Terracotta figurines such as these ones have been unearthed also at Mohenjo-daro and Harappa, suggesting a commonality of style and purpose throughout the Indus Valley during  More »

Terracotta figurines such as these ones have been unearthed also at Mohenjo-daro and Harappa, suggesting a commonality of style and purpose throughout the Indus Valley during the mature Harappan period (ca. 2600-2450 BCE). Like many figurines datable to this period, the front and back legs are joined together. In one excavated example from Chanu-daro a hole was poked in the belly, indicating that it would have been attached to a stick for use as a puppet or a small standard of the kind carried in the processions depicted on some seals. In others, the hole was indeed placed on the back of the animal, thus suggesting an alternative function, perhaps linked to music.For a comparable example see: J.Aruz ed, Art of the Ancient Cities, 2003: no.276, p.390. J.Kenoyer, Ancient Cities of the Indus Valley Civilization, 1998. - (LO.1018)   « Less

Tumbaga Sculpture of a Man - PF.5877, Origin: Colombia, Circa: 900 AD to 1500 AD, Dimensions: 3.75" (9.5cm) high, Collection: Pre-Columbian, Style: Colombian, Medium:  More »

Tumbaga Sculpture of a Man - PF.5877, Origin: Colombia, Circa: 900 AD to 1500 AD, Dimensions: 3.75" (9.5cm) high, Collection: Pre-Columbian, Style: Colombian, Medium: Tumbaga. This spectacular piece, cast in a gold and copper alloy called tumbaga, represents a stylized seated man holding an offering basket in his lap. In addition, he wears a woven backpack that hangs open as another offering receptacle. The backpack has two shoulder straps and a harness belt not much unlike what one would find a modern child carrying to school. The man wears an elaborate knitted cap that has been intricately represented. He is further embellished with a beaded necklace and two hoop earrings. Perhaps the most remarkable feature of the work is the freedom with which the artist has molded the figure’s limbs. Contrasting heavily to the finished quality of his facial features, the limbs are mere flat strips of tumbaga twisted and curled into the proper position and then attached to the body. This thinness is opposed to the weighty mass of the body. Clearly, the artist has focused attention onto the face of the figure and the two offering receptacles, the limbs are only important in that they present the basket to us. The original contents of these baskets remain mysterious. Perhaps they once contained small morsels of food, shells, precious gems, or other such ceremonial offerings. This piece radiates a potent energy and magical force that has only grown more powerful over the passing centuries.   « Less

The Han Dynasty, like the Zhou before it, is divided into two distinct periods, the Western Han (206 B.C.-9 A.D.) and the Eastern Han (23-220 A.D.) with a brief interlude.  More »

