This graceful ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a Phoenician deity. It depicts a goddess standing on an integral  More »

This graceful ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a Phoenician deity. It depicts a goddess standing on an integral base, dressed in a robe that extends cowl-like from the apex of her head down to the floor. Much of the other drapery detail has been eroded by the piece’s long immersion in the Mediterranean, as have the small details of the face, but while the smaller points have been eroded, the confident, clean lines of the piece more than compensate for their loss. As is usual with sculptures of this sort, she has her right hand raised in benediction; her left arm is cradling an eminence that was probably originally a child. While the precise significance of this is unknown, the maternity/fertility associations are clear (see below). The general rendering is diagnostically Pre-Classical – rather austere and linear composition – 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

Bes was one of the most popular gods in the Egyptian pantheon; he was believed to be a patron god of music and art as well as a protector of pregnant women. He was also held  More »

Bes was one of the most popular gods in the Egyptian pantheon; he was believed to be a patron god of music and art as well as a protector of pregnant women. He was also held to be a god of war. It was in this guise that he is frequently depicted in the Greco-Roman world. He is usually depicted as a dwarf with a face that is both leonine and human. Greco-Roman period images of the god, however, frequently show him as a more heroic looking figure brandishing a sword while on horseback. Bes was a very popular subject for amulets and appears to have been widely worshipped as a household deity. It seems that he was believed to be an easily accessible god who would benevolently listen to the prayers of the common man. He was not perceived to be as intimidating as the state gods such as Amun, Osiris, or Horus. This unique blue faience amulet depicts the god Bes as a squatting dwarf with his hands upon his knees. The most interesting feature of this sculpture is the four-sided frontal representation, which may indicate that the artist was trying to show Bes as being omniscient and ever watchful. - (PF.2983)   « Less

This unusually well-rendered and harmonious ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a Phoenician deity. Unusually, the  More »

This unusually well-rendered and harmonious ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a Phoenician deity. Unusually, the piece has no integral base, and is superbly detailed with near-perfect preservation. It is a female (?) figure standing in a strikingly dynamic pose with the head slightly bowed and a half-smile on her lips. Her pose is normal, with her left hand on her abdomen and her right hand raised in a gesture of benediction. She is dressed in an atypical manner, with a long robe reaching from her head to the floor but casually opened in the centre to reveal her slightly flexed legs and bare torso; the absence of apparent breasts leads to ambiguity in sexing, although it should be noted that breasts are only ever emphasised in Phoenician fertility statues. Her stomach is slightly convex but not seemingly pregnant. The quality of the drapery is exquisite, as is the rendering of the carefully lidded eyes, the slight smile and the rounded curves of the forehead and cheeks. 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

Origin: Egypt Circa: 1600 BC to 600 BC Dimensions: 1.75" (4.4cm) high x .75" (1.9cm) wide Collection: Egyptian Style: New Kingdom Medium: Steatite The baboon was a  More »

Origin: Egypt Circa: 1600 BC to 600 BC Dimensions: 1.75" (4.4cm) high x .75" (1.9cm) wide Collection: Egyptian Style: New Kingdom Medium: Steatite The baboon was a creature that was closely associated with the moon and gods of the moon. Baboons were kept as sacred animals in temples dedicated to moon gods and were believed to be the form that spirits of the dawn took after they sang a hymn to the rising sun. Baboons were sacred to the god Thoth, who is sometimes depicted in the form of one. They were also believed to play a role in the judgment of the deceased in the afterlife. A baboon reported the outcome of the weighing of the heart of the deceased to Thoth, who would record the results. This beautiful steatite amulet depicts a baboon squatting with his front paws raised, a pose indicative of adoration. He appears to support a stele, the inscription of which is largely eroded. This amulet was probably kept as a protective charm to invoke the protection of Thoth or another moon god. - (PF.2984)   « Less

This attractive ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a Phoenician deity. It depicts a goddess standing on an  More »

This attractive ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a Phoenician deity. It depicts a goddess standing on an integral stepped base, with a small offerings bowl anteriorly. The figure’s profile is defined by the large robe which extends cowl-like over the bowed head and down to the floor, open from the shoulder to the waist. The thick hem of this garment is clearly visible – much of the other drapery detail has been eroded by the piece’s long immersion in the Mediterranean. While her face has lost some of its detail, it – and the rest of the piece – has become a masterwork of clean linear composition. As is usual with sculptures of this sort, she has her right hand raised in benediction; her left hand is brought up to her neck, perhaps explaining her bowed head. This pose is of unknown significance, but it must have been important to the Phoenicians as it was rendered in all manner of pieces from the reductivist to the hyper-realistic. The general rendering is diagnostically Pre-Classical – rather austere and linear composition – 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

