8 June 2004
AN ETRUSCAN BRONZE WARRIOR
CIRCA 490-470 B.C.
Perhaps originally serving as the finial of a candelabrum, cast in one piece with the spool-shaped base, its upper molding beaded, the warrior with his left leg advanced, his feet bare, wearing a short tunic with a beaded belt and collar, and incised zigzag hem, depicted putting on his cuirass, the shoulder-flaps in place and incised with vertical striations, the cuirass pulled tight along his back, held in place at his side with his left hand, the front panel still held out to the right in his right hand, the cuirass with beading along the shoulders in back and along the base above a row of flaps (pteryges) enhanced with incised details, his long hair hanging in a broad mass over his shoulders and bound in a fillet, with a fringe along the forehead
4¼ in. (10.8 cm.) high
Swiss Private Collection.
with Royal-Athena Galleries, New York, 1990.
Contact Client Service
New York +1 212 636 2000
London +44 (0)20 7839 9060
Asia +852 2760 1766
C.C. Vermeule and J.M. Eisenberg, Catalogue of the Greek, Etruscan, and Roman Bronzes in the Collection of John Kluge, New York and Boston, 1992, no. 90-05.
For a warrior fastening the shoulder-flaps of his cuirass, also from a candelabrum, see the example in the J. Paul Getty Museum, no. 71 in True, et al., A Passion for Antiquities: Ancient Art from the Collection of Barbara and Lawrence Fleischman.
Daphne Lingon, Head of Jewellery at Christie’s in New York, on the 'dramatic' ring with which David Rockefeller proposed to Peggy in 1940
A guide to arguably South America’s most famous artist, whose work addresses everything from domestic life to bullfighting