This attractive ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It shows a goddess  More »

This attractive ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It shows a goddess standing on an unusually tall integral pedestal base (about one third of the total height of the piece), dressed in a long robe that covers the back of the ornate hair and stretches down to the ground. Her face is partially obscured by calcareous concretions (which can be removed if required), but the delicate modelling of her features can still be seen. Her hair is long, hanging to the shoulders, and her toes can just be seen protruding from the hem of her long robe. Her left hand is on her breast, her right raised in a gesture of benediction. The breasts are unusually prominent – they are typically obscured by textile and in any case much smaller – and the stomach is also very large. These characteristics of pregnancy are not uncommon in votive figures but the finesse with which the figure has been rendered is unusual. Examples in the main reference text for Phoenician art are typically very crude and purely notional fertility charms. This, by contrast, has true artistry. Her upright stance and austere pose are reminiscent of the Archaic Period Greek statues which the Phoenicians inspired, and with which this piece is roughly contemporary. The back of the piece is almost completely plain, implying that it was always meant to be viewed from the front rather than in the round: this is appropriate for figures designed for shrines.   « Less

Origin: Egypt Circa: 1600 BC to 600 BC Dimensions: 1.25" (3.2cm) high Collection: Egyptian Style: New Kingdom Medium: Faience The first examples of amulets appeared in  More »

Origin: Egypt Circa: 1600 BC to 600 BC Dimensions: 1.25" (3.2cm) high Collection: Egyptian Style: New Kingdom Medium: Faience The first examples of amulets appeared in Ancient Egypt as early as 4000 B.C. Believed to possess magical powers that protected the wearer or bestowed upon the properties they symbolized, amulets were worn both by the living as well as the dead. Throughout their evolution, talismans were crafted from a variety of materials including precious metals such as gold and silver, semiprecious stone like jasper and carnelian, as well as other more affordable glazed compositions such as faience. The particular powers of an individual amulet were based upon its specific shape, although the material and even the color of the charm could affect its magical abilities. While many of the amulets created to be worn by the living could also be worn after death, there also existed a specific group of charms that were made specifically to be placed upon the mummified remains of the deceased. All together, amulets represent an important class of Ancient Egyptian art that furthers our understanding of their complex religious beliefs. Faience, which dates back to predynastic times, at least 5,000 years, is a glasslike non-clay substance made of materials common to Egypt: ground quartz, crushed quartz pebbles, flint, a soluble salt-like baking soda, lime and ground copper, which provided the characteristic color. The dried objects went into kilns looking pale and colorless but emerged a sparkling "Egyptian blue." Called tjehnet by the Ancient Egyptians, meaning that which is brilliant or scintillating, faience was thought to be filled with the undying light of the sun, moon and stars and was symbolic of rebirth. Ancient Egyptians believed the small blue-green objects helped prepare them for eternity in the afterlife.   « Less

This exceptional ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It is a stylistically  More »

This exceptional ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It is a stylistically remarkable example. It has a double-tiered pedestal base in the Egyptian style (i.e. elongated, with the figure placed towards the back) and a number of features that are atypical. Her headwear is classically Egyptian, with a tripartite headdress rather than the traditional Phoenician long robe that covers the bouffant hair. The robe is open and possibly absent (the moulding is unclear on this point) in this figure, exposing the protuberant breasts and stomach and what was probably a baby held in the crook of her left arm. The right arm is raised in a gesture of what is usually assumed to be benediction. The decidedly well-nourished shape of the woman is unusual, as goddesses are usually somewhat lissom or perhaps very slightly pregnant- looking. This individual, however, has outstanding hips and thighs as well as stomach and breasts, and invokes the notion of maternity figures much more strongly. The surface is glossy in placed, indicating either a partial glaze, or a long history of libations before its interment. The pose of the personage and the base show some affinity with Egyptian pieces, which inspired the Phoenicians’ artistic oeuvre. The back of the piece is almost completely plain, implying that it was always meant to be viewed .from the front rather than in the round, which is appropriate for figures destined for shrines. The piece has attracted some calcareous encrustation from its long immersion in the Mediterranean.   « Less

Origin: Egypt Circa: 1600 BC to 600 BC Dimensions: 1.125" (2.9cm) high Collection: Egyptian Style: New Kingdom Medium: Faience The first examples of amulets appeared in  More »

