Coptic Textile Fragment - CK.0132 Origin: Faiyum, Egypt Circa: 400 AD to 600 AD Dimensions: 9.5" (24.1cm) high x 7.5" (19.1cm) wide Collection: Egyptian Art Style:  More »

Coptic Textile Fragment - CK.0132 Origin: Faiyum, Egypt Circa: 400 AD to 600 AD Dimensions: 9.5" (24.1cm) high x 7.5" (19.1cm) wide Collection: Egyptian Art Style: Coptic Medium: Textile   « 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 them—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.0049)Engraved Votive Seal with an Intaglio D.0049Origin:Lake Van,Anatolia Circa:4000 BC to 3000 BC Dimensions: 1.75" (4.4cm) high x 1" (2.5cm) wide x 75"(1.9cm) depth Collection: Near Eastern Style:Neolithic Medium: Dickite   « Less

Coptic Textile Fragment - CK.0133 Origin: Faiyum, Egypt Circa: 400 AD to 600 AD Dimensions: 13.5" (34.3cm) high x 3.75" (9.5cm) wide Collection: Egyptian Art Style:  More »

Coptic Textile Fragment - CK.0133 Origin: Faiyum, Egypt Circa: 400 AD to 600 AD Dimensions: 13.5" (34.3cm) high x 3.75" (9.5cm) wide Collection: Egyptian Art Style: Coptic Medium: Textile   « Less

This well-composed ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a Phoenician deity. The goddess is standing on an integral  More »

This well-composed ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a Phoenician deity. The goddess is standing on an integral base (partially restored) and is unusually well-and extensively detailed. The drapery is exceptionally well-rendered and preserved, with a long toga-like garment that reaches to the floor, and is gathered up by the left hand. It overlies a tunic that is visible in the mid-chest. The detailing of the slightly smiling face, the ornate hair-piece that flows into the robe and even the carefully-rendered fingers is exquisite. The general rendering is diagnostically Pre-Classical – rather austere and linear composition, with slightly naïve rendering of facial features – and reflects the archaic style of Greek sculpture that the Phoenicians inspired and with which this piece is contemporary. The piece still retains calcareous accretions (which can be removed if required), which attest to its long interment in the Mediterranean. The back of the piece is almost completely plain, implying that it was always meant to be viewed from the front rather than in the round: this is usual for figures designed for shrines.   « Less

Coptic Textile Fragment - CK.0134 Origin: Faiyum, Egypt Circa: 400 AD to 600 AD Dimensions: 10.5" (26.7cm) high x 5" (12.7cm) wide Collection: Egyptian Art Style:  More »

Coptic Textile Fragment - CK.0134 Origin: Faiyum, Egypt Circa: 400 AD to 600 AD Dimensions: 10.5" (26.7cm) high x 5" (12.7cm) wide Collection: Egyptian Art Style: Coptic Medium: Textile   « Less

This outstanding ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It is also one of the  More »

This outstanding ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It is also one of the largest, most dramatic and best-preserved such pieces we have seen. It depicts a standing male (?) figure dressed in flowing robes that reach to the floor, and sandals, which are just visible. The shoulders are comparatively broad, hence the assignation of male sex. The head is austere and very well-modelled, with sensitive rendering of facial features and hair. The neck is encircled with a decorative band – perhaps a necklace or the collar of the robe – and the drapery is extremely fine, resembling a tunic/toga arrangement with the end section draped over the left am. The right hand is raised in a gesture of benediction. His upright stance and austere pose are reminiscent of the Archaic Period Greek statues which the Phoenicians inspired, and with which this piece is roughly contemporary. The back of the piece is almost completely plain, implying that it was always meant to be viewed from the front rather than in the round, which is appropriate for figures destined for shrines. The piece retains some calcareous concretions from its long interment in the Mediterranean.   « Less

Coptic Textile Fragment - CK.0135 Origin: Faiyum, Egypt Circa: 400 AD to 600 AD Dimensions: 8" (20.3cm) high x 10.5" (26.7cm) wide Collection: Egyptian Art Style:  More »

Coptic Textile Fragment - CK.0135 Origin: Faiyum, Egypt Circa: 400 AD to 600 AD Dimensions: 8" (20.3cm) high x 10.5" (26.7cm) wide Collection: Egyptian Art Style: Coptic Medium: Textile   « Less

This imposing ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. Unusually – for the  More »

This imposing ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. Unusually – for the Phoenicians depicted more goddesses than gods – it represents a male figure standing on an integrated square base, resting his weight on his right leg in a somewhat casual manner, his left leg bent and flexed forward. He is wearing a long robe-like garment that runs over both shoulders down to the ground. His right hand is raised in what is considered to be benediction, his let tucked into his hip. The head is bare and seemingly bald; the features are clear and crisp, and have been protected by calcareous eminences. The pose of the personage is characteristic of Phoenician art, and also that of the Archaic period in Greece, which it helped inspire. The back of the piece is almost completely plain, implying that it was always meant to be viewed .from the front rather than in the round, which is appropriate for figures destined for shrines. The piece has attracted some calcareous encrustation from its long immersion in the Mediterranean.   « Less

Origin: Egypt Circa: 1600 BC to 600 BC Dimensions: 1.25" (3.2cm) high Collection: Egyptian Style: New Kingdom Medium: Faience The first examples of amulets appeared in  More »

Origin: Egypt Circa: 1600 BC to 600 BC Dimensions: 1.25" (3.2cm) high Collection: Egyptian Style: New Kingdom Medium: Faience The first examples of amulets appeared in Ancient Egypt as early as 4000 B.C. Believed to possess magical powers that protected the wearer or bestowed upon the properties they symbolized, amulets were worn both by the living as well as the dead. Throughout their evolution, talismans were crafted from a variety of materials including precious metals such as gold and silver, semiprecious stone like jasper and carnelian, as well as other more affordable glazed compositions such as faience. The particular powers of an individual amulet were based upon its specific shape, although the material and even the color of the charm could affect its magical abilities. While many of the amulets created to be worn by the living could also be worn after death, there also existed a specific group of charms that were made specifically to be placed upon the mummified remains of the deceased. All together, amulets represent an important class of Ancient Egyptian art that furthers our understanding of their complex religious beliefs. 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.   « Less

This attractive ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It shows a goddess  More »

This attractive ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It shows a goddess standing on an unusually tall integral pedestal base (about one third of the total height of the piece), dressed in a long robe that covers the back of the ornate hair and stretches down to the ground. Her face is partially obscured by calcareous concretions (which can be removed if required), but the delicate modelling of her features can still be seen. Her hair is long, hanging to the shoulders, and her toes can just be seen protruding from the hem of her long robe. Her left hand is on her breast, her right raised in a gesture of benediction. The breasts are unusually prominent – they are typically obscured by textile and in any case much smaller – and the stomach is also very large. These characteristics of pregnancy are not uncommon in votive figures but the finesse with which the figure has been rendered is unusual. Examples in the main reference text for Phoenician art are typically very crude and purely notional fertility charms. This, by contrast, has true artistry. Her upright stance and austere pose are reminiscent of the Archaic Period Greek statues which the Phoenicians inspired, and with which this piece is roughly contemporary. The back of the piece is almost completely plain, implying that it was always meant to be viewed from the front rather than in the round: this is appropriate for figures designed for shrines.   « Less