Origin: Egypt Circa: 664 BC to 525 BC Dimensions: 3" (7.6cm) high x 3" (7.6cm) wide Collection: Egyptian Style: 26th Dynasty Medium: Bronze The 26th Dynasty, also known  More »

Origin: Egypt Circa: 664 BC to 525 BC Dimensions: 3" (7.6cm) high x 3" (7.6cm) wide 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. Yet despite that artist sought to replicate models of the past, Egyptian art of this era was infused with a heightened sense of naturalism. This fact is likely due to the influx of Greek culture. The Saite rulers recognized that Egypt had fallen behind the rest of the Mediterranean world in terms of military technology. Thus, they were forced to rely upon foreign mercenaries, many of whom were Greek. With ties between these two cultures firmly established during the 7th Century B.C., commercial trading quickly blossomed. Special entrepots for foreign traders were established, including the famed center of Naucratis, a Delta town in which Greek merchants were permitted access. During the Saite Period, two great powers of the Mediterranean world became intimately linked, commercially and culturally. As the exchange of ideas flowed across the sea, the Greeks began to experiment on a monumental scale while the Egyptians began to approach art with an enhanced sense of realism.   « 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

Originally an offering at the shrine of a powerful deity, this votive seal was discovered with a cache of relatedartifactsalong the shores of Lake Van. The cult  More »

Originally an offering at the shrine of a powerful deity, this votive seal was discovered with a cache of relatedartifactsalong the shores of Lake Van. The cult mostlikelycenteredaroundanature god, one concerned with fertility and rebirth. Birds wereclearly important to this cult, perhaps being associated with the ideaof the soul. This is an extremelyfineexampleofearlyanimalsculpture. Depicting a stylized bird, its base bears the intaglio image of a bird. Pressed into soft wax or clay, it would have created multiple images to please the deity. Abstract and elegant yet closely observant of nature, this remarkable seal evokes a vanishedworldatthedawnof Westernculture.-(D.00110)Votive Bird Sealwithan Intaglio-D.0110rigin:Lake Van,Anatolia Circa: 4000 BC to 3000 BCDimensions: 2.125" (5.4cm) highx.625(1.6cm)widex1(2.5cm)depth Collection:Near Eastern Style:Neolithic Medium:Dickit E   « Less

Origin: Egypt Circa: 1000 BC to 650 BC Dimensions: 16" (40.6cm) high Collection: Egyptian Antiquities Style: Third Intermediate Period Medium: Bronze Although not  More »

Origin: Egypt Circa: 1000 BC to 650 BC Dimensions: 16" (40.6cm) high Collection: Egyptian Antiquities Style: Third Intermediate Period Medium: Bronze Although not inscribed, this remarkably large figure can be identified as a depiction of Osiris, god of the Hereafter, on the basis of his costume and attributes. That costume is designed as a tightly-fitting garment, doubtless intended to represent the fine linen bandages in which his mummy was enveloped. A slit in the bandages permits the god’s left hand to protrude so that he can hold the flail, one of his traditional attributes. The flail, used by ancient farmers for the threshing of grain, associates Osiris with the agricultural cycles of the land and reinforces his authority as the lord of resurrection. Just as wheat grows anew after a winter of dormancy, so, too, will the deceased be resurrected in the Hereafter. The face of Osiris is characterized by idealizing features consistent with the principle that he will be physically fit and free of all physical defects forever. A false beard, originally associated with goats, is attached to his chin. By means of the principles of sympathetic magic, the sexually charged associations of the goat are metaphorically transferred to Osiris. The White Crown of Upper Egypt, his traditional headdress, completes his costume and this is fronted by a uraeus, or sacred cobra.   « 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 unkn own 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.0141)Engraved Votive Sealwithan Intaglio D.0141Origin:Lake Van,Anatolia Circa:4000BCto3000BCDimension1.75(4.4cm)highx1(2.5cm)widex75"(1.9cm)depth Collection:Near Eastern Style:Neolithic Medium: Dickite   « Less

Origin: Egypt Circa: 1000 BC to 600 BC Dimensions: 6.8" (17.3cm) high x 2" (5.1cm) wide Collection: Egyptian Antiquities Style: Osiris Medium: Bronze Condition: Extra  More »

