Height- 81", Inside height-36", Depth-10 1/2", Width- 54", Inside width-36", Large oversized early 1900s solid oak mantle with bow knots applied carving , and large fluted  More »

Height- 81", Inside height-36", Depth-10 1/2", Width- 54", Inside width-36", Large oversized early 1900s solid oak mantle with bow knots applied carving , and large fluted columns.   « Less

Origin: Egypt Circa: 300 BC to 100 BC Dimensions: 3" (7.6cm) high x 5" (12.7cm) wide Collection: Egyptian Antiquities Style: Ptolemaic Medium: Bronze In all its  More »

Origin: Egypt Circa: 300 BC to 100 BC Dimensions: 3" (7.6cm) high x 5" (12.7cm) wide Collection: Egyptian Antiquities Style: Ptolemaic Medium: Bronze In all its vitality and vigor this magnificent bronze canine now stands before us as if beckoned by its ancient master. The artisan who sculpted this lean and athletic dog captured the swiftness in his limbs and the pronounced agility throughout his body. With inlaid silver eyes, the artist depicts the dog’s acute vision and cunning gaze. One can imagine that this charming sculpture belonged to a proud and loving master who wished to memorialize his agile companion through the elegant medium of bronze. Dog and master are an inseparable team; in antiquity, as in modern times, the relationship between man and dog is one of inexplicable trust and camaraderie. The master of this dog could very well have been a hunter, served faithfully by his hound in pursuit of elusive game. With all its dexterity and enthusiasm, this dog would pounce on any threat to its master, rewarded with the love and affection of a grateful owner. Having survived the ravages of time, this wonderful animal stands alert and ready to serve a new master as a testament to loyalty and friendship— eternal qualities that transcend the lacunae between ancient and modern. - (PF.5491)   « Less

Origin: Egypt Circa: 200 BC to 50 BC Dimensions: 8.25" (21.0cm) high Collection: Egyptian Style: Ptolemaic Medium: Terracotta Following the death of Alexander the  More »

Origin: Egypt Circa: 200 BC to 50 BC Dimensions: 8.25" (21.0cm) high Collection: Egyptian Style: Ptolemaic Medium: Terracotta Following the death of Alexander the Great, his empire was divided between his three generals, each of whom set up their own kingdoms. One of them, Ptolemy, took Egypt as his share and made Alexandria his capital. Ruling as Ptolemy I Soter, he established the last dynasty to rule Egypt with the title of Pharaoh. For the next two and a half centuries, the Ptolemaic Dynasty of Greeks controlled Egypt, mingling Hellenic traditions with the mighty legacy of the Pharaohs. This stunning terracotta mask reveals the intermingling of native Egyptian and Greek artistic traditions. Depicting an individual wearing a serrated crown, this mask likely represents one of the Ptolemaic Kings, possible Ptolemy XII. Although King Ptolemy XII ruled Egypt from 51 until 47 B.C., he is perhaps best known for his unsuccessful attempts to rout his sister (and wife), Cleopatra, from power. Originally, they shared acting power as husband and wife, until conflicts between them forced Ptolemy to exile Cleopatra from Egypt. Civil war broke out as each side formed their own army; Ptolemy allied with the Roman general Pompey the Great. Following the death of Pompey, there was a brief moment of reconciliation between brother and sister. However, shortly thereafter, Cleopatra became the mistress of Caesar, and with his assistance, consolidated her power in Egypt and had Ptolemy executed. Gazing upon this work or art, might we be confronted with the face of this tragic King? Although his reign was brief and marked by internal struggles and civil war, one only sees the extraordinary legacy of Egyptian and Hellenic cultures merged together in this remarkable mask. - (PF.6113)   « Less

Origin: Egypt Circa: 3 rd Century BC to 2 nd Century BC Dimensions: 5.125" (13.0cm) high Collection: Egyptian Style: Ptolemaic Period Medium: Limestone This limestone  More »

Origin: Egypt Circa: 3 rd Century BC to 2 nd Century BC Dimensions: 5.125" (13.0cm) high Collection: Egyptian Style: Ptolemaic Period Medium: Limestone This limestone plaque depicts a man facing right on both sides. On one side, only the top part of the figure's head is extant; he wears a crown with a prominent uraeus. The other side is more roughly carved and is oriented at a 90-degree angle to side A. Here the head and shoulders of a man wearing a skullcap are represented. Although traditionally called sculptors' models or trial pieces, some scholars have suggested that these objects were in fact ex-votos. Although traditionally called sculptors' models or trial pieces, some scholars have suggested that these objects were in fact ex-votos. Otherwise, it is believed that such works functioned as aids for apprentices to learn the art of sculpting step by step before embarking upon royal commissions where one mistake could mean disaster. Similar plaques were unearthed in what are thought to have been artist workshops, thus their identification as models. It would be unlikely that a wall panel would have been carved on both sides. Perhaps the difference in the surfaces of the two sides served to alert students how a work looks while in progress on one side and once completed on the other. Today, these plaques give us unique insight into the creative process behind some of the most endearing and enduring artworks ever created by mankind. - (X.0009)   « Less

Height-29 1/2", Depth-32", Width-32", Very nice round mahogany rope carved center table with acanthus carved pedestal and nice paw feet circa 1890s.

