The exhibit, called “Ancient Bronzes of the Asian Grasslands from the Arthur M. Sackler Foundation” comes alongside four other new exhibits at the Holter. The 85 artifacts were created by people of the Asian steppes and used by chieftains, shamans and horsemen.

According to Holter curator Yvonne Seng, the steppe artisans were the first to domesticate the horse. They were also one of the leading parties who traded along the Silk Road through Asia and Europe.

“It’s a huge honor,” Seng said of hosting the exhibit, which features items like ancient cauldrons used by shamans, yak-shaped belt buckles, intricate swords and knives and more.

Other exhibits opening include the gallery of life-size modern-day warriors in “Wanxin Zhang: A Ten Year Survey,” as well as “Horse and Rider,” “Shifting Perspectives,” and “Invite Your Demons to Tea.”

Seng said: “It’s exciting, it’s really exciting to have all these exhibits together… it will be a feast for the eye. I think it will be a great celebration for the 25th.”

The works include three blue-green faience hippopotami, similar to the beloved Egyptian “William” in the Metropolitan Museum of Art. Two of the exhibit’s hippopotami date from the Middle Kingdom, and one from the Late Period, or the Persian Period. The hippopotamus theme was truly international, being the subject of art in regions ranging from Egypt to Iran and Levant. Though the hippopotamus looks benevolent and almost cute, it was considered a dangerous force of nature in both this life and the next.

Some of the exhibit’s other highlights include a light green Egyptian New Kingdom figurine of a seated antelope; an Egyptian pectoral depicting Ramses; a Greek aryballos shaped as a hedgehog from the mid-6^th century B.C.; an Egyptian amphora with a gold leaf wreath from the Hellenistic period and a Late Period Egyptian dish embellished with a pair of lions.

The exhibition features the private collection of the Aboutaam family, which was initiated by Sleiman Aboutaam, and continued by his two sons Ali Aboutaam and Hicham Aboutaam. In January, the exhibit will travel to BRAFA, the 57^th Brussels Antiques and Fine Arts Fair, Tour and Taxis, and will later appear on display at Phoenix Ancient Art in Geneva.

The Park Avenue Armory hosted the International Fine Arts & Antique Dealers Show last month. Launched by Anna and Brian Haughton, the show will be followed by the Art Antiques Show in London next June.

Both Haughton fairs are intended for collectors, without showy displays and tourist attractions. Anna Haughton explained: “We are interested in showing the things that real collectors want.”

This year’s top three bets include:

1. Fertility Goddess

Made in Thessaly some 7,000 years ago, this tiny curvy marble sculpture stands only five inches tall. A true find at Phoenix Ancient Art of Hichaam Aboutaam and Ali Aboutaam, the figurine expresses true female beauty in the Aegean region during the Neolithic Period.

1. Chinoiserie Chimneypiece

Ronald Phillip’s George III carved chimney piece stands ten and a half feet tall. The architectural item, covered in rococo ornament, was going for $1.3 million. Made around 1755, the piece is believed to have been made by Matthias Lock, with the original drawing currently kept at the Victoria and Albert Museum in London.

1. Bow Owls

Two realistic-looking owls perch on twentieth century ormolu, made by Bow, the English firm, in 1750s. London’s Brian Haughton Gallery was selling them for nearly $300,000.

Found at Blombos Cave in Cape Town, the shells were found alongside various other tools, suggesting that the users were mixing flakes of ochre, an iron ore used to create red and yellow shades, with other compounds to create a liquid paste.

According to the study, “a bone was probably used to stir the mixture and to transfer some of the mixture out of the shell.”

The paint could have been ceremonial, decorative or protective, used perhaps on the body.

“Ochre may have been applied with symbolic intent as decoration on bodies and clothing during the Middle Stone Age,” explained Christopher Henshilwood, head of the study at the Institute for Human Evolution at the University of Witwatersrand.

“This discovery represents an important benchmark in the evolution of complex human cognition in that it shows that humans had the conceptual ability to source, combine and store substances that were then possibly used to enhance their social practices.”

A glassware history researcher and part-time instructor at Tokai University, Akiko Inoue, analyzed the pieces, and concluded that the vessels must have had a special significance.

The fact that “they were treated so importantly even though they were broken pieces suggests the original vessels they came from may have had some special meaning,” Inoue said.

Experts believe that the original glass vessels were made through glassblowing, though with a more advanced technique than some other glass balls found alongside them. Basing their theory on both technique and technology, researchers concluded that the pieces were made between the 10th and 12th century in China, while the gold foil was likely added in Japan.

Now on display at the Hosho Museum, the pieces still present several mysteries. Yoshitaka Aruga, a professor of the Tokyo University of the Arts, said the patterns are “simple and pictorial.” He added that the pattern on the lid looks like it could signify trickling rain. “The patterns let us imagine ancient times,” he said.

Norihiko Ogura, a professor at the same university, said the design can be seen as the inner core of a flower, as well. “There are probably meanings to the designs and the fact that gold was used, but these and many other things, including technical questions like how they applied the gold leaf, are still mysteries,” he said.