Origin: Egypt Circa: 1000 BC to 600 BC Dimensions: 6.8" (17.3cm) high x 2" (5.1cm) wide Collection: Egyptian Antiquities Style: Osiris Medium: Bronze Condition: Extra Fine Osiris (Greek language, also Usiris; the Egyptian language name is variously transliterated Asar, Aser, Ausar, Wesir, or Ausare) is the Egyptian god of life, death, and fertility. He is one of the oldest Gods for whom records have survived and first appears in the pyramid texts around 2400 BC, when his cult is already well established. He was widely worshipped until the forceable suppression of paganism in the Christian era.[1][2] Osiris was not only the redeemer and merciful judge of the dead in the afterlife, but also the underworld agency that granted all life, including sprouting vegetation and the fertile flooding of the Nile River. The Kings of Egypt were associated with Osiris in death such that as Osiris rose from the dead so would they, in union with him, inherit eternal life through a process of imitative magic. By the New Kingdom all men, not just pharaohs, were believed to be associated with Osiris at death if they incurred the costs of the assimilation rituals.[3] Osiris is the oldest son of the Earth god, Geb, and the sky goddess, Nut as well as being brother and husband of Isis, with Horus being considered his posthumously begotten son. He is usually depicted as a green-skinned pharaoh wearing the Atef crown, a form of the white crown of upper Egypt with a plume of feathers to either side. Typically he is also depicted holding the crook and flail which signify divine authority in Egyptian kings, but which were originally unique to Osiris and his own origin-gods (see below), and his feet and lower body are wrapped, as though already partly mummified. The information we have on the myths of Osiris is derived from allusions contained in the pyramid texts, and, much later, in narrative style from the writings of Plutarch[4] and Diodorus - (LO.1368)   « 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 a  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 a the shrine of some powerful god.This unknown deity appears to have been associated with fertility and rebirth.The design that adorns them—of birds, animals, cult 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. Carved with an abstract simplicity but an observant eye toward nature,he 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.0142) Engraved Votive Seal With An Intaglio D.10142 Origin:Lake Van, Anatolia Circa:4000BCto3000BC Dimension1.75(4.4cm)high x 1 (2.5cm) wide x 75"(1.9cm)depth Collection:Near Eastern Style:Neolithic Medium: Dickite   « 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 form or ecostly 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.0142) Engraved Votive Seal with an Intaglio D.0142 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: 600 BC to 300 BC Dimensions: 7.25" (18.4cm) high x 2.75" (7.0cm) wide Collection: Egyptian Medium: Bronze The divine bull of Heliopolis was known to  More »

Origin: Egypt Circa: 600 BC to 300 BC Dimensions: 7.25" (18.4cm) high x 2.75" (7.0cm) wide Collection: Egyptian Medium: Bronze The divine bull of Heliopolis was known to the Egyptians as Mer-Wer, although it is now most familiar by its Greek name Mnevis. Originally an independent deity it was subsequently incorporated into the worship of the sun god. In a similar fashion to the Apis bull of Memphis, Mnevis delivered oracles which were believed to convey the wishes of the sun god. Both deities are mentioned on the Rosetta Stone as recipients of Ptolemy V’s largesse. The attributes of Mnevis, clearly identifiable in this bronze, are the solar disk and uraeus (stylised upright cobra symbolising divine authority) situated between the horns. - (LA.503A)   « Less

Origin: Egypt Circa: 600 BC to 300 BC Dimensions: 5.75" (14.6cm) high x 1.75" (4.4cm) wide Collection: Egyptian Antiquities Style: Late Period Medium: Bronze The Late  More »

Origin: Egypt Circa: 600 BC to 300 BC Dimensions: 5.75" (14.6cm) high x 1.75" (4.4cm) wide Collection: Egyptian Antiquities Style: Late Period Medium: Bronze The Late Period was the last phase of Egyptian dynastic domination. It is characterised by the see-sawing of power between Egypt and various Middle Eastern groups, notably the Persians. This period saw Egypt conquered twice, at the end of the 26th dynasty, and again – following a rebellion under the Amyrtaeus, Prince of Sais – in the thirtieth dynasty. While political power was waning, cultural trends were highly dynamic, with numerous external influences, allied with conservative trends – especially surrounding funerary issues – that conspired to produce a highly distinctive artistic heritage. The arrival of the Roman legions was perhaps the greatest single cultural change Egypt had ever experienced. - (CK.0164)   « Less