there was the most important Hellenistic and Greco-Roman workshop there, both in terms of the quality and originality of its production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.
Fragment of a satyr's head. Smyrna, 3rd century BC.Polychrome terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 6 x 5.5 x 2 cm ; 9.7 cm with stand.This piece is part of an archaeological collection comprising 670 lots, considered the second largest after the Louvre (1094 pieces) and ahead of those of the Istanbul Archaeological Museum (135 fragments) and the British Museum (108).According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.
Paw of a feline. Smyrna, 3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 3.5 x 5 x 1 cm; 8.3 cm with stand.This piece is part of an archaeological collection comprising 670 lots, considered to be the second largest after the Louvre (1094 pieces) and ahead of those of the Archaeological Museum of Istanbul (135 fragments) and the British Museum (108).According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesques - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.
Head of Dionysos. Smyrna, 3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 4.8 x 3.5 x 3.5 cm.This piece is part of an archaeological collection comprising 670 lots, considered to be the second largest after the Louvre (1094 pieces) and ahead of those of the Istanbul Archaeological Museum (135 fragments) and the British Museum (108).According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.
Grotesque head in profile. Smyrna, 3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 8.3 x 5.5 x 2.7 cm.This piece is part of an archaeological collection comprising 670 lots, considered the second largest after the Louvre (1094 pieces) and ahead of those of the Istanbul Archaeological Museum (135 fragments) and the British Museum (108).According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesques - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.
Female head. Smyrna, 3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 3 x 2.5 cm; 7.5 cm with stand.This piece is part of an archaeological collection comprising 670 lots, considered the second largest after the Louvre (1094 pieces) and ahead of those of the Istanbul Archaeological Museum (135 fragments) and the British Museum (108).According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.
Dolphin. Smyrna, 3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 3 x 5,5 x 1 cm ; 5,5 cm with stand.This piece is part of an archaeological collection comprising 670 lots, considered to be the second largest after the Louvre (1094 pieces) and ahead of those of the Archaeological Museum of Istanbul (135 fragments) and the British Museum (108).According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.
Right arm. Smyrna, 3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 7 x 4 x 1.5 cm; 8.5 cm (with stand).This piece is part of an archaeological collection comprising 670 lots, considered to be the second largest after the Louvre (1094 pieces) and ahead of those of the Istanbul Archaeological Museum (135 fragments) and the British Museum (108).According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.
Right arm. Smyrna, 3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 6 x 1x 1 cm ; 9 cm with stand.This piece is part of an archaeological collection comprising 670 lots, considered the second largest after the Louvre (1094 pieces) and ahead of those of the Istanbul Archaeological Museum (135 fragments) and the British Museum (108).According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.
Right arm. Smyrna, 3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 4 x 4 x 1 cm ; 8 x 4.5 x 2 cm , with stand.This piece is part of an archaeological collection comprising 670 lots, considered to be the second largest after the Louvre (1094 pieces) and ahead of those of the Archaeological Museum of Istanbul (135 fragments) and the British Museum (108).According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, there was the most important Hellenistic and Greco-Roman workshop there, both in terms of the quality and originality of its production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesques - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.
Right arm of a sculpture of Aphrodite Anadiomena. Smyrna, 3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 3.5 x 5 x 1.5 cm; 7.3 cm (with stand).This piece is part of an archaeological collection comprising 670 lots, considered to be the second largest after the Louvre (1094 pieces) and ahead of those of the Istanbul Archaeological Museum (135 fragments) and the British Museum (108).According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.
Horse's leg. Smyrna, 3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 2.5 x 5.5 x 1.8 cm; 7.5 cm (with stand).This piece is part of an archaeological collection comprising 670 lots, considered to be the second largest after the Louvre (1094 pieces) and ahead of those of the Istanbul Archaeological Museum (135 fragments) and the British Museum (108).According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesques - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.
Head of Dionysos. Smyrna, 3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 2.2 x 2.1 x 1.6 cm; 5.2 cm (with stand).This piece is part of an archaeological collection comprising 670 lots, considered to be the second largest after the Louvre (1094 pieces) and ahead of those of the Istanbul Archaeological Museum (135 fragments) and the British Museum (108).According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.
Left arm. Smyrna, 3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 7 x 2.7 x 2 cm; 9 cm (total with stand).This piece is part of an archaeological collection comprising 670 lots, considered to be the second largest after the Louvre (1094 pieces) and ahead of those of the Istanbul Archaeological Museum (135 fragments) and the British Museum (108).According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, there was the most important Hellenistic and Greco-Roman workshop there, both in terms of the quality and originality of its production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.
