This beautiful 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  More »

This beautiful 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 a plain integral base, a receptacle at her feet, and dressed in a long toga-like robe with a central wide sash. The head is very finely rendered, with large, almond-shaped eyes, a long nose and a slight smile on finely-modelled lips. The style is reminiscent of the Archaic Period Greek statues with which it 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 condition of the piece is excellent, and it retains some calcareous concretions from its long interment in the Mediterranean.   « 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 unusually large,  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 unusually large, detailed and well-preserved. It shows a male figure standing upon a tall, tiered pedestal base, decorated with a double ring at the bottom and another single at the top. The figure is unusually tall, wearing a tunic-like garment covered with a long, flowing robe that reaches to the feet and is gathered over the left wrist. The detailing of the textile is good. The pose is relaxed, even casual, with the weight taken on the left leg and the right bent at the knee as is strolling. The face is strongly-modelled and well-preserved, with high brows, pointed-oval eyes, a long nose and a gentle smile. The coiffure is unclear – it may be gathered back, or covered by the upper end of the robe. The right hand is truncated in the mid forearm, but it is likely that he was originally holding it up in benediction (a not uncommon pose for pieces such as this). The piece is certainly formal, but it is also more fluid in terms of composition than is usual for these sculptures, which are contemporary with the Archaic Period Greek statues which the Phoenicians helped to 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 retains some calcareous concretions from its long interment in the Mediterranean, and a large shell attached to the left foot.   « Less

This imposing and beautifully-modelled ceramic sculpture is an exceptional votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician  More »

This imposing and beautifully-modelled ceramic sculpture is an exceptional votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It is exceptional in terms of styling, composition and size. The base is double-tiered, with a four-legged, oblong section with discrete feet, topped by a second more cubic section upon which the figure stands. The sculpture represents a pregnant woman, with prominent stomach and breasts. The stance is full-square, the weight of the body spread between both feet. Hand positions are slightly out of the ordinary – the right hand (truncated) is raised in what is usually assumed to be benediction, while the left cups her breast. The left hand is usually holding up a fold of the robe, but in this case the robe is open and barely hangs from the shoulders, lending a sensual impression to the figure. The face is somewhat eroded, but nevertheless powerful in its series of smooth lines and preserved contours. Perhaps the most remarkable aspect of the piece is the headwear. Most Phoenician pieces are wrapped in robes that are more to do with the classical tradition than any more ancient inspiration. Yet in the current case the figure is clearly wearing an Egyptian headdress, which betrays one of the Phoenicians’ great sources of inspiration but that is rarely seen in such detail. 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

This imposing 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 (or  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. It shows a goddess (or perhaps a god) standing on an ornate integral pedestal base, dressed in a long robe with flowing drapery down to the ground. Her face, while smoothed slightly by the passage of time, shows strong brows, a straight, narrow nose and an ornate hairstyle running into her clothing as a veil. A receptacle at her feet implies that offrenda must be given in order to curry favour with her. Her right hand is raised in benediction, her left tucked into her side. 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, which is appropriate for figures destined for shrines. The piece retains some calcareous concretions from its long interment in the Mediterranean.   « Less

This stylishly-modelled ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It is unusual in  More »

This stylishly-modelled ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It is unusual in terms of detailing and styling. It depicts an elegantly-dressed woman standing on a quadrilateral base with straight sides and an upwardly-sloping anterior aspect, and decorated with a raised border. The figure’s silhouette is largely the outline of the long gown that reaches from the apex of the head to the ground. Within there are details such as a well-rendered tie belt that indicate another garment (probably a tunic) concealed beneath. Detailing of the garments is exquisite, with folds and drapery rendered with great care. The hair is gathered into a solid layer beneath the robe’s apex, with some fronds escaping to the figure’s right side. The stomach and breasts are fairly prominent although the position of the figure is not as “bold” as most fecundity-linked pieces. The fertility associations of this piece are reinforced by the child she is carrying on her crooked left arm, which appears to be breastfeeding from her. The other hand is upraised in what is generally assumed to be a gesture of benediction. The face is elegant and sensitively-rendered, with a long nose, a pursed mouth set in a half-smile, a strong chin and moulded cheeks. The rounded 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

Origin: Egypt Circa: 1600 BC to 600 BC Dimensions: .75" (1.9cm) high x .375" (1.0cm) wide Collection: Egyptian Style: New Kingdom Medium: Faience This finely crafted  More »

Origin: Egypt Circa: 1600 BC to 600 BC Dimensions: .75" (1.9cm) high x .375" (1.0cm) wide Collection: Egyptian Style: New Kingdom Medium: Faience This finely crafted turquoise faience charm is fashioned in the form of a hare. It may be a three dimensional representation of the biconsonantal hieroglyph “wn,” but it could also represent one of the many members of the Egyptian pantheon (such as the goddess Wennenet or the god Wennen). This hare is depicted with an almost leonine muscularity, especially in the treatment of the powerful looking haunches, which is all the more remarkable for the small scale on which it was carved. The execution of this sculpture in miniature would certainly have required painstaking attention to detail. - (PF.2950)   « Less

