These bronze ornaments once decorated a Roman chariot, with the large male bust at the front of the vehicle and the smaller busts and lions towards the sides. Rather than  More »

These bronze ornaments once decorated a Roman chariot, with the large male bust at the front of the vehicle and the smaller busts and lions towards the sides. Rather than adorning a lightweight racing vehicles, the heavy and ornate nature of these accessories, suggests they were originally attached to a more substantial vehicle such as a pilentum (used to transport aristocrats on state occasions), a carruca (for transporting emperors and aristocratic matrons) or even a thensa (a ceremonial chariot used to transport deities to the imperial games). More utilitarian vehicles such as the arcera would not have been so richly decorated.These fittings would have been the finishing touches to a vehicle already resplendent with the most luxurious and expensive materials and accessories available. Contemporary sources describe ornate inlay, rare woods and metalwork incorporated into these vehicles, and it is probable that these heads would originally have been gilded to add highlights to the ensemble. The horses would have been similarly magnificent and groomed for the occasion, their tack carefully manufactured and polished in order to burnish the full impact of the whole.   « Less

The body of this deluxe unguent container, termed a balsamarium in Latin, consists of a heroic nude bust of a sensuous young man. His features are rendered in the classical,  More »

The body of this deluxe unguent container, termed a balsamarium in Latin, consists of a heroic nude bust of a sensuous young man. His features are rendered in the classical, idealizing idiom and are characterized by thin, bushy eye- browns which merge at the root of the nose. His small, almond-shaped eyes are framed by wide lids, and the lips of his sensual mouth are both small and fleshy. He is shown wearing a thick necklace to which is attached a cylindrically- shaped phylactery of a type which contained a written prayer.His head is turned slightly to his right. His hair is styled in thick, horizontal bands of wavy locks, the crown of which, separately made, serves as the container’s lid; this is hinged to the back of the vessel. The handle is designed as a foliate central element which duck-headed finials at each end set into oblique loops attached to the top of the head. A central strut connects the handle to the lid. A separately made pedestal, no longer extant, probably served as pedestal to support the balsamarium in an upright position.Our balsamarium is an aesthetically accomplished work of art and belongs to a type which depicts a number of heroic nude youths, traditionally identified as either divinities or mortals. Our example has been identified as Antinous, the favorite of the Roman Emperor Hadrian. Antinous committed suicide by drowning himself in the River Nile in order to fulfill an oracle which had been unfavorable to Hadrian.   « Less

In art and in life, one often finds that the most precious treasures, the most beautiful creations reside not in the conspicuous and colossal, but in the serenity of the  More »

In art and in life, one often finds that the most precious treasures, the most beautiful creations reside not in the conspicuous and colossal, but in the serenity of the slight, the charm of the delicate, the intrigue of the miniature. This aesthetic truism is revealed in a bronze statuette of sheep, surviving for our enjoyment from the late Roman empire. Constituting a slight two and a half by two and a quarter inches, this extraordinary miniature nonetheless captures the gentle charm and physical realism of a living sheep. Turning its head, the sheep gazes upon us with an inquisitive yet discernibly loving countenance. We imagine this benevolent creature frolicking in the bucolic fields of the Italian campagna, proudly wearing its handsome fleece before the shepherd’s habitual shearing. With great skill, the ancient artist has mimicked the proportions and detail of life. The Sheep’s head is particularly impressive, with attention paid to the details of the eyes, muzzle, and down-turned ears, evoking a relaxed demeanor. The texture of the wooly coat is accentuated through individual tufts of wool, recreated with precise and incised lines. The ornamentation of the creature’s coveted coat, followed through in the detail of the sheep’s hoofs and thick tail, makes this piece an extraordinary work of naturalism—a masterpiece in miniature. Sheep—perhaps more so than any other mammal —are fundamental symbols in the cultural and religions traditions of the ancient Mediterranean, particularly those emanating from Judeo- Christian beliefs. A ubiquitous presence on the landscape of Roman fields, Sheep were in antiquity—as they remain today—the most common form of herded livestock. Their economic significance was indispensable in the domestic lives of ancient peoples, relying on the versatile animal for milk, cheese, hides, meat, and of course wool. Across the diverse religious expanse of the Near East and Mediterranean, Sheep were the perennial beast of choice sacrificed to the heavens. Votive figurines, like this bronze sheep, were extremely popular in the Eastern provinces of the Roman empire, where they were used as offerings, symbolically representing animals sacrificed at festivals. However, evidence suggests that such offerings may also symbolically represent deities associated with specific animals and, perhaps, even the deities themselves, rendering this precious statue all the more significant as a sacred and archaic icon. - (LA.534)   « Less

This very accomplished marble relief depicts a male figure in three-quarter view facing left. The figure has been represented according to Greek artistic conventions as a  More »