The Han Dynasty, like the Zhou before it, is divided into two distinct periods, the Western Han (206 B.C.-9 A.D.) and the Eastern Han (23-220 A.D.) with a brief interlude. Towards the end of the Western period, a series of weak emperors ruled the throne, controlled from behind the scenes by Wang Mang and Huo Guang, both relatives of empresses. They both exerted enormous influence over the government and when the last emperor suddenly passed away, Mang became ruling advisor, seizing this opportunity to declare his own Dynasty, the Xin, or “New.” However, another popular uprising began joined by the members of the Liu clan, the family that ruled the Han Dynasty, the Xin came to a quick end and the Eastern Han was established in its place with its capital at Loyang (Chang’an, the capital of the Western Han, was completely destroyed).However, even as Chinese influence spread across Southeastern Asia into new lands, the Eastern Han Dynasty was unable to recreate the glories of the Western Period. In fact, this period can be characterized by a bitter power struggle amongst a group of five consortial clans. These families sought to control the young, weak emperors with their court influence. Yet, as the emperors became distrustful of the rising power of the clans, they relied upon their eunuchs to defend them, often eliminating entire families at a time. During the Western Han, the Emperor was viewed as the center of the universe. However, this philosophy slowly disintegrated under the weak, vulnerable rulers of the Eastern Han, leading many scholars and officials to abandon the court. Eventually, the power of the Han would completely erode, ending with its dissolution and the beginning of the period known as the “Three Kingdoms.”A type of work known as mingqi, literally translated as, “items for the next world,” this sculpture was specifically commissioned by the family of the deceased to be buried alongside their departed relative, both as a symbol of their wealth and familial piety. However, only elite members of the social hierarchy could afford to be honored with such elaborate burials. During the Han era, the ancient Chinese believed that the afterlife was an extension of our earthly existence. Thus the tombs of nobles and high-ranking officials were filled with sculpted renditions of their earthly entourage. Musicians, chefs, attendants, and guardians were placed alongside pots, vessels, cooking utensil, and herds of livestock. All these mingqi were expected to perform their functions continually throughout the afterlife. The guards would watch over the soul of the deceased, while the chef prepared meals, utilizing the meats of the livestock, and the musicians performed songs to nourish the spirit throughout eternity. The smile that graces the face of this attendant is typical of the happy entertainers from the Sichuan Province. He carries a round object in his left hand, held against his chest, possibly a mirror or fan, while he holds his right arm in the air, the long robe draped over his hand. The detachable head is characteristic of such works. A reflection of the wealth and sophistication of ancient China, this sculpture intrigues us with its vast historical and cultural insights. Furthermore, this work is a gorgeous symbol of the philosophical and religious belief of the Han. - (H.651)   « Less

Gold Pendant of a Frog - FJ.6212, Origin: Costa Rica, Circa: 11 th Century AD to 16 th Century AD, Dimensions: 2" (5.1cm) high, Collection: Pre-Columbian, Style:  More »

Gold Pendant of a Frog - FJ.6212, Origin: Costa Rica, Circa: 11 th Century AD to 16 th Century AD, Dimensions: 2" (5.1cm) high, Collection: Pre-Columbian, Style: Pre-Columbian, Medium: Gold. Frogs appear frequently in the goldwork of Pre-Columbian Costa Rica, a tropical region in which numerous species of small frogs exist. Both tree frogs, which range in length from an inch to “giants” of five inches, and terrestrial frogs of small size and poisonous skin are known. The frogs are often vibrantly colored; bright yellow and “gold colored” frogs are among them. It is possible that this pendant is a stylized representation of a tree frog; tree frogs have extremely long legs, like those seen projecting from the body of this sculptural pendant, and equally long feet, here reduced to flattened rectangles. The frog is sitting, and ethnographic evidence suggests that this posture is significant for amphibian imagery; however, this significance remains a mystery. Emerging from the mouth of the frog, two snakes (or perhaps a bicephalous serpent) wind their way outward, appearing almost like a moustache. The meaning of this pairing, unfortunately, remains as mysterious as the importance of the seated posture. The frogs front two feet loop around into a pair hooks, allowing the work to be publicly displayed on a necklace and worn for ceremonies or festivals. Due to our limited comprehension of the rich mythological traditions of the Pre-Columbian Costa Ricans, the full meaning of this masterpiece remains clouded. Although we may never completely understand the cultural and religious importance of this work, we can revel in its outstanding beauty and skilled artistry.   « Less

Culture: Holy Land. Date: 800 -600 BC. Material: Pottery. Condition: Intact, very good condition, with horizontal line decorations. Provenance: Ex: American private  More »

Culture: Holy Land. Date: 800 -600 BC. Material: Pottery. Condition: Intact, very good condition, with horizontal line decorations. Provenance: Ex: American private collection. Measurements: 7.5 inches high (18.5 cms).   « Less

Culture: Cypriot. Date: 800 - 500 B.C. Material: Terracotta. Condition: Intact, very good two tiny chips on rim, with some original polychromy still preserved. Provenance:  More »

Culture: Cypriot. Date: 800 - 500 B.C. Material: Terracotta. Condition: Intact, very good two tiny chips on rim, with some original polychromy still preserved. Provenance: Ex: American private collection. Measurements: 3.4 inches high (9 cms). This juglet made of barrel shaped form with two nipples protruding on both sides, the neck flares out to a wide circular rim, with one semi looped handle. An extremely rare type that is seldom offered for sale.   « Less

Culture: Holy Land. Date: 2nd - 1st Century B.C. (Early Roman Period). Material: Terracotta. Condition: Intact, with pretty sea deposits, and preserving some original  More »

Culture: Holy Land. Date: 2nd - 1st Century B.C. (Early Roman Period). Material: Terracotta. Condition: Intact, with pretty sea deposits, and preserving some original polychromy. Provenance: Ex: American private collection. Measurements: 6.1 inches high (15.5 cms). Of conical form with a small footed and rounded base. The neck slightly flares out to a rounded rim with narrow opening and a single semi looped handle. A very rare type especially with the flat footed base. Cf: cat. no. 114, p. 116, (but rounded body and bottom), Israel in Antiquity, The Jewish Museum/ New York.   « Less

Culture: NEAR EASTERN. Date: 2ND - 1ST CENTURY B.C. Material: TERRACOTTA. Provenance: EX: EUROPEAN PRIVATE COLLECTION. Condition: INTACT, SUPERB, ON A CUSTOM BASE STAND.  More »

Culture: NEAR EASTERN. Date: 2ND - 1ST CENTURY B.C. Material: TERRACOTTA. Provenance: EX: EUROPEAN PRIVATE COLLECTION. Condition: INTACT, SUPERB, ON A CUSTOM BASE STAND. Measurements: 4.4 INCHES LONG (11 CMS), 3.25 INCHES HIGH (8 CMS). Reclining on his left side, his right arm extended above his right side, holding a rounded dish underneath his beard. The big rounded eyes are drilled in between a large nose, the mouth also circularly drilled, wearing a conical headdress, An extremely rare type of idol in an excellent state of preservation.   « Less

Culture: BYZANTINE OR ISLAMIC. Date: 6TH - 9TH CENTURY AD. Material: GLASS. Provenance: EX: PRIVATE COLLECTION. Condition: INTACT, SUPERB, WITH WEATHERING AND IRIDESCENCE.  More »

Culture: BYZANTINE OR ISLAMIC. Date: 6TH - 9TH CENTURY AD. Material: GLASS. Provenance: EX: PRIVATE COLLECTION. Condition: INTACT, SUPERB, WITH WEATHERING AND IRIDESCENCE. Measurements: 1.75 INCHES HIGH, (4.5 CMS). Yellowish-green glass, this thick flask has a round body with a short cylindrical neck. The pattern-moulded decoration consists of multiple short parallel recessed vertical indentations. Cf: Lucerene, nos. 549-50, p. 129. Our vast inventory of ancient art includes one of the finest and most comprehensive ancient glass collections ever assembled; it includes nearly every variety of pre-Roman, Roman, and Eastern Mediterranean ancient glass. If you have any specific inquiries, please let us know.   « Less

Culture: NEAR EASTERN (GREATER SYRIA). Date: 2ND - 1ST MILLENIUM B.C. Material: LIMESTONE. Provenance: EX: EARLY AMERICAN PRIVATE COLLECTION; EX: NEW YORK ART MARKET.  More »

Culture: NEAR EASTERN (GREATER SYRIA). Date: 2ND - 1ST MILLENIUM B.C. Material: LIMESTONE. Provenance: EX: EARLY AMERICAN PRIVATE COLLECTION; EX: NEW YORK ART MARKET. Condition: INTACT, SMALL CHIP AT REAR BOTTOM. Measurements: 4 INCHES LONG (10 CMS). In the form of a duck with the head turned and laid flat at center of back. Very rare, especially this size, and condition. Cf: Lot 145, Sotheby's New York Antiquities Auction, 9 December 1995, also lot 114, Sotheby's New York Antiquities Auction, 12 June 2001, see also for weights and measure, Oates, Babylon, pp. 186-187.   « Less