Harpocrates was the Hellenized form of the ancient Egyptian child god Horus, symbolic of kingly power and divine protection. This elegant lamp may have been shaped in the  More »

Harpocrates was the Hellenized form of the ancient Egyptian child god Horus, symbolic of kingly power and divine protection. This elegant lamp may have been shaped in the workshops of Alexandria and then exported to other parts of the roman empire. As the glow from the lamp warmed some ancient room, so the benevolent power of the god was thought to fall where the light did. This masterpiece is a charming token of the vanished world of antiquity. - (L.0249)   « Less

As Athens began its slow ascent to world-superpower status, men and women of the same race, thousands of miles away on the Iberian Peninsula, were forging their own  More »

As Athens began its slow ascent to world-superpower status, men and women of the same race, thousands of miles away on the Iberian Peninsula, were forging their own civilization, with its own character, art, and lifestyle. This superb votive statue offers a peak into a rich world that was emerging parallel to the most famous Greek civilization. Like its Archaic Athenian counterparts- this statue has the attributes of a Koros; its spine is straight, the shoulders are raised with the arms against the body, the hands are open and outstretched in perpetual prayer. But while most Koros, it seems, are cut out of the same mould- the identity and presence of this statue is undeniably individual and unique. The precision and attention paid to the facial structure and expression first catch our eye. A rotund visage, with fat and healthy cheeks offers a benign and refreshing presence in the archaic universe of sharp cheek-bones and drawn, narrow faces. The body is given a wiry, tapered musculature by the chalyms secured around the short chiton. The hands too large to be perfect, too friendly to be canon, are the small detail that really gives a human presence to the piece. Whoever the creator of this sculpture was, he disregarded the Attic principles of stratifying, codifying, and reproducing ideal forms; and instead opted to portray, with charming and subtle imperfection, the very real presence of someone he knew and loved. The harsh tongue of an Athenian art critic would deem such a piece unsuitable for offering to a God. The face and hands are simply too real, too human, too imperfect- to ever satisfy a Holy and appraising eye. But even if the God’s cannot appreciate the humanity, the liveliness, the responsiveness, of this piece- we certainly can. And in the presence of this object, we find ourselves not only in the presence of something historically and technically beautiful- but in the presence of a soul, captured and immortalized in a bit of bronze, in a bit of art. The carefully delineated musculature of this splendid votive bronze recalls the style of Attic Kouroi. Our attention is focused--as that of the gods to whom he was offered--on his large hands, outstretched in perpetual prayer. Who offered him and why we can never know. Even so, he remains an intriguing survivor of a vanished world. - (FZ.048)   « Less

The ancients had a talent for turning the merely functional into the beautiful as well. Here, an artist has captured the powerful essence of a horse--the strong, arched neck,  More »

The ancients had a talent for turning the merely functional into the beautiful as well. Here, an artist has captured the powerful essence of a horse--the strong, arched neck, the proud head, the muscular body--and incorporated it into a lamp that delights the eye even as it brightens the room. Such an object was created to give pleasure as well as light, and today it continues to fulfill at least one of those functions. - (FZ.131)   « Less

This luminous vase seems not to be made from blown glass but rather carved from some radiant precious gem. Though its shimmering iridescence is the product of centuries of  More »

This luminous vase seems not to be made from blown glass but rather carved from some radiant precious gem. Though its shimmering iridescence is the product of centuries of burial, it seems far too beautiful not to have been planned by some far-sighted craftsman when Rome was at her peak. Like all rare treasures, this vessel becomes even more so with the passage of time. - (G.0137)   « Less

The years 50-200 A.D. were ones of comparative peace and prosperity in the Roman world. This lovely flask is mold-blown and hexagonal in shape, with a freely blown  More »