Left foot. Smyrna, 3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 2 x 5 x 1.5 cm; 3.4 cm (with stand).This piece is part of an archaeological collection comprising 670 lots, considered to be the second largest after the Louvre (1094 pieces) and ahead of those of the Istanbul Archaeological Museum (135 fragments) and the British Museum (108).According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.
Rython finished in the form of a panther. Smyrna, 4th-3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 10.7 cm. high with stand.Rython finished in the form of a panther, in terracotta. This piece is part of an archaeological collection of 670 fragments, considered the second most important after the Louvre (1094 fragments) and ahead of those of the Istanbul Archaeological Museum (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, there was the most important Hellenistic and Greco-Roman workshop there, both in terms of the quality and originality of its production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesques - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.
Fragment of a grotesque head. Smyrna, 3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 5 x 5.5 x 3 cm; 9 cm with stand.This piece is part of an archaeological collection comprising 670 lots, considered the second largest after the Louvre (1094 pieces) and ahead of those of the Istanbul Archaeological Museum (135 fragments) and the British Museum (108).According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesques - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.
Fragment of a sculpture of Dionysos with a panther. Smyrna, 3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 7.5 x 7.5 x 1.5 cm.This piece is part of an archaeological collection comprising 670 lots, considered the second largest after the Louvre (1094 pieces) and ahead of those of the Istanbul Archaeological Museum (135 fragments) and the British Museum (108).According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.
Grotesque head. Smyrna, 3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 4.3 x 2.5 x 1.5 cm .This piece is part of an archaeological collection comprising 670 lots, considered the second largest after the Louvre (1094 pieces) and ahead of those of the Istanbul Archaeological Museum (135 fragments) and the British Museum (108).According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, there was the most important Hellenistic and Greco-Roman workshop there, both in terms of the quality and originality of its production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesques - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.
Leg of a large sculpture of a griffin. Smyrna, 3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Slightly damaged base.Measurements: 3 x 4.5 x 7 cm; 4.5 x 5.5 x 8.5 cm (base).This piece is part of an archaeological collection comprising 670 lots, considered the second most important after the Louvre (1094 pieces) and ahead of those of the Archaeological Museum of Istanbul (135 fragments) and the British Museum (108).According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.
Terrestrial snail. Smyrna, 3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 4 x 4 x 1 cm ; 5 cm with stand.This piece is part of an archaeological collection comprising 670 lots, considered the second largest after the Louvre (1094 pieces) and ahead of those of the Istanbul Archaeological Museum (135 fragments) and the British Museum (108).According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesques - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.
Torso of a sculpture of Aphrodite Anadiomena. Smyrna, 3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 4.7 x 4.6 x 3.3 cm.This piece is part of an archaeological collection comprising 670 lots, considered to be the second largest after the Louvre (1094 pieces) and ahead of those of the Istanbul Archaeological Museum (135 fragments) and the British Museum (108).According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.
Fragment of a head. Smyrna, 3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 6 x 5 x 2 cm.This piece is part of an archaeological collection comprising 670 lots, considered the second largest after the Louvre (1094 pieces) and ahead of those of the Archaeological Museum of Istanbul (135 fragments) and the British Museum (108).According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, there was the most important Hellenistic and Greco-Roman workshop there, both in terms of the quality and originality of its production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.
Great cornucopia. Smyrna, 3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 4 x 11 x 3 cm; 4.7 x 11 x 3 cm (with stand).This piece is part of an archaeological collection comprising 670 lots, considered to be the second largest after the Louvre (1094 pieces) and ahead of those of the Istanbul Archaeological Museum (135 fragments) and the British Museum (108).According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesques - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.
Wing of a statuette of Nike. Smyrna, 3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 3.4 x 5 x 0.7 cm; 9 cm (with stand).This piece is part of an archaeological collection comprising 670 lots, considered to be the second largest after the Louvre (1094 pieces) and ahead of those of the Istanbul Archaeological Museum (135 fragments) and the British Museum (108).According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.
Torso of an elderly fisherman. Smyrna, 3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 4.5 x 3 x 1.5 cm; 7.5 cm (with stand).This piece is part of an archaeological collection comprising 670 lots, considered to be the second largest after the Louvre (1094 pieces) and ahead of those of the Istanbul Archaeological Museum (135 fragments) and the British Museum (108).According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.
Head of a faun. Smyrna, 3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 4 x 3 x 2 cm .This piece is part of an archaeological collection comprising 670 lots, considered the second largest after the Louvre (1094 pieces) and ahead of those of the Archaeological Museum of Istanbul (135 fragments) and the British Museum (108).According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.
Left arm of an articulated doll. Smyrna, 3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 1.9 x 2.3 x 0.5 cm .This piece is part of an archaeological collection comprising 670 lots, considered the second largest after the Louvre (1094 pieces) and ahead of those of the Istanbul Archaeological Museum (135 fragments) and the British Museum (108).According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.