Height-29 1/2", Depth-32", Width-32", Very nice round mahogany rope carved center table with acanthus carved pedestal and nice paw feet circa 1890s.   « Less

Origin: Egypt Circa: 100 BC to 50 AD Dimensions: 19.5" (49.5cm) high x 23" (58.4cm) wide Collection: Egyptian Style: Ptolemaic/Roman Period Medium: Sandstone The sunk  More »

Origin: Egypt Circa: 100 BC to 50 AD Dimensions: 19.5" (49.5cm) high x 23" (58.4cm) wide Collection: Egyptian Style: Ptolemaic/Roman Period Medium: Sandstone The sunk relief representation doubtless derives from a temple located somewhere in Upper Egypt because of the sandstone from which it is sculpted and because of its subject matter and the contents of its accompanying inscriptions in hieroglyphs. Those hieroglyphs belong to the Ptolemaic tradition of signs which number between 7,000 and 8,000 and which represent a tenfold increase over the number in use during the earlier, more classical periods of ancient Egypt�s history. The individual to the far left is to be identified as a pharaoh, so indicated by the bottom half of a cartouche preserved in the field in front of his head. This cartouche appears to be devoid of hieroglyphs. Such empty cartouches are routinely encountered in the preserved decoration of the temples of the Graeco-Roman Period in Upper Egypt, although the reason for their lack of hieroglyphs has yet to be satisfactorily explained. This pharaoh is depicted bare-chested. He wears a kilt with a pointed apron, broad collar, false beard, and Crown of Action fronted by a uraeus. These accessories are not ornamented with linear detail, and that absence of detail characterizes the scene as a whole. The pharaoh holds a hes-jar in each hand, one with a rounded top, the other with a T-shape top from which issue streams of water flowing onto a small offering table placed in front of the dais on which a god is enthroned. The two columns of hieroglyphs in front of this pharaoh may be rendered into English as, �Making a libation of cool water to his father, the individual who created him; may he be granted eternal life.� It is interesting to note that the hieroglyphs for �his father� are oriented with the seated deity rather than with the pharaoh, as are the other signs in these two columns. This is a subtle detail which reveals the consummate planning with which the relief was designed.   « Less

Origin: Egypt Circa: 300 BC to 100 BC Dimensions: 6.25" (15.9cm) high Collection: Egyptian Style: Ptolemaic Medium: Wood This wooden votive sculpture represents Isis,  More »

Origin: Egypt Circa: 300 BC to 100 BC Dimensions: 6.25" (15.9cm) high Collection: Egyptian Style: Ptolemaic Medium: Wood This wooden votive sculpture represents Isis, the bride of Osiris, the mother of Horus, the healer, the protector of women, the winged goddess able to grant immortality. The word, “Isis,” is actually the Greek version of her older Egyptian name, Aset or Eset, revealing that she remained a popular deity during the Ptolemaic period, associated with Demeter. Many centuries ago, this sculpture might have been found inside a temple, placed as an offering to the beloved goddess. She is depicted seated upon a throne, holding her right hand against her left breast in what might be interpreted as a gesture of fertility. Her eyes have been inlaid, enhancing the sense of realism. The legend of Osiris states that his brother Seth, overcome by jealousy, murdered him and tore his body into fourteen parts, scattering them across Egypt. Isis traversed the land and gathered all the parts of his body. She then cast a spell that resurrected her deceased husband for one night, during which their child, Horus, was conceived. Thus, Isis was one of the central figures of Egyptian religion, the healer, the giver of life. This gorgeous sculpture features traces of polychrome paint and gold leaf, suggesting that the work was once painted and gilt, revealing that is was a treasure even in its own day. - (X.0175)   « Less

Height-91", Depth-21" open-33 1/2", Width-36", Period secretary desk with bracket feet nice fitted interior with hidden compartments ,individual hand glazed glass panes, with  More »

Height-91", Depth-21" open-33 1/2", Width-36", Period secretary desk with bracket feet nice fitted interior with hidden compartments ,individual hand glazed glass panes, with broken arch pediment and triple finials ,all hand cut dovetails circa 1890s.   « Less

This elegant abstract figure was part of a cache discovered along the shores of Lake Van. Evoking the dawn of Western culture, it was originally an offering at the shrine of  More »

This elegant abstract figure was part of a cache discovered along the shores of Lake Van. Evoking the dawn of Western culture, it was originally an offering at the shrine of some powerful deity. Surprisingly modern in its stark simplicity, it almost certainly represents the person, an initiate to the cult, who gave it centuries ago as a gift to the god. It also served as an intaglio stamp, grasped in the hand and pressed into soft clay or wax to make multiple images. The design that adorns it probably stood in proxyformorecostlysacrifices.Perhapstheonlycluetoanncientlife,thishauntingvotiverecallshopes,dreamsandaspirationsthatareasoldascivilizationitself.-(D.0013)Votive Figure With An Intaglio D.0013Origin:Lake Van,Anatolia Circa:4000BCto3000BCDimensions:4.625"(11.7cm)highx1"(2.5cm)wide Collection:Near Eastern Style: Neolithic Medium: Dickite   « Less

This elegant abstract figure was part of a cache discovered along the shores of Lake Van. Evoking the dawn of Western culture, it was originally an offering at the shrine of  More »

This elegant abstract figure was part of a cache discovered along the shores of Lake Van. Evoking the dawn of Western culture, it was originally an offering at the shrine of some powerful deity. Surprisingly modern in its stark simplicity, it almost certainly represents the person, an initiate to the cult, who gave it centuries ago as a gift to the god. It also served as an intaglio stamp, grasped in the hand and pressed into soft clay or wax to make multiple images. The design that adorns it probably stood in proxyformorecostlysacrifices.Perhapstheonlycluetoanncientlife,thishauntingvotiverecallshopes,dreamsandaspirationsthatareasoldascivilizationitself.-(D.0013)Votive Figure With An Intaglio D.0013Origin:Lake Van,Anatolia Circa:4000BCto3000BCDimensions:4.625"(11.7cm)highx1"(2.5cm)wide Collection:Near Eastern Style: Neolithic Medium: Dickite   « Less