The years 50-200 A.D. were ones of comparative peace and prosperity in the Roman world. This lovely flask is mold-blown and hexagonal in shape, with a freely blown cylindrical neck and inward folded rim. The pear- shaped body is divided into six rectangular columnar panels, each representing a ritual vase. Egg-shaped motifs are set within arches on the shoulder. Festoons and bunches of grapes decorate the lower part of the body. The flask rests on a ring foot blown in a tripartite mold. At a glance we see it is delicate and solid, tender and strong; with the softness of a lily and the luster of marble. But unlike many great monuments, this flask, in perfect condition, has outlived the empire which inspired its creation. - (GF.0337)   « Less

Imagine that the graceful youths and maidens who adorn this splendid vase represent real people, citizens of the ancient world. What passions and ambitions moved them? What  More »

Imagine that the graceful youths and maidens who adorn this splendid vase represent real people, citizens of the ancient world. What passions and ambitions moved them? What dreams of love, happiness and success might have possessed them? We can see that, except for their costumes, they hardly differ in appearance from men and women today. Could their hopes and dreams have been all that different either? - (PF.0006)   « Less

In antiquity, as today, the coast of Southern Italy was famous for the variety and abundance of its marine life, as well as for the tasty dishes created from the fisherman's  More »

In antiquity, as today, the coast of Southern Italy was famous for the variety and abundance of its marine life, as well as for the tasty dishes created from the fisherman's catch. This shallow plate is decorated with, among other things, a mullet, an octopus, a shrimp and several mollusks. It may once have been used to serve the famous fish stew, zuppe di pesce, that still delights visitors to the region. We are reminded in looking at this charming vessel that the essential pleasures of life have changed but little with the centuries. - (PF.0844)   « Less

This sculpture speaks loudly of dignity, order and power. The erectness of the back and shoulders makes it even a more impressive figure. The object in the right hand further  More »

This sculpture speaks loudly of dignity, order and power. The erectness of the back and shoulders makes it even a more impressive figure. The object in the right hand further propels the mystery of this person. It is grasped by a tight fist and rest upon the breastbone. Hanging from the neck is a double strand of beads. Simple in design, but yet it exudes nobility and wealth. The visual portrayal is a person of nobility; however, he is nobler in mind. This is strongly shown in the facial features. The headdress, carved smoothly with ringlets of hair falling down upon the forehead, frame the face. The eyes, almond shaped, shed a peaceful and wise gaze. The curiosity to know what this person wants to say is unbearable. The knowledge is forever kept inside, but just being close to this figure one feels empowered. The energy radiates from within. - (PF.4352)   « Less

Both the obverse and reverse are decorated with two female dancers (possibly maenads) facing each other holding castanets (krotala). Their bodies are lively and expressive of  More »

Both the obverse and reverse are decorated with two female dancers (possibly maenads) facing each other holding castanets (krotala). Their bodies are lively and expressive of movement in dance. Intertwining vines and palmettes decorate the sides, enriched with touches of purple and white paint. The presence of the five-leaf palmette suggests the possibility this vase was painted by the Edinburgh Painter who introduced this concept replacing the use of the seven-leaf palmette. The result is a work of vigorous movement and charming detail. - (PF.5345)   « Less

The young woman has her hands raised as if in supplication, with her left palm nearly flattened and the right with the fingers curled. Attached to her head is a high arched  More »

The young woman has her hands raised as if in supplication, with her left palm nearly flattened and the right with the fingers curled. Attached to her head is a high arched handle bearing a circular design of radiating lines. She wears a himation (a rectangular-shaped mantle) and a chiton (a lightweight, sleeved dress) open at the neck revealing her necklace, covering her right foot, and having a broad band crossing under the breasts. Her hair is ornamented with a fillet of vine leaves, as her lovely tresses fall about her shoulders. The rose madder coloration is well-preserved and very vivid. A terracotta of this size and condition is quite rare, and especially one that so beautifully represents the exquisite and unique art of the sculptors of ancient Canosa. - (PF.5371)   « Less