Origin: Egypt Circa: 2 nd Century AD to 3 rd Century AD Dimensions: 18" (45.7cm) high Collection: Egyptian Style: Roman Period Medium: Bronze This large, accomplished  More »

Origin: Egypt Circa: 2 nd Century AD to 3 rd Century AD Dimensions: 18" (45.7cm) high Collection: Egyptian Style: Roman Period Medium: Bronze This large, accomplished figure was hollow cast via the lost-wax method. Her eyes were originally inlaid. She is depicted in the contraposto pose, in which the weight of the body is supported by the right leg while the left leg recedes and is moved slightly to the left. Her right arm is bent at the elbow and is held in front of the right side of the hip. The tips of the thumb and index finger meet to form a circle while the remaining fingers of that hand are spread. The circular form suggests that she was holding an attribute now lost in that hand. Her accessories include sandals laced high up on the ankle, an armlet and a broad collar from which is suspended a cordiform pendant. The pendant may be a heart amulet. An elaborate foliate headdress rising from a tiara-like base completes her accessories. The predominant form of the floral elements of the headdress are palmettes while the tiara-like base is fronted by an uraeus, the sacred, protecting cobra of ancient Egypt, over which, in the centre of the foliate elements, is a miniature composite element consisting of double ostrich feather plumes and a sun disc. Her long hair is parted in the center and coiffed in waves over each side of the head with its ends formed into cork-screw locks, one of their luxurious and sinuous ends resting on each shoulder.   « Less

Origin: Egypt Circa: 380 BC to 200 BC Dimensions: 26" (66.0cm) high x 16" (40.6cm) wide x 4.875" (12.4cm) depth Collection: Egyptian Style: 30th Dynasty/Early Ptolemaic  More »

Origin: Egypt Circa: 380 BC to 200 BC Dimensions: 26" (66.0cm) high x 16" (40.6cm) wide x 4.875" (12.4cm) depth Collection: Egyptian Style: 30th Dynasty/Early Ptolemaic Period Medium: Limestone This monument is in the form of a niche stela, its top crowned by a cavetto cornice fronted by a sun disc flanked on each side by a uraeus, the protective cobra of ancient Egypt. Below is a framed panel depicting a male figure wearing a belted kilt, with a prominent central flap perhaps representing a decorative apron, who kneels on a nebu-sign, the hieroglyph for “gold.” There is a sun disc atop his head and he holds a notched palm frond in each hand. The palm fronds represent the hieroglyph for “year” and are notched. Each notch symbolically represents a number of years. Taken together the figural decoration within the niche is a rebus, or visual pun, which can be “read” as a hieroglyphic phrase to be translated something on the order of, “millions upon millions of years [of life].” The nebu-sign is a frequent base for support deities in ancient Egyptian two- dimensional art, and inclines one to identify the kneeling figure as the god, Heh, a personification of infinity. Heh came to be identified as the god of eternal life. His image is often associated with pharaohs not only as an expression of their eternal existence in the Hereafter but also as an expression of the desire that their rule over Egypt would be both long and prosperous. The pharaoh associated here with Heh has not been named, as the blank rectangle, intended to hold an inscription, in the field to the upper right of the figure reveals.   « Less

Origin: Egypt Circa: 664 BC to 332 BC Dimensions: 1" (2.5cm) wide Collection: Egyptian Style: Late Dynastic Period Medium: Faience Faience, which dates back to  More »

Origin: Egypt Circa: 664 BC to 332 BC Dimensions: 1" (2.5cm) wide Collection: Egyptian Style: Late Dynastic Period Medium: Faience Faience, which dates back to pre-dynastic times, of 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. In the cultural renaissance of the 26th Dynasty, also known as the Saite Period (when work was produced), a green, the color of the Nile and evocative of the verdant landscape in springtime, was particularly popular. The ibis was a sacred bird in Ancient Egyptian mythology, most closely identified with the moon god Thoth, the messanger of the sun god Ra, who is often represented as an ibis-headed man or as a baboon. The name “Thoth” is actually the Greek term used to refer to this deity, whom the Greeks closely identified with Hermes, their messenger to the gods. Thoth, like Hermes, was credited as the inventor of astronomy, writing, and mathmatics. Here, Thoth is represented as an ibis, gorgeously rendered with dark blue glazed highlights added to his eyes, claws, and tail feathers. In front of the bird, just below his arching beak, a crouching woman is present. She can be identified as Maat, the wife of Thoth, recognizably by the relatively large ostrich feather that crowns her head. Maat was the personification of the fundamental order of the universe, without which all of creation would perish.   « Less

