Bronze Seated Figure of Isis and Horus - DK.068 Origin: Egypt Circa: 600 BC to 500 BC Dimensions: 4.10" (10.4cm) high Collection: Egyptian Style: Late Kingdom Medium:  More »

Bronze Seated Figure of Isis and Horus - DK.068 Origin: Egypt Circa: 600 BC to 500 BC Dimensions: 4.10" (10.4cm) high Collection: Egyptian Style: Late Kingdom Medium: Bronze Condition: Very Fine   « Less

Egyptian Polychrome Wood Mask - FF.086 Origin: Egypt Circa: 600 BC to 500 BC Dimensions: 10" (25.4cm) high x 8.8" (22.4cm) wide Collection: Egyptian Antiquities Style:  More »

Egyptian Polychrome Wood Mask - FF.086 Origin: Egypt Circa: 600 BC to 500 BC Dimensions: 10" (25.4cm) high x 8.8" (22.4cm) wide Collection: Egyptian Antiquities Style: Late Dynastic Period Medium: Wood   « Less

Faience Concubine with Inscription - AM.0358 Origin: Egypt Circa: 600 BC to 300 BC Dimensions: 6 " (15.2cm) high x 2.2" (5.6cm) wide Collection: Egyptian Style: Late  More »

Faience Concubine with Inscription - AM.0358 Origin: Egypt Circa: 600 BC to 300 BC Dimensions: 6 " (15.2cm) high x 2.2" (5.6cm) wide Collection: Egyptian Style: Late Dynastic Period Medium: Faience   « Less

Origin: Egypt Circa: 664 BC to 332 BC Dimensions: 7" (17.8cm) high Collection: Egyptian Style: Late Dynastic Period Medium: Terracotta This lentoid-shaped vessel, with  More »

Origin: Egypt Circa: 664 BC to 332 BC Dimensions: 7" (17.8cm) high Collection: Egyptian Style: Late Dynastic Period Medium: Terracotta This lentoid-shaped vessel, with a round narrow body, was designed for the celebration of the ancient Egyptian New Year. It was used to collect water from the Nile River during late summer when it began to flood. This liquid was employed in rituals during New Year ceremonies which co- incided with the annual inundation. According to legend the flood was caused by the tears that the goddess Isis shed for her husband Osiris after he was murdered by his brother Seth. It was a crucial time in the Egyptian calendar and fraught with dangers that threatened the agricultural productivity of the land. Vessels such as this one were designed as part of the effort to ensure a harmonious transition. The gods most commonly invoked were Amun and Ptah as well as members of their triads: Sekhmet, Nefertum, Mut and Khonsu. This example has hieroglyphic inscriptions on each side, reading respectively, : ‘Neith [wishes] Happy New Year to its Lord’ and ‘Ptah [wishes] Happy New Year to its Lord.’ ‘Lord’ here refers to the flask’s owner who is not identified by name. Neith was one of the most ancient goddesses in the Egyptian pantheon and had many different associations. The most relevant in this context was probably her connection with the primordial waters of creation. Each side of the flask has a broad wesekh (floral) collar and a squatting monkey either side of the short neck. In Egypt monkeys were often connected with the revitalizing female power of nature which ties in with the function of the flask. Raised bands of lotus, palmette and papyrus motifs encircle the upper part of the body. The surface has a delicate turquoise glaze of great beauty. Indeed the choice of colour may even tie in with the function of the vessel. In excellent condition, this elaborate and evocative flask will appeal to all serious collectors of Egyptian antiquities. (AM)   « Less

Origin: Egypt Circa: 600 BC to 300 BC Dimensions: 13.5 " (34.3cm) high x 11.25" (28.6cm) wide Collection: Egyptian Style: Late Kingdom Medium: Granite This monumental  More »

Origin: Egypt Circa: 600 BC to 300 BC Dimensions: 13.5 " (34.3cm) high x 11.25" (28.6cm) wide Collection: Egyptian Style: Late Kingdom Medium: Granite This monumental granite head is a fragment from a stone sarcophagus of the Late Dynastic Period. In its complete state the head would have been attached to a recumbent body above a large rectangular coffin containing the mummified remains of the deceased. Hieroglyphic inscriptions would have the named the owner and possibly included spells from the Book of the Dead. The expense of the material and the quality of the carving indicate that the sarcophagus belonged to a high ranking official who had both the wealth and the status to place such a commission. For the ancient Egyptians the furnishing of a tomb could be a life-long occupation. Preparing for the afterlife as well as displaying worldly wealth were the two main concerns. The mummified remains would not have been placed directly within the granite sarcophagus. For extra protection and ceremony another equally elaborate coffin, probably made of a more perishable material such as wood, would have been included inside. Anthropoid-shaped coffins originated during the Middle Kingdom and soon became the standard form. The preservation of the deceased’s image, albeit highly idealised, was considered critical to the soul’s rebirth.   « Less

Origin: Egypt Circa: 300 BC to 100 BC Dimensions: 6.125" (15.6cm) high x 4" (10.2cm) wide Collection: Egyptian Style: Ptolemaic Period Medium: Terracotta The grinning  More »

Origin: Egypt Circa: 300 BC to 100 BC Dimensions: 6.125" (15.6cm) high x 4" (10.2cm) wide Collection: Egyptian Style: Ptolemaic Period Medium: Terracotta The grinning dwarf god Bes was a popular deity in Egypt over many centuries, one whose worship was absorbed almost intact into Hellenistic culture. His function was to protect mankind from all evil and malevolence, and to amuse women in childbirth so that they would forget the pain. This plump and charming votive, offered at an ancient temple of the god, keeps the earlier Egyptian form of Bes but shows the influence of Greek naturalism. We are reassured that Bes’ benevolent magic is still strong, warding off all that is less than good. - (PF.0230)   « 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

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