This very detailed and superbly preserved ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon.  More »

This very detailed and superbly preserved 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 – who seem to have had more goddesses than gods – it represents a male. The figure halts at about the level of the knees, and has been slightly restored so it stands correctly. The figure is dressed in what resembles a tunic and toga. The former drapes the individual from shoulder to base, and is denoted with vertically-oriented textile ripples. The latter seems to be draped around the figure, then pulled from the right side of the waist to under the left arm, passing over the shoulder and tucked back under itself to secure it in position. This is the only piece we have seen that preserved such details. The head is commensurately well-preserved, showing superb rendering of a covered hairstyle which frames a serene face with a long nose, high brows, almond eyes and a pursed mouth. The cheeks are full, the jaw is long and the ears break with the profile of the coiffure. The pose is very upright, with the right hand flexed upwards and the left resting on the hip. Unusually, the left hand appears to have originally had a hollow in the clenched fingers (since filled with calcareous matter) which implies that he might once have held a perishable item. Judging from its size and orientation, it was some sort of staff/weapon, which would have crossed his body at about 45 degrees. The face is supremely naturalistic and more sophisticated than most of the Greek Archaic Period sculptures that the Phoenicians inspired. 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 graceful ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It is based upon a goddess  More »

This graceful ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It is based upon a goddess standing full-square upon a short oblong integral base, wearing a robe (?) open at the front to expose her protuberant midriff and breasts. She is also fairly broad across the hips, thus boosting the “fertility” aspects of the piece. Her hair is covered with a band of textile that may or may not be part of her gown. The right arm is raised in a gesture of what is usually assumed to be benediction, while the left hand touches the neck – a gesture that is sometimes found in these pieces but which is currently not understood. The head is cast slightly down, with delicate brows, a linear nose and full cheeks. The features are smoothed by the action of sand and water, which serves to produce a more refined, linear sculptural presence. The pose of the personage is characteristic of Phoenician art, and also that of the Archaic period in Greece, which they 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

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 is comparatively  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 is comparatively compact, and perfectly proportioned. It depicts a woman standing upon a rectangular, integral base, wearing a tunic and a long robe that covers her body from her feet to the crown of her head. Her pose is full-square, her legs together and her stomach and breasts protruding – perhaps a sign of pregnancy. Her face is serene and well-modelled, with slight brows, rounded cheeks and a pursed mouth, all framed by her scarf (or the end of her robe) which lies over her hair. The hand position is unusual – the right hand is raised in what is generally assumed to be benediction, while the left is raised towards the neck. This position is markedly rarer than other forms in Phoenician shrine figures, especially the left hand gathering up the train of the robe (as seen in other pieces in this collection). This piece combines reflective serenity with a powerful austerity, 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. The piece retains some calcareous concretions from its long interment in the Mediterranean, and has some damage to the right side of the head (not affecting the face).   « 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 is comparatively  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 is comparatively compact, and perfectly proportioned. It depicts a woman standing upon a square, integral base with a sloped front, wearing a tunic and a long robe that covers her body from her feet to the crown of her slightly down-turned head. Her pose is full-square, her legs together and her stomach protruding – perhaps a sign of pregnancy. Her breasts are also somewhat prominent. Her face is serene and well-modelled, with slight brows, rounded cheeks and a pursed mouth, all framed by her bouffant coiffure. The hand position is unusual – the right hand is raised in what is generally assumed to be benediction, while the left is raised towards the neck. This position is markedly rarer than other forms in Phoenician shrine figures, especially the left hand gathering up the train of the robe (as seen in other pieces in this collection). This piece combines reflective serenity with a powerful austerity, 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. 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. 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 a square, integrated pedestal 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, and concealing a further piece of clothing (possibly a tunic). His right hand is raised in what is considered to be benediction, his left tucked into his hip. The head appears to be covered with a textile cap or an extrusion of the robe. The facial features are slightly rubbed, adding a powerful monolithic quality to the piece. 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