Boxing memorabilia, Joe Calzaghe, selection, a Lonsdale Boxing Glove signed in black marker with further '46-0' boxing record written beneath, sold with a rolled colour poster showing images from various bouts, also signed in silver marker together with a programme from Calzaghe's bout v Roy Jones at Madison Square Garden on 8 Nov 2008 with ticket & press bout sheet (gd/vg)
Collectables, a selection of items to include 42 silver 3d coins (approx 1869-1941), Tommy Tomkins Painting Book by Oxo, Lifebuoy advertising inserts, 1932 edition of Stars of the Month and a similar age Betty's Paper, 1944 dated Boiled Sweets Salt & Matches military issue tin, Weetabix giveaway 3-D viewer in original box, Cow & Gate snap cards (gd)
Postcards, Aviation, a good collection of 15 cards of airships, many at Farnborough. RPs include Beta and sheds, Army Airship Beta, Car of Gamma, Astra Torres, New British Army Airship, Gamma emerging from shed, New Naval Airship The Baby and Beta, Parsival, and Gamma Reconstructed. Also Delta, Silver Queen, New British Airship and no. 5 Willow (gd)
ACE Trains O gauge model railway electric locomotive, LNER 4-6-2 'Silver Link', 2509, 3-rail, boxed with booklet.Condition report:Whilst the standard ACE trains A4 model is blue, an alternate livery was avaliable, as such we believe this is not repainted. The paintwork seems to be in excellent condition, with no notable signs of flaking or damage. The 3-rail pick up shows very little wear. Additional photographs of the locomotive and the pick-up have been added to this item.
Hornby China OO Gauge Pullman Coaches, all unboxed, six contained in polystyrene part set trays, three of those within a red 'Boxed Set' drawer, all with silver rooves, Car No 88, Agatha, Lucille, three un named and three with Torquay Pullman running boards, Evadne, Juana, Zena, G-E, (9)
Continental Outline Electric N Gauge Locomotives, Kato 137-1302, Spanish Renfe 269-092-3 in yellow/grey livery, Roco boxed 02164 A BR 160 DB maroon shunter minor damage to front hand rail, unboxed, Trix DB 184 003-2 in blue/silver, DB E 03 001 in maroon/cream (worn bodywork) and Lima Swiss SBB RS 4/4 1435 in green livery, P-G, box G, (4)
Continental Outline N Gauge TGV High Speed Train Piko Rail Car and Articulated Coach Pack, all boxed, Bachmann 51-4002, six car TGV high speed train in orange/black/white livery, Piko, 5440/5/21 two car Triebwagen/railcar in blue/silver and 5450/5/1 rake of four bi level articulated coaches in DR green/grey livery, F-E, boxes F-G, (3)
Spanish RENFE and FEVE N Gauge Coaching Stock, all cased/boxed, in various liveries, RENFE, Ibertren, Talgo Pendular articulated blue/grey 6181, 6182, 6183, blue/grey/silver, 202 (3), 206, blue/orange, 249, 244, silver/black 207, green/silver 233, similar green/silver Lima 0783 (10, Hispatren 9909-1, (1), Arnold Rapido white/blue 3790, 3791, 3792 and Ibertren FEVE Limon Express coaches in orange livery 244 (3), G-E, packaging F-E, (19)
Bachmann OO Gauge BR Jubilee Class Steam Locomotives and Tenders, three boxed examples, 31-151 Silver Jubilee 45552, 31-175Z Windward Islands 45637 produced for Model Zone limited edition with certificate 478/504 and 31-176Y Gilbert and Ellice Islands 45609, unnamed but with name plates included, produced for Rails of Sheffield, all in BR green livery, G-E, boxes G (3)
Bachmann OO Gauge Limited Edition Steam Locomotives and Tenders,, both in wooden cases with certificates, A4 Streamline locomotives, Empress of India 60011 in BR green 073/500 and Dominion of Canada 4489 in LNER blue/silver, 1915/2000, (name plates included) G-E, cases G-E, (2)
Jouef and Eggerbahn Narrow Gauge Locomotives and Rolling Stock, Jouef Decauville steam tank locomotive in green livery Steatite with two hopper wagons in matching livery (all three require a clean), Jouef/Eggerbahn V24 vans with brakeman's huts (2), V42 sliding door van, PV27 Western Union yellow liveried four wheeled coach, Eggerbahn, four wheeled vans (2) one cased, unbranded blue liveried four wheeled clerestory coach, and kit built, silver painted vehicle transport wagon and railcar with lima chassis in cream/red livery, F-G, cases F, (12)
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