Origin: Egypt Circa: 1600 BC to 600 BC Dimensions: 1.125" (2.9cm) high Collection: Egyptian Style: New Kingdom Medium: Faience The first examples of amulets appeared in Ancient Egypt as early as 4000 B.C. Believed to possess magical powers that protected the wearer or bestowed upon the properties they symbolized, amulets were worn both by the living as well as the dead. Throughout their evolution, talismans were crafted from a variety of materials including precious metals such as gold and silver, semiprecious stone like jasper and carnelian, as well as other more affordable glazed compositions such as faience. The particular powers of an individual amulet were based upon its specific shape, although the material and even the color of the charm could affect its magical abilities. While many of the amulets created to be worn by the living could also be worn after death, there also existed a specific group of charms that were made specifically to be placed upon the mummified remains of the deceased. All together, amulets represent an important class of Ancient Egyptian art that furthers our understanding of their complex religious beliefs. Faience, which dates back to predynastic times, at least 5,000 years, is a glasslike non-clay substance made of materials common to Egypt: ground quartz, crushed quartz pebbles, flint, a soluble salt-like baking soda, lime and ground copper, which provided the characteristic color. The dried objects went into kilns looking pale and colorless but emerged a sparkling "Egyptian blue." Called tjehnet by the Ancient Egyptians, meaning that which is brilliant or scintillating, faience was thought to be filled with the undying light of the sun, moon and stars and was symbolic of rebirth. Ancient Egyptians believed the small blue-green objects helped prepare them for eternity in the afterlife.   « Less

This outstandingly beautiful and well-preserved ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a Phoenician deity. It depicts  More »

This outstandingly beautiful and well-preserved ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a Phoenician deity. It depicts a goddess standing on an integral base, which bears an offerings bowl (partly obscured by calcareous concretions), her right hand raised and her left hand at her throat. However, it is the quality of the artistry and the almost miraculous preservation which makes this sculpture so remarkable, for most of the details that can be seen here have been eroded in other examples. The face is exceptional, carved with a serene expression and a half smile, with lidded eyes, a long nose and rounded cheeks. It is capped with a halo of ornate coiffure, which in turn is covered with a long veil that becomes one with her robe, extending down to her feet. The quality of the drapery is also striking, with pleats and folds in the cloth running vertically beneath her left arm and down her legs. Her left hand is at her throat, and, unusually, it is possible to see what she is doing. She appears to be handling a necklace which is in such low relief that it would not be visible in 99% of sculptures. The significance of this pose is not understood, but it must have been important to the Phoenicians as it has been found on many female figures. Her right hand is raised in what is generally assumed to be benediction. The clothes are open in the midline to expose a protuberant abdomen and notable breasts; this combination of traits usually implies pregnancy, with obvious symbolic significance for fertility and fecundity. There appears to be a faint line around the waist and loins, denoting a second layer of clothing underlying the first in the manner of a Roman toga and tunic. The left leg is straight and supporting her weight, while the right is flexed as if she were relaxing it or walking. This is unusual as these figures are typically rather austere and linear compositions, reflecting the archaic style of Greek sculpture that the Phoenicians inspired and with which this piece is contemporary. The piece still retains calcareous accretions (which can be removed if required), which attest to its long interment in the Mediterranean. The back of the piece is almost completely plain, implying that it was always meant to be viewed from the front rather than in the round: this is usual for figures designed for shrines.   « Less

This imposing ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It is an unusual form for  More »

This imposing ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It is an unusual form for the genre, and would seem to be a good example of the stylistic debt owed by the Phoenicians to the Egyptians of the Late Period. The piece comprises a bald man standing towards the back of an elongated oblong/oval tiered base, with his feet together and raised on a slight eminence. The figure is comparatively undifferentiated, with little surface detail. The mass is comprised of a long tunic that reaches down to the knees and to the wrists. The hands are damaged, but one seems to have been raised in what is usually assumed to be benediction, while the other rests on the hip/side. The neck is long, supporting a rounded head with a strong face, an angular nose, closed eyes and slightly pursed lips. The general “look” of the piece is unlike most other Phoenician shrine figures that we have seen. The rather austere, bald head, the knee-length tunic and the vertical pose on the elongated base are all Egyptian in origin; it is rare to find a Phoenician piece with such an overt debt to Egyptian styles, for while they are known to have borrowed from the Egyptians, their artworks usually have more in common with the Archaic Period Greek statues that their work indirectly inspired. The back of the piece is almost completely plain, implying that it was always meant to be viewed .from the front rather than in the round, which is appropriate for figures destined for shrines. The piece has attracted some calcareous encrustation from its long immersion in the Mediterranean.   « Less

