A new blog to further explore ancient and modern art connections

I have a new Blog on WordPress dealing with my own art and the

convergence of my work with my “day job” as owner of Clio Ancient Art

and Antiquities, which you all know from this Blog here on WordPress.

The first few articles have been published. Here’s the link –



Antiquities authentication and valuation: the thrill of examining long forgotten collections

It’s always a thrill when a new customer contacts me out of the blue to examine a group of objects for purposes of authentication or valuation or for help with bringing the collection up for sale. Often these are objects that have been passed down from parents or grandparents, and just as often the current owner has no way of knowing if the objects are genuine antiquities, fakes or modern tourist pieces.


Egyptian scarabs, amulets and beads forming part of a large California collection formed in the 1940s and 50s



From the same old California collection, a group of fine Roman intaglio gemstones.

I do sometimes have to disappoint a customer, informing them that what they thought was a collection of Egyptian mummy masks, for example, is really cheap “airport art” made for sale to European or American tourists fifty years ago. But just as often I find myself privileged to examine their collections in their homes, sometimes from dusty boxes that haven’t been opened in many years or in the recesses of dark basements or garages. Very often the task can be completed simply by examining digital images.


A large and exceptional Etruscan terracotta head, probably depicting Mercury. Northern California collection formed in the 1960s.



Egyptian Middle Kingdom amethyst necklace. Southern California private collection, 1950s.


Superb 2nd Century AD Roman bronze Isis.


Well preserved Greek South Italian terracotta antifex. 4th Century BC.

I can’t begin to count the number of objects or large groups of objects I’ve examined in person or online or actually handled. Enjoy these images of just a handful of the exceptional antiquities and groups of objects I’ve had the good fortune to work with over the past eight years. Please feel free to contact me if you need my antiquities consulting services, for authentication, valuation or help with bringing the objects to sale. Our standard rate is $50 per hour or fraction thereof. We also offer consignment of your objects for sale with a 25% commission.


Late Dynastic Egyptian stone head of a Pharaoh.



Part of a very large Colorado private collection of Holy Land oil lamps formed in Israel / Palestine / Jordan in the 1960s.


Roman marble head of a Putti or Cherub, detached from a larger sculpture.


A small Roman bronze figure of Eros.


A small pottery pyxis, Athens, 4th Century BC.


Freshly cleaned of dust in a basement where they’d lain for 40 years, a group of 3 well preserved Roman glass vessels.


Clear vs Iridescent: Ancient Glass Collector Preferences

There are many varieties of ancient glass, spanning over 2,500 years of production and successive cultures, available both on the legitimate antiquities market and in museum collections on view to the public. The vast majority of ancient glass is relatively colorless Roman blown glass (as opposed to core formed, rod formed, mold made, slumped, cast or other techniques), dating between the 1st and 4th Centuries AD, a time when blown glass was produced on a truly industrial scale.

Today, serious collectors of Roman blown glass seem to fall into 2 categories:

1. Those who prefer their glass clear, with minimal iridescence or encrustation from burial in the ground. Here is an example —

2. Those who prefer their glass brightly iridescent, with colorful rainbow effects caused by extended burial in highly acidic or highly alkaline soils. Here is an example —

These are quite understandable reasons behind these choices. Those who prefer clear, relatively unaltered glass do so mainly because they wish to view the artifacts in something as close as possible to their original condition when in use. Many collectors who prefer highly iridescent glass do so because they simply enjoy the sometimes dazzling effects created by nature’s alteration of a man made surface.

The trend even extends to some older museum collections, where curators have selected only the most iridescent examples of Roman glass, hoping for an “Ohhh” and “Ahhh” effect from visitors, while neglecting the importance of displaying Roman glass in a condition as near as possible to the original “working” condition.

It is worth noting that some examples of ancient Roman blown glass were once highly iridescent but were “cleaned” of their iridescent surfaces. This destructive practice, which essentially removes much of the mass of the artifact, was common in the 19th and early 20th centuries. Experienced collectors will often shy away from such pieces, as the stripping away of their iridescent surfaces has left them with a clear surface but paper thin and fragile.

Here are some examples on our website of both highly iridescent Roman glass:




and of relatively clear and unaltered Roman glass: