Origin: Egypt Circa: 716 BC to 30 BC Dimensions: 2.5" (6.4cm) high Collection: Egyptian Style: Late Dynastic/Ptolemaic Period Medium: Electrum Sekhmet, along with her  More »

Origin: Egypt Circa: 716 BC to 30 BC Dimensions: 2.5" (6.4cm) high Collection: Egyptian Style: Late Dynastic/Ptolemaic Period Medium: Electrum Sekhmet, along with her husband the creator-god Ptah and their son Nerfertum, was part of the powerful trio of deities that protected Ancient Memphis. She was a sun goddess, embodying the scorching, burning, destructive heat of the sun. Fierce goddess of war, the destroyer of the enemies of Ra and Osiris, she was represented as having the head of a lioness and the body of a female human. Like the sun, her temper was uncontrollable. In the legend of Ra and Hathor, Sekhmet's anger became so great, she would have destroyed all of mankind if Ra had not taken pity on us and made her drunk. This diminutive electrum amulet is a masterpiece of intricacy. Originally, this ancient statuette would have been attached to a small base, perhaps inserted into a shrine of sorts, as indicated by the pin underneath her feet. She is depicted with the head of a lion and the body of a human wearing a long, close fitting robe. Represented seated, she holds long stemmed lotus bud in her right hand. The features of the lioness are remarkably naturalistic, and yet, at the same time, we can sense the power of her divinity. Perhaps this pendant once stood on a shrine inside the house of a high-ranking official from the city of Memphis. Surely, given the inherent value of the material, the symbolic significance of Sekhmet, and the absolute mastery of the carving, this pendant could only have been possessed by an elite member of Ancient Egyptian society. Certain objects, masterpieces treasured in their own time, are of an eternal beauty that is easily appreciated regardless of era or culture. This amulet is one such stunning example; a reminder of the tremendous splendor humanity is able to create when at the apex of a great civilization. - (X.0179)   « Less

Origin: Egypt Circa: 305 BC to 100 AD Collection: Egyptian Style: 26th Dynasty Medium: Faience This turquoise-blue faience amulet represents an ibis-headed male figure  More »

Origin: Egypt Circa: 305 BC to 100 AD Collection: Egyptian Style: 26th Dynasty Medium: Faience This turquoise-blue faience amulet represents an ibis-headed male figure in the classic Egyptian attitude of striding forward with his left leg advanced on an integral base to which is attached an integral back pillar. The figure wears a belted, striated kilt and striated, tripartite wig. His arms are held down along the sides of his body and his hand holds an ankh-sign. The torso modeling is characterized by a pronounced bipartition with emphasis placed on the stomach and lower abdomen. The dating of this amulet of Thoth, god of wisdom, is suggested by the color of the faience used, a color which was extremely popular during the Ptolemaic and early Roman Imperial Period in Egypt. Despite the plurality of meanings inherent in visual symbols in ancient Egyptian culture, the ibis appears to have been reserved almost exclusively for associations with Thoth, the god of wisdom, inventor of the hieroglyphs, and patron of scribes. Why this particular bird should have come to be associated with Thoth is shrouded in mystery and remains an enigma, but the association may ultimately derive from the fact that Thoth’s sacred site, Ashumunein in Middle Egypt, employs the hieroglyph of the ibis in the writing of the name of the nome, or province, in which this city is located. The small scale of this amulet suggests that it served a funerary function, a function which is reinforced by its turquoise blue color. Objects so colored are imbued with concepts of rebirth, regeneration, and fecundity. Those concepts are emphasized by the ankh-sign, symbol of life, which Thoth holds in his hand. Because Thoth was believed to record the verdict in the Hall of Judgment when the heart of the deceased was weighed against the feather of Maat, the blue color of the faience in association with the ankh-sign indicate that this amulet symbolized the triumph of the deceased at that tribunal and eternal existence in the Hereafter. Carol Andrews, Amulets of Ancient Egypt (Austin 1994), frontis and page 24, figure 20, for two similar examples in London, The British Museum, neither of which, however, holds an ankh-sign in its hands. Dorothea Arnold, An Egyptian Bestiary (New York 1995), page 63, for the use of this particular color of faience as a dating criterion. Wolfgang Helck and Eberhard Otto, Kleines Lexikon der Ägyptologie [edited by Rosemarie Drekhahn] (Wiesbaden 1999), 310-311, for a succinct discussion of the god Thoth and the animals associated with his cult. - (X.0323)   « Less

This ancient votive seal was discovered with a cache of similar artifacts along the shores of Lake Van. Evoking the dawn of Western culture, these apparently were offerings  More »

This ancient votive seal was discovered with a cache of similar artifacts along the shores of Lake Van. Evoking the dawn of Western culture, these apparently were offerings at the shrine of some powerful god. This unknown deity appears to have been associated with fertility and rebirth.The design that adorns them of stood in proxy for more costly sacrifices. Pressed into soft clay or wax, they would have created multiple images to win the favor of the god. Carved with an abstract simplicity but an observant eye toward nature, the stark visual appeal of this piece is timeless These seals represent dreams, hopes and aspirations for health, success, and happiness that are as old as civilization itself. v-(D.0049) Engraved Votive Seal with an Intaglio D.0049 Origin: Lake Van, Anatolia Circa: 4000 BC to 3000 BC Dimension1.75" (4.4cm) high x 1" (2.5cm) wide x 75"(1.9cm) depth Collection: Near Eastern Style: Neolithic Medium: Dickite   « Less

Origin: Egypt Circa: 664 BC to 525 BC Collection: Egyptian Style: 26th Dynasty Medium: Faience The 26th Dynasty, also known as the Saite Period, is traditionally placed  More »

Origin: Egypt Circa: 664 BC to 525 BC Collection: Egyptian Style: 26th Dynasty Medium: Faience The 26th Dynasty, also known as the Saite Period, is traditionally placed by scholars at the end of the Third Intermediate Period or at the beginning of the Late Dynastic Period. In either case, the Saite Period rose from the ashes of a decentralized Egyptian state that had been ravaged by foreign occupation. Supported by the assistance of a powerful family centered in the Delta town of Sais, the Assyrians finally drove the Nubians out of Egypt. At the close of this campaign, Ashurbanipal’s kingdom was at the height of its power; however, due to civil strife back east, he was forced to withdraw his forces from Egypt. Psamtik I, a member of the family from Sais, seized this opportunity to assert his authority over the entire Nile Valley and found his own dynasty, the 26th of Egyptian history. Known as the Saite Period due to the importance of the capital city Sais, the 26th Dynasty, like many before it, sought to emulate the artistic styles of past pharaohs in order to bolster their own claims to power and legitimize their authority. 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.   « Less

This ancient votive seal was discovered with a cache of similar artifacts along the shores of Lake Van.Evoking the dawn of Western culture,these apparently were offerings at  More »

This ancient votive seal was discovered with a cache of similar artifacts along the shores of Lake Van.Evoking the dawn of Western culture,these apparently were offerings at the shrine of some powerful god.This unknown deity appears to have been associated with fertility and rebirth.The design that adorns the of stood in proxy for more costly sacrifices.Pressed into soft clay or wax,they would have created multiple images to win the favor of the god.Carved with an abstract simplicity but an observant eye toward nature,the stark visual appeal of this piece is timeless These seals represent dreams,hopes and aspirations for health,success,and happiness that are as old as civilization it self. v-(D.0049)Engraved Votive Seal with an Intaglio D.0049Origin:Lake Van,Anatolia Circa:4000BCto3000BCDimension1.75" (4.4cm) high x 1" (2.5cm) wide x 75"(1.9cm)depth Collection: Near Eastern Style:Neolithic Medium: Dickite   « Less

Origin: Egypt Circa: 664 BC to 525 BC Collection: Egyptian Style: 26th Dynasty Medium: Faience The 26th Dynasty, also known as the Saite Period, is traditionally placed  More »

Origin: Egypt Circa: 664 BC to 525 BC Collection: Egyptian Style: 26th Dynasty Medium: Faience The 26th Dynasty, also known as the Saite Period, is traditionally placed by scholars at the end of the Third Intermediate Period or at the beginning of the Late Dynastic Period. In either case, the Saite Period rose from the ashes of a decentralized Egyptian state that had been ravaged by foreign occupation. Supported by the assistance of a powerful family centered in the Delta town of Sais, the Assyrians finally drove the Nubians out of Egypt. At the close of this campaign, Ashurbanipal’s kingdom was at the height of its power; however, due to civil strife back east, he was forced to withdraw his forces from Egypt. Psamtik I, a member of the family from Sais, seized this opportunity to assert his authority over the entire Nile Valley and found his own dynasty, the 26th of Egyptian history. Known as the Saite Period due to the importance of the capital city Sais, the 26th Dynasty, like many before it, sought to emulate the artistic styles of past pharaohs in order to bolster their own claims to power and legitimize their authority. 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.   « Less

This ancient votive seal was discovered with a cache of similar artifacts along the shores of Lake Van.Evoking the dawn of Western culture, these apparently were offerings at  More »

This ancient votive seal was discovered with a cache of similar artifacts along the shores of Lake Van.Evoking the dawn of Western culture, these apparently were offerings at the shrine of some powerful god. This unknown deity appears to have been associated with fertility and rebirth The design that adorns the of stood in proxy for more costly sacrifices. Pressed into soft clay or wax, they would have created multiple images to win the favor of the god. Carved with an abstract simplicity but an observant eye toward nature, the stark visual appeal of this piece is timeless These seals represent dreams, hopes and aspirations for health, success, and happiness that are as old as civilization itself. v-(D.0049) Engraved Votive Seal with an Intaglio D.0049 Origin: Lake Van,Anatolia Circa: 4000 BC to 3000 BC Dimension1.75" (4.4cm) high x 1" (2.5cm) wide x 75"(1.9cm) depth Collection: Near Eastern Style: Neolithic Medium: Dickite   « Less

Shaped like an abstract bird, this ancient votive seal was discovered with a cache of similar artifacts along the shores of Lake Van. Evoking the dawn of Western culture,  More »

Shaped like an abstract bird, this ancient votive seal was discovered with a cache of similar artifacts along the shores of Lake Van. Evoking the dawn of Western culture, these apparently were offerings at the shrine of some powerful nature god. The design that adorns them—of birds, animals, seated idols—probably stood in proxy for more costly sacrifices. Pressed into soft clay or wax, they would have created multiple images to win the favor of the god. It is possible that the bird, arecurringmotif, wasassociatedwiththeideaofthesoul.Carvedithabstractsimplicitybutanobservanteyetowardnature,thestarkvisualappealofthispieceistimeless.Thesesealsrepresent dreams, hopes and aspirations for health, success, andhappiness that are as old as civilization itself. - (D.0045)Bird Effigy Votive Seal with Intaglio - D.0045Origin: Lake Van, Anatolia Circa: 4000 BC to 3000 BCDimensions: 2" (5.1cm) high x 2.75" (7.0cm) wide Collection: Near Eastern Style: Neolithic Medium: Dickite   « Less

Shaped like an abstract bird,thisancientvotivesealwasdiscovered with a cache of similar artifacts along the shores of Lake Van. Evoking the dawn of Western culture, these  More »

Shaped like an abstract bird,thisancientvotivesealwasdiscovered with a cache of similar artifacts along the shores of Lake Van. Evoking the dawn of Western culture, these apparently were offerings at the shrine of some powerful nature god. The design that adorns them—of birds, animals, seated idols—probably stood in proxy for more costly sacrifices. Pressed into soft clay or wax, they would have created multiple images to win the favor of the god. It is possible that the bird, a recurring motif, was associated with the idea of the soul. Carved with abstract simplicity but an observant eye toward nature, the stark visual appeal of this piece is timeless. These seals represent dreams, hopes and aspirations for health, success, and happiness that are as old as civilization itself.-(D.0064)Bird Effigy Votive Seal With An Intaglio - D.0064Origin: Lake Van, Anatolia Circa: 4000BC to 3000 BCDimensions:2"(5.1cm)highx2.875"(7.3cm)depth Collection: Near Eastern Style: Neolithic Medium: Dickite   « Less

Origin: Egypt Circa: 664 BC to 525 BC Collection: Egyptian Style: 26th Dynasty Medium: Faience The 26th Dynasty, also known as the Saite Period, is traditionally placed  More »

Origin: Egypt Circa: 664 BC to 525 BC Collection: Egyptian Style: 26th Dynasty Medium: Faience The 26th Dynasty, also known as the Saite Period, is traditionally placed by scholars at the end of the Third Intermediate Period or at the beginning of the Late Dynastic Period. In either case, the Saite Period rose from the ashes of a decentralized Egyptian state that had been ravaged by foreign occupation. Supported by the assistance of a powerful family centered in the Delta town of Sais, the Assyrians finally drove the Nubians out of Egypt. At the close of this campaign, Ashurbanipal’s kingdom was at the height of its power; however, due to civil strife back east, he was forced to withdraw his forces from Egypt. Psamtik I, a member of the family from Sais, seized this opportunity to assert his authority over the entire Nile Valley and found his own dynasty, the 26th of Egyptian history. Known as the Saite Period due to the importance of the capital city Sais, the 26th Dynasty, like many before it, sought to emulate the artistic styles of past pharaohs in order to bolster their own claims to power and legitimize their authority. 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.   « Less