LONDON.- This October, renowned antiquities dealer Charles Ede Ltd is staging its inaugural exhibition featuring ancient art from Egypt, Greece and the Roman Empire, at new premises in Three Kings’ Yard (a gated courtyard off Davies Street).

The relocation initiates an exciting new phase for the company which had been based in Brook Street since 1971. The state-of-the-art refurbishment of the spacious gallery, references the age of the Grand Tour whilst embracing a contemporary aesthetic.

This fresh approach is spearheaded by the newly appointed Managing Director Martin Clist who has held roles at The Whitechapel Gallery, Rupert Wace Ancient Art, and most recently Rossi & Rossi, where he was London Director from 2009. He returns to the world of antiquities with a unique ability to reconcile ancient and modern.

Jamie Ede, who started working for his father Charles Ede in 1977, being appointed Managing Director in 1986, has now taken up the position of Chairman. Jamie retains an active role in the company’s acquisitions and sales, and is working closely with the rest of the team to ensure that Charles Ede continues to offer high quality, fully researched antiquities of good provenance. Jamie has passed many of the responsibilities of stock management and research onto the company’s new Specialist, Charis Tyndall, who has a strong academic background in the classical world, obtaining a BA in Ancient History and Classical Archaeology, and an MA in the Visual and Material Culture of Ancient Rome. She has also studied at the British School in Rome and worked with the Archaeology department at the National Museum of Scotland.

For the opening exhibition the objects selected embody the reputation and ethos of Charles Ede, and the title, A Flourishing Tradition, aptly refers to both the history of the gallery and the long tradition of antiquity collecting. One of the many ambitions for the company is to promote the collecting of antiquities as a pursuit relevant to contemporary collectors. The bold forms and often simplified lines of ancient works of art juxtaposed with modern pieces can prove especially striking.

One of the earliest sculptures included is an elegant Cycladic female figure (c. 2600 BC), which was in a private collection for some 50 years before its acquisition by Charles Ede. It is a fine example of the ‘Spedos’ variety, placing it at the pinnacle of prehistoric Cycladic sculptures. The function of idols such as this is not fully known, but accepted theories suggest that they were either companions for the afterlife, or representations of the Great Mother, a goddess of fertility and procreation.

From Egypt comes an impressive and sizeable ibis (c. 664-30 BC), with a gesso-covered wooden body, bronze tail and legs, and bronze head inlaid with glass eyes. Ibises, in particular the white or sacred ibis seen here, were venerated as manifestations of Thoth, the god of learning, science and truth. The stylised form and simple fluidity of line which characterise this elegant sculpture were not to be seen again until the 20th century.

Amongst the most striking pieces is a Greek black-glaze vase (4th century BC), moulded as the head of a Nubian. During the flourishing of artistic expression in the Hellenistic period, representations of Nubian (Ethiopian) people increased in the visual arts and literature. The arresting appearance of this vessel is heightened by the contrast of the glossy black glaze, with the flame-coloured lips and tightly coiled ringlets as well as white highlights added to the eyes and earrings. Intact and in excellent condition, the vase comes with a copy of the original sale invoice from 1964.

A Roman Statue of Venus Victrix (1st-2nd century AD) is the most outstanding depiction of classical beauty in the exhibition, evoking the celebrated Aphrodite of Cyrene. Standing in graceful contrapposto with drapery behind framing her form and emphasizing her splendid nakedness, the Venus Victrix exemplifies the power and beauty of the feminine form. This sculpture, recorded in the collection of Cavaliere Enrico Marinucci, Rome, in 1900, was displayed for over thirty years in the Minneapolis Museum of Art until its sale in 1958.

An imposing Roman marble cinerary urn (Late 1st century AD), also possesses an early 20th century provenance, being published in 1909. Adorned with rams’ heads, two song-birds pecking at a fruit garland, pan-pipes, peacock and other motifs, it is a touching example of Roman reverence for the deceased. It bears the inscription: “To the Shades of the Dead [and] of Marcus Titus Stephanus, a soothsayer, who lived 29 years, 6 days. Marcus Titus Stephanus his father [did this] for his sweetest and well-deserving son.”

Further highlights include a rare Roman glass jar in translucent purple with opaque white specks, Egyptian frog amulets carved from Carnelian and an excellently preserved Greek bell krater attributed to the Odeon Painter.