Short cylindrical body, short neck with a wide rim, the sides filled with curved heart-shaped designs. This type of fired clay vessel was mostly produced at the site of  More »

Short cylindrical body, short neck with a wide rim, the sides filled with curved heart-shaped designs. This type of fired clay vessel was mostly produced at the site of Merhgarh in Baluchistan. From here and other small centres, they were traded far and wide throughout Baluchistan, from the borders of the Indus Valley to south-eastern Iran. Examples of this pottery were also carried by merchants and nomads during their travels within the Indus Valley, and fragments have been found at the site of Harappa dating to 2800-2600 BCE and possibly even earlier. The motifs painted include both geometric and floral and stylised animals. Yet, this type of pottery was no more produced after the beginning of the mature Harappan period (i.e. 2600 BCE).   « Less

Short cylindrical body, short neck with a wide rim, the sides painted with colourful concentric romboid patterns, filled with net-lines and vertical bands. This type of fired  More »

Short cylindrical body, short neck with a wide rim, the sides painted with colourful concentric romboid patterns, filled with net-lines and vertical bands. This type of fired clay vessel was mostly produced at the site of Merhgarh in Baluchistan. From here and other small centres, they were traded far and wide throughout Baluchistan, from the borders of the Indus Valley to south-eastern Iran. Examples of this pottery were also carried by merchants and nomads during their travels within the Indus Valley, and fragments have been found at the site of Harappa dating to 2800- 2600 BCE and possibly even earlier. The motifs painted include both geometric and floral and stylised animals. Yet, this type of pottery was no more produced after the beginning of the mature Harappan period (i.e. 2600 BCE).   « Less

Large globular red earthenware jar, the upper body painted with a large register of scenes with stylised caprids divided by vertical narrow lines.Around 2600 BCE, most sites  More »

Large globular red earthenware jar, the upper body painted with a large register of scenes with stylised caprids divided by vertical narrow lines.Around 2600 BCE, most sites in northern and central Balochistan were abandoned, as a consequence of the expansion of the Indus Civilisation into their territory. Nevertheless, southern Baluchistan continued to be inhabited by a people labelled "Kulli."This cultural complex is named after a site in Kolwa which was discovered by Aurel Stein. Since then, several other sites became known from Makran to southern Kalat and Nindowari, to Nausharo in the Kachhi plain, and to the eastern foot of the Kirthar Range in southwestern Sindh. Some motifs and vessel shapes found in southeastern Iran and on the Arabian Peninsula, are sometimes also linked to the Kulli and seen as indications for long-distance contacts. The lay-out of some sites resemble the plan of Harappan sites: rows of houses are built along lanes and streets, which are sometimes paved. Sometimes, stairs provide access to upper terraces. Building materials were large ashlars or boulders, and the houses are often preserved to a considerable height. Many of these sites are located in strategic positions, on top of mountains or terrace hills, overlooking the valleys and controlling the plains and passes. Other sites are small hamlets built in the open plain. Although they have no defenses, they are of a very compact appearance. Most sites are associated with dams. Ceramic vessels from the Kulli phase have been unearthed at Nindowari, Nausharo and other small sites in Baluchistan. Their surface often painted with reddish-brown slip designs, one of the most common being the ensemble of vertical strokes depicted on the neck, as in the case of a small fragment unearthed at Bakkar Buthi, a small Harappan site located in the Kanrach Valley, a remote area bordered by the Mor and Pab Ranges, and as in the globular jar here illustrated.While this vessel would have been most probably used to carry water, it is also the creation of an artist with a trained eye. The form of the work, built up from coiled clay, is elegant and refined. The swollen belly of the vessel tapers into the shoulder, where it juts inwards into the short rim. The upper half of the vessel has been decorated with painted motifs, including a number of ibexes with long curving horns. These patterns would seem to confirm its appurtenance to the Kulli culture of southern Baluchistan, possibly dated to the late 3rd Millennium BCE.Comparable works are to be found in: G. Possehl, Kulli: An Exploration of an Ancient Civilization in South Asia, Durham, 1986. - (LO.833)   « Less

Squashed globular jar with large mouth, the upper side of the body painted in brown with a register of separated scenes including pipal leaves and water well designs. Short  More »

Squashed globular jar with large mouth, the upper side of the body painted in brown with a register of separated scenes including pipal leaves and water well designs. Short cylindrical body, short neck with a wide rim, the sides painted with colourful birds separated by vertical geometric partitions. This type of fired clay vessel was mostly produced at the site of Merhgarh in Baluchistan. From here and other small centres, they were traded far and wide throughout Baluchistan, from the borders of the Indus Valley to south-eastern Iran. Examples of this pottery were also carried by merchants and nomads during their travels within the Indus Valley, and fragments have been found at the site of Harappa dating to 2800-2600 BCE and possibly even earlier. The motifs painted include both geomtric and floral and stylised animals. Yet, this type of pottery was no more produced after the beginning of the mature Harappan period (i.e. 2600 BCE).For comparable examples see: J.F.Jarrige ed., Les Cites Oubliees de l'Indus: Archeologie du Pakistan, 1988: pp.105-107. - (LO.834)   « Less

Cylindrical body, sides slightly everted culminating with almost flat shoulders and a straight neck with everted rim. The body divided into decorative registers, the widest  More »

Cylindrical body, sides slightly everted culminating with almost flat shoulders and a straight neck with everted rim. The body divided into decorative registers, the widest situated on the belly and comprising a continuous scene with zebu bulls interspersed amidst tall trees.Around 2600 BCE, most sites in northern and central Baluchistan were abandoned, as a consequence of the expansion of the Indus Civilisation into their territory. Nevertheless, southern Baluchistan continued to be inhabited by a people labelled "Kulli."This cultural complex is named after a site in Kolwa, discovered by Aurel Stein. Since then, several other sites became known from Makran to southern Kalat and Nindowari, to Nausharo in the Kachi plain, and to the eastern foot of the Kirthar Range in southwestern Sindh. Some motifs and vessel shapes found in southeastern Iran and on the Arabian Peninsula, are sometimes also linked to the Kulli and seen as indications for long-distance contacts. The lay-out of some sites resemble the plan of Harappan sites: rows of houses are built along lanes and streets, which are sometimes paved. Sometimes, stairs provide access to upper terraces. Building materials were large ashlars or boulders, and the houses are often preserved to a considerable height. Many of these sites are located in strategic positions, on top of mountains or terrace hills, overlooking the valleys and controlling the plains and passes . Other sites are small hamlets built in the open plain. Although they have no defenses, they are of a very compact appearance. Most sites are associated with dams.Ceramic vessels from the Kulli phase have been unearthed at Nindowari, Nausharo and other small sites in Baluchistan. Their surface often painted with reddish-brown slip designs, one of the most common being the ensemble of vertical strokes depicted on the neck, as in the case of a small fragment unearthed at Bakkar Buthi, a small Harappan site located in the Kanrach Valley, a remote area bordered by the Mor and Pab Ranges. All the motifs fetaured on this jar would seem to indicate its appurtenance to the Kulli culture of southern Baluchistan, possibly dated to the late 3rd Millennium BCE.Comparable works are to be found in: G. Possehl, Kulli: An Exploration of an Ancient Civilization in South Asia, Durham, 1986. - (LO.835)   « Less

The vast majority of Benin’s artworks are designed to honour the achievements and/or memory of the Obas, the divine rulers of the Benin polities. Until the late 19th  More »

The vast majority of Benin’s artworks are designed to honour the achievements and/or memory of the Obas, the divine rulers of the Benin polities. Until the late 19th century, the Benin centres were a ruling power in Nigeria, dominating trade routes and amassing enormous wealth as the military and economic leaders of their ancient empire. This changed with the appearance of the British forces, which coveted the wealth of the royal palaces and found a series of excuses to mount a punitive expedition against the Oba’s forces in 1897. It was only at this point, the moment of its’ destruction, that the true achievements of the Benin polities became apparent to western scholars. The palaces were a sprawling series of compounds, comprising accommodation, workshops and public buildings. As it grew, the buildings pertaining to previous Obas were either partially refurbished or left in favour of newer constructions; this led to a long history of royal rule written in sculptural works that rank among the finest that African cultures have ever produced. The technology of bronze and copper smelting, ironworking and sculpting in a range of materials that particularly included ivory was extremely refined and effective; indeed, smelting, forging and cire perdue (lost wax) metalworking methods exceeded any seen in Europe until the 19th century. Brass or bronze Oba heads were made to honour the memory of a deceased king. Typically, the son of the dead king – the new Oba – would pay tribute to his father by erecting an altar in his memory. These altars, low platforms of mud that were arrayed around the perimeter of the royal courtyards, were decorated with various artefacts alluding to the Oba’s achievements in life. Further decorations included spears, statues, cast brass altars depicting the Oba and his followers, brass bells to awaken the spirits, rattle-staffs (ukhurhe) and magical objects that included Neolithic celts (known as “thunder stones”). In traditional Benin society, the queen mother (Iyoba) is also commemorated in this way, following a edict   « Less

The vast majority of Benin’s artworks are designed to honour the achievements and/or memory of the Obas, the divine rulers of the Benin polities. Until the late 19th  More »

The vast majority of Benin’s artworks are designed to honour the achievements and/or memory of the Obas, the divine rulers of the Benin polities. Until the late 19th century, the Benin centres were a ruling power in Nigeria, dominating trade routes and amassing enormous wealth as the military and economic leaders of their ancient empire. This changed with the appearance of the British forces, which coveted the wealth of the royal palaces and found a series of excuses to mount a punitive expedition against the Oba’s forces in 1897. It was only at this point, the moment of its’ destruction, that the true achievements of the Benin polities became apparent to western scholars.The palaces were a sprawling series of compounds, comprising accommodation, workshops and public buildings. As it grew, the buildings pertaining to previous Obas were either partially refurbished or left in favour of newer constructions; this led to a long history of royal rule written in sculptural works that rank among the finest that African cultures have ever produced. The technology of bronze and copper smelting, ironworking and sculpting in a range of materials that particularly included ivory was extremely refined and effective; indeed, smelting, forging and cire perdue (lost wax) metalworking methods exceeded any seen in Europe until the 19th century. Benin Style Bronze Plaque - LSO.563Origin: Nigeria Circa: 20 th Century ADDimensions: 20" (50.8cm) high x 15.5" (39.4cm) wide Collection: African Art Style: Benin Medium: bronze Condition: Very Fine   « Less

Around 2600 BCE, most sites in northern and central Balochistan were abandoned, as a consequence of the expansion of the Indus Civilisation into their territory.  More »

Around 2600 BCE, most sites in northern and central Balochistan were abandoned, as a consequence of the expansion of the Indus Civilisation into their territory. Nevertheless, southern Baluchistan continued to be inhabited by a people labelled "Kulli."This cultural complex is named after a site in Kolwa which was discovered by Aurel Stein. Since then, several other sites became known from Makran to southern Kalat and Nindowari, to Nausharo in the Kachhi plain, and to the eastern foot of the Kirthar Range in southwestern Sindh. Some motifs and vessel shapes found in southeastern Iran and on the Arabian Peninsula, are sometimes also linked to the Kulli and seen as indications for long-distance contacts.The lay-out of some sites resemble the plan of Harappan sites: rows of houses are built along lanes and streets, which are sometimes paved. Sometimes, stairs provide access to upper terraces. Building materials were large ashlars or boulders, and the houses are often preserved to a considerable height. Many of these sites are located in strategic positions, on top of mountains or terrace hills, overlooking the valleys and controlling the plains and passes. Other sites are small hamlets built in the open plain. Although they have no defenses, they are of a very compact appearance. Most sites are associated with dams.Ceramic vessels from the Kulli phase have been unearthed at Nindowari, Nausharo and other small sites in Baluchistan. Their surface often painted with reddish-brown slip designs, one of the most common being the ensemble of vertical strokes depicted on the neck, as in the case of a small fragment unearthed at Bakkar Buthi, a small Harappan site located in the Kanrach Valley, a remote area bordered by the Mor and Pab Ranges , and as in the globular jar here illustrated.While this vessel would have been most probably used to carry water, it is also the creation of an artist with a trained eye. The form of the work, built up from coiled clay, is elegant and refined. The swollen belly of the vessel tappers into the neck, where it juts outwards into the short, flaring rim. The upper half of the vessel has been decorated with painted motifs, including a number of ibexes with long curving horns encircled in double rings. All these motifs would seem to indicate its appurtenance to the Kulli culture of southern Baluchistan, possibly dated to the late 3rd Millennium BCE.For a discussion on Kulli see: G. Possehl, Kulli: An Exploration of an Ancient Civilization in South Asia, Durham, 1986. - (LO.892)   « Less

