Established in 1971, Charles Ede is recognised as one of the world’s leading dealerships for works of ancient art from Egypt, Greece and the Roman Empire, as well as early European art prior to c.1000 AD.


    The gallery exhibits at major international art fairs, has published more than 300 catalogues and sold more than 30,000 objects. Our clients include some of the world’s most renowned collectors as well as major museums and institutions across the UK, USA, Europe and Australia.


    The company remains true to the principle of its founder by offering fully researched and well provenance material. It is a member of various professional associations including ADA (Antiquity Dealers’ Association), BADA (British Art Dealers’ Association), IADAA (International Association of Dealers in Ancient Art), and upholds their high ethical standards.


  •  Michelangelo Pistoletto, Color and Light, 2014. Galleria Continua


    Roman column finial, 1st-2nd century AD
    Height 28 cm.; Width 22 cm.; Depth 11 cm.
    Price: £29,000 (plus any applicable taxes)
    The top of a decorative marble column showing two entwined acanthus stalks with spreading leaves topped by two large pinecones. Each side is enlivened with a pair of floral rosettes. A fragment with wearing and chips to the surface.

    These columns, sometimes referred to as candelabra adorned the gardens of the Early Imperial villas of the elite.
    Further Literature:
    Compare a complete example at the Metropolitan Museum of Art, New York, USA, referred to as a ‘candelabrum’, L.2013.14.1, and another at the Antikenmuseum, Basel, Switzerland. There is also a study of these finials by Charles Heathcote Tatham, drawn during a trip to Italy and Austria 1794-1796, the study now in the Victoria and Albert Museum, London, UK, museum no.D.1517-1898.

    Giorgio Sangiorgi (1886-1965), Rome, Italy.
    Private collection, Monaco, by descent from the above in the 1970s.

    Rossi & Rossi, Hong Kong, Stone Talk - Elisa Sighicelli, 3rd October–14th November 2020
  •  Michelangelo Pistoletto, Color and Light, 2014. Galleria Continua



    Hellenistic over life size head of a man, possibly one of the successors of Alexander the Great, 2nd-1st century BC


    Height 33.5 cm.; Width 10 cm.

    Price: £145,000 (plus any applicable taxes)


    The over life-size youthful head gazes forwards with large rounded eyes beneath a strong brow, thick tousled locks lie close to the head revealing the ears, teeth visible through parted lips. Parian marble. Chips to the face, the nose in particular.

    This head is possibly a portrait of one of the early Antigonid or Seleucid rulers, also known as the Diadochi (successors of Alexander the Great). However it is also possible that the head is that of Ptolemy Soter; the lack of a diadem indicates that it could have been a representation of the General prior to the death of Alexander the Great. The eyes are typical of Ptolemaic portraiture, and Parian marble was transported to Alexandria in vast quantities, indeed it is the most common marble found in Egypt during this period.

    Further Literature:

    The lack of attributes makes it difficult to identify this head with any certainty, however its idealised features and monumental scale point towards several possibilities. For a close example identified as Meleager, see Margarete Bieber, The Sculpture of the Hellenistic Age (New York, 1961), fig.54, 56 and 57; for an example of an undiademed prince or dynast compare R.R.R. Smith, Hellenistic Sculpture (London, 1991), no.3; and for an example of an Apoxyomenos compare ibid., no.47.


    Colonel Brugeilles, France; exported from Turkey (Alexandretta) 1937-1938; and thence by descent.


    Egyptian bust of a nobleman or scribe, Late Dynastic Period, early 26th Dynasty, reign of Psamtik I, c.664-610 BC


    Height 16.4 cm.; Width 12.7 cm.

    Price: £66,000 (plus any applicable taxes)

    The well-sculpted male is carved in a fine-grained, dark grey-green greywacke, polished to a low sheen. He wears a smooth broad wig which leaves the large ears exposed. His narrow, almond-shaped eyes have raised cosmetic lines and eyebrows. Bare torso with narrow waist, broad shoulders and pronounced clavicles, his upper arms well modelled. Chips to tip of nose and chin. The dorsal column, which has broken away, would likely have been inscribed.

    Psamtik I was the first of the three Saite kings of the 26th Dynasty. His rise to power, the subjugation of Assyrian rule in Lower Egypt, and the subsequent Saite Period is aptly described in Herodotus’s Histories, Book II, 151–157. Much of Psamtik’s rule depended on Greek troops, and as such he felt the need to emphasise the Egyptian past and ancestry. This nationalism led to a classicising of artistic style, and sculpture was created which was inspired by the 4th and 5th Dynasties but which took on a new canon of proportions. During this period we see the polychromy of old being abandoned and instead a fashion arising for polished stone, whose reflective surfaces caught the light in such ways as to emphasise the new artistic modelling.