This very accomplished marble relief depicts a male figure in three-quarter view facing left. The figure has been represented according to Greek artistic conventions as a mature individual with a very full head of hair arranged in a very intricate style. That hair has been gathered at the back of the head into a chignon, has been coiffed over the forehead in a series of tight ringlets, and has been braided in a series of extremely long cork-screw locks, two of which cascade over his shoulder. The entire coiffure is held in place by a diadem. Complementing this luxuriantly full head of intricately arranged hair is the figure’s full beard, trimmed into an impressive triangular shape, which projects forward into space and which is accompanied by a thick moustache.The individual is represented as a heroic nude with a mantled draped over his shoulders in such a way that their interaction serves as a foil so that the interplay of his flesh and fold, so characteristic of Greek art, is revealed to greatest advantage. In this manner, the naturalistically rendered human body and the lively qualities imparted to the inanimate drapery become an orchestration of contrasts.   « Less

This touching marble statuette depicts a mother and her child, sat in reclined pose upon a throne. The social significance of the pose and the setting would no doubt be  More »

This touching marble statuette depicts a mother and her child, sat in reclined pose upon a throne. The social significance of the pose and the setting would no doubt be apparent to the Roman audience, and it is likely that the couple portrayed enjoyed a high social status; alternatively, they may be an allegory for the joys of motherhood, as maternity was a very powerful element in Roman social, moral and religious conventions. The mother is sat centrally in semi-formal pose, while her child - perched on her left knee - plays with her clothing. The drapery is very well carved, and entails a toga and headscarf arrangement (the child is naked). Detailing is very fine, small points being picked out with great precision. The contours of the child's body are exceptionally well executed. The piece stands 14.5 high. There is minor damage to the base and the mother's right foot, but the impressive impact of the piece is unaffected by this. This is an excellent, well-carved and well-preserved sculpture. - (X.0501)   « Less

The lion we see here is not the lion of Heracles, or of a Roman hunt. The dramatic strength of its composition, the sweeping, bold curves of its majestic paw, its regal mane-  More »

The lion we see here is not the lion of Heracles, or of a Roman hunt. The dramatic strength of its composition, the sweeping, bold curves of its majestic paw, its regal mane- give away its Biblical origin. It was not the dainty hands of one trained in the Imperial school that tempered and expressed this bronze, but the large and powerful hands of a Jewish artist, which yielded from the metal the rich and valiant figure we see here. Above it towers an imposing torch, each pyre of flame substantial enough to merit a subject within it self, and wrought finely enough to merit an artist of its own. This piece, a torch rising from behind the lion calls to mind the biblical passage from Zechariah, in which God claims that in the day he makes Jerusalem the capital of the world, he “will make the clans of Judah like a firepot among pieces of wood and a flaming torch among sheaves, so they will consume on the right hand and on the left all the surrounding peoples, while the inhabitants of Jerusalem again dwell on their own sites in Jerusalem.” Judah, the largest and most powerful of the Jewish clans was traditionally represented as the lion. This lion and torch may very well have been mounted on the door of an opulent synagogue, a reminder to the Jewish people that the world was, and again will be theirs. To a frustrated and down-trodden Jewish artist, whose worship made his life so very difficult within the pagan-dominated world, this piece acted as an emblem of hope and a symbol of strength. Out of the handful of pieces of art that remain from Classical antiquity, only the tiniest portions of them are Jewish. Out of the pieces of Jewish art that remain, the vast majority are small utilitarian items like clay pots. A glorious bronze work such as this is one of the most absolutely final links to the true art and spirit of the Jewish people of the Classical era. This piece stands as a testament to the resilience and capability of a people, and that even in a state of oppression, the art and creativity of humanity can flourish. That we can be lions, light, with the torch of our pride and faith, the darkest of straights, and the most hopeless of circumstances. - (SP.589)   « Less

ROMAN BRONZE MILITARY DIPLOMA DATED 23 MARCH, 178 AD DURING THE JOINT REIGN OF MARCUS AURELIUS AND COMMODUS. Intact first tablet with two binding holes sat the center and a  More »

ROMAN BRONZE MILITARY DIPLOMA DATED 23 MARCH, 178 AD DURING THE JOINT REIGN OF MARCUS AURELIUS AND COMMODUS. Intact first tablet with two binding holes sat the center and a hinge hole at the lower left corner. The lettering on the outer face is well engraved and is wholly legible. The date, names of consuls and details of the recipient and his unit and commander have been added in larger lettering. The interior side of the plaque partially repeats the exterior text, but with les well-rendered characters and with many abbreviations and omissions. An important diploma naming auxiliary units in Britain. Beautifully patinated.   « Less

For all of the beautiful works of bronze and glass that decorated the Roman house-hold, nothing was quite the symbol of opulence, of grandeur, and of sophistication, like the  More »