Origin: Egypt Circa: 1550 BC to 1300 BC Collection: Egyptian Style: New Kingdom Medium: Faience In ancient Egypt, rich and poor alike adorned themselves with amulets and  More »

Origin: Egypt Circa: 1550 BC to 1300 BC Collection: Egyptian Style: New Kingdom Medium: Faience In ancient Egypt, rich and poor alike adorned themselves with amulets and charms to protect against evil and to ensure good fortune. Such talismans were an integral part of daily life, shaped in gold, gems, and most commonly, the glass paste, faience. The ram's head atop a muscular body identifies this as Amun, king of the Theban gods. Amun was the principal deity of the New Kingdom, whose influential cult was associated with royal power. His temple complex at Karnak still awes visitors to Egypt today. The passage of centuries has not diminished the magic of this splendid amulet. It radiates the eternal mystery of Egypt itself. - (PF.1963)   « Less

Origin: Egypt Circa: 1550 BC to 1300 BC Collection: Egyptian Style: New Kingdom Medium: Faience In ancient Egypt, rich and poor alike adorned themselves with amulets and  More »

Origin: Egypt Circa: 1550 BC to 1300 BC Collection: Egyptian Style: New Kingdom Medium: Faience In ancient Egypt, rich and poor alike adorned themselves with amulets and charms to protect against evil and to ensure good fortune. Such talismans were an integral part of daily life, shaped in gold, gems, and most commonly, the glass paste, faience. The sharp-beaked falcon head crowned with a sun disk on this miniature statue identifies it as the god Horus, all-seeing protector of the Pharaoh. The blessings of Horus were thought to make one as powerful as Pharaoh himself, and to keep one safe from harm. What is most remarkable about this amulet is its energy: the gold is rendered with the muscular power of sculpture on a much larger scale. Full of benevolent magic, it evokes the eternal mystery that is Egypt itself. - (PF.1964)   « Less

Origin: Egypt Circa: 1550 BC to 1300 BC Collection: Egyptian Style: New Kingdom Medium: Faience In ancient Egypt, rich and poor alike adorned themselves with amulets and  More »

Origin: Egypt Circa: 1550 BC to 1300 BC Collection: Egyptian Style: New Kingdom Medium: Faience In ancient Egypt, rich and poor alike adorned themselves with amulets and charms to protect against evil and to ensure good fortune. Such talismans were an integral part of daily life, shaped in gold, gems, and most commonly, the glass paste, faience. The sharp-beaked falcon head crowned with a sun disk on this miniature statue identifies it as the god Horus, all-seeing protector of the pharaoh. The blessings of Horus were thought to make one as powerful as pharoah himself, and to keep one safe from harm. What is most remarkable about this amulet is its energy: the god is rendered with the muscular power of sculpture on a much larger scale. Full of benevolent magic, it evokes the eternal mystery that is Egypt itself. - (PF.1965)   « Less

Origin: Egypt Circa: 1600 BC to 1100 BC Collection: Egyptian Style: New Kingdom Medium: Faience In ancient Egypt, charms and amulets were an integral part of daily life.  More »

Origin: Egypt Circa: 1600 BC to 1100 BC Collection: Egyptian Style: New Kingdom Medium: Faience In ancient Egypt, charms and amulets were an integral part of daily life. From pharaoh to peasant, all Egyptians protected themselves with talismans for luck, health, and good fortune. This unusual amulet depicts a bird, perhaps an ostrich, seated atop a circular disk that may represent the sun. According to legend, the ostrich danced each morning to greet the rising sun, and as such this little charm would represent eternal and joyous rebirth like a sunrise. Its double holes suggest it was strung in a beaded collar and worn about the neck. Though the world has changed in many ways since Egypt was in her glory, it cannot hurt to have the benevolent protection of its ancient magic. - (PF.1966)   « Less