Origin: Egypt Circa: 1550 BC to 1295 BC Dimensions: 1.25" (3.2cm) high x 4.8" (12.2cm) wide Collection: Egyptian Style: 18th Dynasty Medium: Faience Faience, which  More »

Origin: Egypt Circa: 1550 BC to 1295 BC Dimensions: 1.25" (3.2cm) high x 4.8" (12.2cm) wide Collection: Egyptian Style: 18th Dynasty Medium: Faience 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. This faience bowl and others like it are sometimes referred to as “marsh bowls” by scholars. This name is derived from the decorative imagery that typically features marshland motifs. It is believed that marsh bowls served as votives offerings and were not used as tableware as is sometimes suggested. Fragments of similar bowls have been found at temples and shrines dedicated to the goddess Hathor, suggesting a link between these works and the deity. The aquatic imagery painted onto the insides of the bowls also alludes to fertility and rebirth while other motifs employed relate to the goddess more directly, such as sistra, masks, and overt representations of the goddess in her cow form. Less frequently, marsh bowls have been found entombed alongside the remains of the deceased as funerary offerings. In the burial context, the fertility imagery seems to suggest the concept of rebirth in the afterlife. The tombs in which such bowls have been excavated are non-royal and mostly female, furthering the link between Hathor and these works. Although nearly every bowl has been discovered empty, a few contained remnants of milky substances, suggesting they once held votive offerings to the goddess Hathor.   « Less

Origin: Egypt Circa: 664 BC to 525 BC Dimensions: 7.5" (19.1cm) high Collection: Egyptian Style: 26th Dynasty Medium: Stucco It is believed that some stucco works such  More »

Origin: Egypt Circa: 664 BC to 525 BC Dimensions: 7.5" (19.1cm) high Collection: Egyptian Style: 26th Dynasty Medium: Stucco It is believed that some stucco works such as this one functioned as aids for apprentices to learn the art of sculpting before embarking upon royal commissions where one mistake could mean disaster. Similar pieces were unearthed in what are thought to have been artist workshops, thus their identification as models. Considering the stylization of Egyptian art, it is clear that there was not much room for individual interpretation. When one realizes that many sculptors would have been responsible for decorating a single tomb or temple, stylistic unity becomes a foremost concern. Today, these sculptures give us unique insight into the creative process behind some of the most endearing and enduring artworks ever created by mankind. The lion is a symbol of strength and ferocity. The largest of the cat family, this animal is known as the “king of the beasts.” They are equally feared and respected for their power, speed, and intimidating growl. Kings and rulers have associated themselves with this noble creature since the days of antiquity. However, the lack of a bushy mane on this stucco work indicates that it represents a lioness. Therefore, it is probable that this head was a sculptor’s model employed during the manufacturing of Sekhmet sculptures.   « Less

Origin: Egypt Circa: 664 BC to 525 BC Collection: Egyptian Style: 26th Dynasty Medium: Bronze 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: Bronze 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. This magnificent bronze votive sculpture represents Osiris, god of fertility, king of the dead, and ruler of eternity. Many centuries ago, it might have been found inside a temple, placed as an offering to the mighty deity. He is depicted wrapped as a mummy, holding a crook and flail. These two attributes act as scepters symbolic of his divine authority over the forces of nature. He wears a double-plumbed atef crown, featuring a uraeus cobra slithering down the front and a pair of undulating ribbed ram’s horns emerging from the sides, and a false braided beard with a curved tip. This type of beard is a symbol of divinity while the headdress associates the god with the ruling pharaohs.   « Less

Origin: Egypt Circa: 2323 BC to 2152 BC Dimensions: 18.125" (46.0cm) high x 12" (30.5cm) wide Collection: Egyptian Style: 6th Dynasty Medium: Limestone The image  More »

Origin: Egypt Circa: 2323 BC to 2152 BC Dimensions: 18.125" (46.0cm) high x 12" (30.5cm) wide Collection: Egyptian Style: 6th Dynasty Medium: Limestone The image depicts an elite member of Egyptian society who was the owner of the tomb from which this forceful vignette came. The owner is represented seated on a luxurious chair, designed with a curvilinear bolster-like back, and feline feet themselves resting upon inverted conical casters decorated with a series of concentric rings. In keeping with ancient Egyptian conventions, the tomb owner is bare- chested and, presumably, bare footed. He wears a simple, undecorated linen kilt, wrapped around his waist and secured into place with a belt. His accessories are limited to a broad collar, its multiple strands symbolically representing floral forms from which such attributes were originally crafted. He wears a short, bobbed wig arranged with parallel rows of short, tightly styled curls. The tomb owner is shown facing to the left and is holding one attribute in each hand. In general, only depictions of standing tomb owners represent them holding an object in each hand; seated depictions are generally shown holding only one attribute, and that attribute is usually a staff traditionally held in the hand of the elevated far arm, as it is indeed held in our relief. Our tomb owner appears to be holding a second attribute in his lowered hand as well. This attribute may perhaps to be identified as a shorter baton. The staff and baton are standard attributes for elite male members of Egyptian society during the Old Kingdom. Although rare, there are parallels for seated tomb owners holding a baton in one hand and a staff in the other from this period.   « Less

Origin: Egypt Circa: 1991 BC to 1783 BC Dimensions: 47" (119.4cm) high x 9" (22.9cm) wide Collection: Egyptian Style: 12th Dynasty Medium: Limestone Sculpted in  More »

Origin: Egypt Circa: 1991 BC to 1783 BC Dimensions: 47" (119.4cm) high x 9" (22.9cm) wide Collection: Egyptian Style: 12th Dynasty Medium: Limestone Sculpted in classically-designed sunken hieroglyphs, this single column of inscription, oriented to the left, contains a partial string of titles belonging to the cursus honorum of a highly placed official in pharaoh’s court. The inscription as preserved may be translated as, “.,..the oldest official of [pharaoh’s] senut-palace, the one who is over particular offerings, the one who presides over the secrets…” The exact nature of a senut-palace remains enigmatic, but was ostensibly the administrative branch of the bureaucracy in which senior officials exercised their duty and in which the owner of this inscription served as “the eldest statesman.” The owner was also in charge of special offerings, which, although not specifically enumerated, comprised both victuals and other products. And finally, this owner was charged with rituals, the practice of which were kept secret and hidden from the uninitiated. From these titles and from the style of the sculpting of the signs and their shapes, one can confidently date this panel to Dynasty XII and suggest that it once adorned the tomb of an elite official.   « Less

Origin: Fayum, Egypt Circa: 2 nd Century AD Dimensions: 14.2" (36.1cm) high x 8.2" (20.8cm) wide Collection: Egyptian Style: Roman Period Medium: Paint on Wood Our  More »

Origin: Fayum, Egypt Circa: 2 nd Century AD Dimensions: 14.2" (36.1cm) high x 8.2" (20.8cm) wide Collection: Egyptian Style: Roman Period Medium: Paint on Wood Our evocative portrait depicts an aristocratic young man with curly hair, his head inclined toward our right hand side with the glance of his enormous eyes cast far into the distance. He appears to be wearing a white tunic without additional accessories. Recent scholarship suggests that such portraits may have been displayed in the homes of the elite members of Roman Egypt’s society in much that same way that we display portraits and photographs of our loved ones and friends today. Upon death, these portraits were reverentially entrusted to the funerary priests who ceremoniously attached them over the head of the deceased’s wrapped mummy. There is a good parallel for our portrait in the collections of the British Museum [inventory number EA 6713] which is still attached to its intact mummy. That example is dated to the period between 200-250 AD, to which era our example should likewise be assigned.   « Less

Origin: Egypt Circa: 2 nd Century AD Dimensions: 11.75" (29.8cm) high Collection: Egyptian Style: Roman Period Medium: Paint on Wood Although commonly referred to as  More »

Origin: Egypt Circa: 2 nd Century AD Dimensions: 11.75" (29.8cm) high Collection: Egyptian Style: Roman Period Medium: Paint on Wood Although commonly referred to as “Faiyum portraits,” mummy portraits from Roman Egypt have been found throughout the country, from the Mediterranean coast to the banks of the Nile Valley; however, many of the most celebrated works come from cemeteries in the desert oasis of Faiyum. These fascinating paintings are the product of two worlds, combining Egyptian funerary beliefs with the sophisticated portraiture of the Greco-Roman tradition. The preservation of the physical remains of the deceased was a central focus of Egyptian funerary customs, eventually leading to the creation of mummies. However, mere preservation of the corpse was not sufficient, the mummy itself had to appear alive. Elaborate coffins and funerary masks evolved to present the remains with the appearance of vitality. Although mummification was still practiced during the Roman Period, the techniques had begun to devolve and many of these mummies have since decayed, leaving behind only these haunting portraits.   « Less