    Further Literature:

    Me Paul Renaud, Drouot Richelieu, Collection Jean-Marie Talleux, Antiques, Archéologie Egyptienne, Grecque et Romaine,

    5th-6th Dec. 1995, lot 318.
    Charles Ede, Small Sculpture from Ancient Egypt XXIII, London, 1996, no. 8.


    For the torso compare Anthea Page, Egyptian Sculpture, Archaic to Saite from the Petrie Collection (Warminster,) no.107. For a kneeling figure typical of the Saite period see Egyptian Sculpture of the Late Period 700 B.C. to A.D. 100, Brooklyn, 1960, pl. 34, no.3.

    Jean-Marie Talleux (b.1930), France; acquired 1950s-1960s, collection no. 305

    Charles Ede, London, UK, acquired in Dec. 1995.

    Private collection, Rome, Italy, acquired from the above on 21 Aug. 1996.

  • Carsten Höller (b.1961), Dot Painting (V-J Day Kiss), 2018. Galleria Continua
    Central Italian stamnos, Probably Faliscan, Capena, c.630-600 BC
    Buccheroid impasto
    Height 34.6 cm.
    Price: £78,000 (plus any applicable taxes)
    The spherical body is decorated on both sides with an abstract depiction of a horse, their undulating bodies and limbs are fluidly incised onto the burnished brown-black surface, their elegant legs tapering to vestigial hooves. Their downward curving heads with circular eyes are replicated at the tips of their tails, giving the latter an anthropomorphic nature. In the sky between the pair are two further mythical creatures, reminiscent of a seahorse or eel; they could be creatures of the sky, or simply animal -shaped clouds.

    The stamnos has a short upright neck and tilted, flat-topped rim. The two short, thick, round-sectioned handles are tilted upwards and widen at junction with belly. It has a spreading conical foot with two raised horizontal ribs. Recomposed from fragments, with some insignificant lacunae, approximately half the foot restored, two TL test holes filled in.

    This piece is typical of the end of the Orientalising period at Capena. The style is characterised by its richness and its taste for fabulous creatures. The craftsmen working in this style paid emphasis to the decoration and strived for complexity.
    Stamnoi of this type formed the principal element of the tableware at a banquet.
    Further Literature:
    Compare Bruce Gollan (trans.), ‘The Art of the Italic Peoples from 3000 to 300 BC’, Italy, 1993, p. 202, no. 102 & John W. Hayes, ‘Etruscan and Italic Pottery in the Royal Ontario Museum: A Catalogue’, Toronto, 1985, no. B22, pp. 44-45.
    Elie Borowski, Basel, Switzerland.
    Private collection, Belgium, acquired from the above in 1969
  • Yoan Capote, Isla (transgresión), 2020. Galleria Continua



    Egyptian black-top ovoid vase, Predynastic Period, Naqada I-II, c.4000-3200 BC


    Height: 19 cm. (maximum diameter 15 cm.)

    Price: £6,500 (plus any applicable taxes)

    Formed from Nilotic clay, the majority of the body with an earthy red-orange tone, the top of the vase encircled with an uneven black band, the entire exterior surface richly burnished. From a small flat base the tall vase widens upwards and curves in before narrowing to a thickened, rounded lip. The interior is black but unburnished. A small chip from the lip restored.


    Further Literature:

    Compare Joan Crowfoot Payne, Catalogue of the Predynastic Egyptian Collection in the Ashmolean Museum (Oxford, 2000), fig.26, no.243



    Private collection of a medical doctor, UK, acquired as a gift from a client in the mid-late 1970s.


    Egyptian jar with lug handles, Early Dynastic Period-Old Kingdom, 1st-4th Dynasty, 3100-2494 BC

    Andesite porphyry

    Height 9.8cm.
    Price: £34,000 (plus any applicable taxes)


    The squat jar has wide, rounded shoulders, the body tapering to a small flat base. The two small horizontal lug handles are drilled from either side, and allowed it to be suspended by cords. Carved from andesite porphyry with relatively large white crystals, the surface has a very fine polish. Intact, the rim perhaps repolished.



    Christoph Bernoulli (1897-1981), Basel, Switzerland; acquired prior to 1963, thence by descent


    The lip and rather flat shoulder are unusual, but are known variants to an early dynastic type. See Barbara G. Aston, Ancient Egyptian Stone Vessels; Materials and Forms (Heidelberg, 1994), p.83, fig 80, and pp.121-121. Also Plate 1a for an example in the Cairo Museum, with undrilled lugs, in hornblende diorite.
    For the more usual type compare Ali el-Khouli, Egyptian Stone Vessels, Predynastic Period to Dynasty III, Vol.III (Mainz/Rhein, 1978), pl.60, no.1541

  •  Michelangelo Pistoletto, Color and Light, 2014. Galleria Continua


    Roman Isis-Aphrodite, c.2nd century AD

    Height 31.7 cm.