Around 2600 BCE, most sites in northern and central Baluchistan were abandoned, as a consequence of the expansion of the Indus Civilisation into their territory.  More »

Around 2600 BCE, most sites in northern and central Baluchistan were abandoned, as a consequence of the expansion of the Indus Civilisation into their territory. Nevertheless, southern Baluchistan continued to be inhabited by a people labelled "Kulli."This cultural complex is named after a site in Kolwa, discovered by Aurel Stein. Since then, several other sites became known from Makran to southern Kalat and Nindowari, to Nausharo in the Kachi plain, and to the eastern foot of the Kirthar Range in southwestern Sindh. Some motifs and vessel shapes found in southeastern Iran and on the Arabian Peninsula, are sometimes also linked to the Kulli and seen as indications for long-distance contacts. The lay-out of some sites resemble the plan of Harappan sites: rows of houses are built along lanes and streets, which are sometimes paved. Sometimes, stairs provide access to upper terraces. Building materials were large ashlars or boulders, and the houses are often preserved to a considerable height. Many of these sites are located in strategic positions, on top of mountains or terrace hills, overlooking the valleys and controlling the plains and passes . Other sites are small hamlets built in the open plain. Although they have no defenses, they are of a very compact appearance. Most sites are associated with dams.Ceramic vessels from the Kulli phase have been unearthed at Nindowari, Nausharo and other small sites in Baluchistan. Their surface often painted with reddish-brown slip designs, one of the most common being the ensemble of vertical strokes depicted on the neck, as in the case of a small fragment unearthed at Bakkar Buthi, a small Harappan site located in the Kanrach Valley, a remote area bordered by the Mor and Pab Ranges. All the motifs fetaured on this jar would seem to indicate its appurtenance to the Kulli culture of southern Baluchistan, possibly dated to the late 3rd Millennium BCE.Comparable works are to be found in: G. Possehl, Kulli: An Exploration of an Ancient Civilization in South Asia, Durham, 1986. - (LO.1204)   « Less

This bronze figure is based upon the art from the Benin Kingdom in Nigeria. This fellow is shown in full regalia including the traditional style of dress consisting of a  More »

This bronze figure is based upon the art from the Benin Kingdom in Nigeria. This fellow is shown in full regalia including the traditional style of dress consisting of a wrapped garment tied at the waist and no shirt, a variety of jewelery and a helmet like hat. This nobleman was an important character in the tribe and holds a large currency in his right hand and most likely some other form of currency or weight in his left hand.The arms are bent at the elbows to form 90 degree angles. His subtle expression exudes confidence and security. The face features robust lips, wide circular eyes and a broad nose. The shape of the beard is clearly defined by the artist. This quiet and calm figure is a testament to the power and strength of the Benin People. Benin Style Bronze Figure - DG.043Origin: Benin Kingdom Circa: 20 th Century ADDimensions: 6" (15.2cm) high Collection: African Art Style: Benin Medium: Bronze Condition: Fine   « Less