For all of the beautiful works of bronze and glass that decorated the Roman house-hold, nothing was quite the symbol of opulence, of grandeur, and of sophistication, like the possession of a vessel made of agate, or another semi-precious stone. There can be no more than a half-dozen pieces of this nature surviving from Antiquity, and the carving process for these stones was so laborious and challenging, that most artists could produce no more than crude hollows in which perfumes or spices could be placed.The tapered spout and magnificently delicate handles demonstrates a degree of meticulous toil that is on par with some of the most masterful artisanship in history.This amphoriskos consists of thick walls, a deeply hollowed interior, a cylindrical body with a flat base and sharply-carinated shoulders, a short cylindrical neck and overhanging disk rim, tapering slightly inward on its upper surface, the two angled handles with concave sides, merging at the shoulders and below the rim.For a very close example likely from the same workshop, see no.393 in Picon, et al., Art of the Classical World in the Metropolitan Museum of Art. The authors note that, "vessels made in semiprecious stone were much sought after as a symbol of wealth and sophistication." - (DC.146)   « Less

Octavian Caesar, or as he is better known, Augustus, is one of the most recognizable and best-loved figures of history. With his great respect for art and his patient  More »

Octavian Caesar, or as he is better known, Augustus, is one of the most recognizable and best-loved figures of history. With his great respect for art and his patient diligence in government, this ruler was able to raise a republic fraught with tension and civil disorder to the empire that would shape all of European history. So loved was Augustus as father of the Roman world, that upon his death he was deified. Most surviving depictions of Augustus portray him in the later phases of life, as the dignified sage that he was in his late sixties and early seventies. But Augustus did not rise to power due to the majestic wisdom that is so often associated with him and the years of his long and fruitful reign. Rather, it was the fierce intelligence, confident and warrior-like strength, and moderated energy that this portrait exudes. Augustus defeated Marc-Antony and became master of the Roman world at age 33, and immediately set about redefining the Roman way of life. It is easy to imagine these olive-shaped eyes, so clear and vigorous under the firm brow, poring over his architect’s plans for new temples and aqueducts, or penetrating the obsequious mask of a courier or diplomat. It is easy to imagine his mouth, so regal and shapely, pouring forth rhetoric- soldiers leaping to his lip’s command, senators swayed by their enticement, artists stirred by their praise. For classical enthusiasts, and anyone who is exhilarated by being in the presence of giants, this piece has an unusual hold. It does not show us a conqueror as we usually see them. Rather than basking in the aftermath of his success, being sculpted in the light of posterity- this piece shows us the God when he was still mortal. Octavian’s ambition, his potential, and his zeal are forever immortalized in this masterwork. For those of us who have yet to reach Olympus, yet are certain that a throne lies in wait for us, this piece is a reminder of the common origin of all geniuses, giants, and prodigies. We see, in the tension of our young Augustus, a reflection of our own ability and our own potential- and for this, just as much as for its aesthetic perfection, we value this piece as an undeniable product of artistic brilliance. This stunning marble portrait of Caesar Augustus shows his valiant and powerful place in history. As the heir to Julius Caesar, Augustus faced the enormous task of reorganizing the Roman Empire. Though there were many trials, Augustus managed to gain ultimate power. By the age of 33, Augustus was master of the entire roman world. Augustus was a brilliant commander and wise ruler. He used the art of portraiture to communicate his image to his subjects and neighbors with the intent to illustrate his discerning might and unparalleled power unseen since the time of Alexander the great. - (LO.1325)   « Less

In the world of terracotta vessels, marble sculpture, and bronze adornment that was the Classical world, no material was prized so much as glass. The material itself was  More »

In the world of terracotta vessels, marble sculpture, and bronze adornment that was the Classical world, no material was prized so much as glass. The material itself was rare, and the process of its forging so laborious, that few artisans took the time necessary to develop the skill. It would have required years of experience for a glass-maker to yield a piece of this quality. This piece demonstrates not only an intimate understanding of the glassmaker’s craft but an equally delicate knowledge of the human form. Feel how perfectly the orb-shaped base fits into your hand. Notice how easily and comfortably your finger curves around the supple spout. When we notice how perfectly suited this vessel is for the human touch, it reminds us that this piece of art was created not only for the sake of beauty, but for utility. Imagine the wonderful existence of the Roman aristocrat who possessed this piece. Every cup he drained, every chair he sat upon, every door-handle he turned was crafted with infinite elegance and complete originality. To turn this piece over in our hands is to transport ourselves into a dimension in which every aspect of the ordinary is laced with incomparable beauty, and meticulous grace. While we enshrine magnificent pieces such as this bit of glass, there was once a time where everything in one’s world was of its quality. To possess it is to delicately hold, for the last time, a shred of a world where opulence, creativity, and the pursuit of the rare and exceptional were once as plentiful as glass is in the modern world - (LO.1332)   « Less