    Price: £ 70,000 (plus any applicable taxes)


    She stands naked in contrapposto, her hips thrown out to the proper right. The goddess wears twisted armlets and a tall crown of Isis, the sun-disc incised with a rearing cobra, the two elongated cow horns supported by a couple of plumes, whilst two further plumes stick out at right angles from the base of the crown. Her hair is tied in a bun at the nape of her neck, with two tightly coiled locks falling down her shoulders. Her head is turned to the left and directed downwards, whilst incised pupils show her gaze to be looking up. The right hand is held close her right breast, the thumb and forefinger pressed together as she pinches her nipple, her left arm partially extended, bent at the elbow, the fingers clasped as if to hold an attribute now missing. She stands on a footed hexagonal base with small overhang, her left heel delicately raised so that her big toe is free of the ground, the toenails incised. Hollow cast with a strong green and red patina. The horizontal plumes of the crown now missing. Break to her right leg above the ankle.

    The arrangement of her hair is strongly reminiscent of the wig worn by divinities and royals in ancient Egypt. This, combined with the crown, denote this statuette as being an image of the syncretic goddess Isis-Aphrodite.


    Further Literature:

    For the pose and hair see S. Reinach, Repertoire de la statuaire grecque et romaine, Paris, 1897, p.359, no. 3.


    Louis de Clercq (1836-1901), Paris, France.
    Count and Countess Henri de Boisgelin; by descent from the above, his great uncle.
    Nicolas Koutoulakis (1910-1996), Paris, France, acquired from the above in 1967.
    Emmanuel Koutoulakis, Geneva, Switzerland; by descent from the above.

  •  Michelangelo Pistoletto, Color and Light, 2014. Galleria Continua

    European incised dagger, Middle Bronze Age, BZ B1-BZ B2C, 16th-15th century BC


    Length: 27.9 cm.; Width: 4 cm.

    £14,000 (plus any applicable taxes)


    The cast, hammered and incised blade has sharp edges and is of an attractive elongated leaf form, the blade narrowing slightly after the base and tapering towards the tip. At the bottom of the shaft is a semi-circular motif with extremely fine incised decoration. The central rib is bordered by pairs of incised lines which mimic the blade’s shape. The Flattened base has six circular perforations used to attached a handle of another material, one pin remains in situ. The surface has a very attractive bright blue-green patina.

    Further Literature:

    Compare Bagley, Eggl, Neumann & Schefzik, ‘Alpen, Kult und Eisenzeit’, Rahden/Westf, 2009, pp. 98-99.


    Kurt Esterl sen (d. 1982), Austria, acquired 1963-1981; and thence by descent.


  •  Michelangelo Pistoletto, Color and Light, 2014. Galleria Continua

    Persian sword blade, c.1200-1000 BC


    Length: 49.6 cm.



    The cast and hammered blade is of an elegant tapered leaf form, the midrib enlivened with ridges running

    the length of the blade and bordered by two further raised bands of ridges. A long tang descends from the base of the blade, and would have been inserted into a separately-made handle. The edges are still sharp, the surface with an attractive blue and green mottled patina.


    The ribs and ridges on this blade create what is known as a ‘blood channel’.


    Further Literature:

    Compare P.R.S. Moorey, ‘Catalogues of the Ancient Persian Bronzes in the Ashmolean Museum’, Oxford, 1971, pl. 7, no. 57.



    Frederick S. Clark (1923-2016), Guildford, UK, acquired 1960s-1980s.

    Private Collection, Surrey, UK.

  •  Michelangelo Pistoletto, Color and Light, 2014. Galleria Continua

    British spearhead, Milton Keynes, England, Bronze Age, 13th-11th century BC
    Length: 38.3 cm.
    Price: £6,000 (plus any applicable taxes)

    This is the longest known example from Britain.
    Further Literature:
    Compare John Evans, ‘The Ancient Bronze Implements, Weapons, and Ornaments, of Great Britain and Ireland’, London, 1881, pp. 310-317, figs. 381-384.
    Hermann Muller-Karpe, ‘Handbuch der Vorgeschichte, Band IV Bronzezeit, Dritter Teilband’, Taffel 488, F1.
    Property of finder - Licence no. PAU/00169/20 Reference R400-012020.
    Boris Muller, Kunst der Antike.
    Remains of wood inside the shaft hole.