Origin: Egypt Circa: 600 BC to 300 BC Dimensions: 1.75" (4.4cm) high x .75" (1.9cm) wide Collection: Egyptian Style: Late Dynastic Period Medium: Faience The  More »

Origin: Egypt Circa: 600 BC to 300 BC Dimensions: 1.75" (4.4cm) high x .75" (1.9cm) wide Collection: Egyptian Style: Late Dynastic Period Medium: Faience The multiplicity of gods in the complicated ancient Egyptian pantheon frequently resulted in the merging of the identities of different gods into one form. This form existed without negating the identity of any of the gods whose identities were merged. The god Ptah-Sokar is an example of such a syncretized deity. Ptah was the creator god of Memphis (who is frequently shown as a mummiform man wearing a skull cap) and Sokar, the falcon-headed god of the Memphite necropolis. Because both gods had cult centers in Memphis and both were the patron gods of artisans, their identities were eventually merged into the composite form of Ptah-Sokar. This gray-green faience figure is profoundly interesting because it depicts a syncretized form of two deities that differs from the forms in which Ptah and Sokar are normally depicted. Ptah-Sokar is shown in the form of a naked, bow-legged dwarf surrounded by a dizzying array of symbols and attributes. The god stands atop two crocodiles with each foot placed atop one crocodile head. He holds a snake in each hand and perched on each of his shoulders rests a falcon. A scarab rests on the top of his head, and a winged goddess whose feet rest upon the overlapping tails of the crocodiles protects his back. - (PF.2952)   « Less

This attractive ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a Phoenician deity (or perhaps a historically-significant  More »

This attractive ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a Phoenician deity (or perhaps a historically-significant personage). The figure – which is of ambiguous sex – is standing on an integral circular then square (stacked) base, with an offering bowl anterior to the feet. The figure has been worn by its long immersion in the Mediterranean, but the graceful lines of the drapery and the delicacy of the facial features are still visible. The right hand is relaxing on the hip, while the right is raised upwards in a gesture of benediction. The action of sand and water has smoothed the detailing of the drapery, except for a sash-like eminence running across the abdomen. The general appearance of the figure is diagnostically pre-classical or archaic, from the rendering of the facial features to the austere pose. The piece still retains calcareous accretions (which can be removed if required), notably in the lower section of the figure where a piece of coral has become attached to the offerings bowl. 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

Origin: Egypt Circa: 2000 BC to 300 BC Dimensions: 1.375" (3.5cm) high x 1.125" (2.9cm) wide Collection: Egyptian Style: Late Kingdom Medium: Diorite The ancient  More »

Origin: Egypt Circa: 2000 BC to 300 BC Dimensions: 1.375" (3.5cm) high x 1.125" (2.9cm) wide Collection: Egyptian Style: Late Kingdom Medium: Diorite The ancient Egyptians believed that the heart was the seat of the intellect and performed the functions that we now attribute to the brain. The Egyptians believed that when a person died, Osiris would judge his or her soul before a tribunal of gods. The god Thoth would lead the deceased before a set of scales and weigh the heart against the feather of Ma'at, the personification of truth and order. If the deceased's heart balanced with the feather, he or she was judged to be "true of voice" and could proceed into the afterlife. If, however, the heart didn't balance, a monster, which stood beneath the scales, would devour it and the soul would be condemned to perish. Not surprisingly, the Egyptians took great care to preserve and protect the heart of the deceased. They would also provide the deceased with spells and charms, which would insure the desired verdict in the weighing of the heart. This lovely obsidian heart is rendered in the distinctively stylized form (which looks somewhat like a cross between a jar and an acorn) that the Egyptians employed in all of their representations of the heart, including the bi-consonantal sign ib. - (PF.2964)   « Less

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

This large and powerful ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It is extremely unusual in terms of its size and manner of representation. Firstly, it is very stridently male – most figures tend to be female – with a powerful head and muscular proportions. Secondly, it is bare-headed and lacks the usual detailed drapery folds. It appears to be wearing a tunic that stops at the knees, making the legs seem somewhat short. The arms have been severed at what was probably the elbow, which brings more attention to the sculpture’s monolithic presence and the austere potency of its facial features. The head is angular and strongly modelled, with a strong nose and chin, and protuberant ears. The eyes and mouth are somewhat worn with the action of water. The smoothed details add to the powerful presence that the piece possesses, which has much in common with the Archaic Period Greek statues which the Phoenicians helped to 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.   « Less