Since the dawn of time, man has offered votives to win the benign favor of his gods. Sometimes these were perishable gifts of food, or wine, or livestock. At other times they  More »

Since the dawn of time, man has offered votives to win the benign favor of his gods. Sometimes these were perishable gifts of food, or wine, or livestock. At other times they were figures of stone, metal or clay--votives of a more enduring nature. The art of the sculpted clay votive reached its peak in the Hellenistic age, when the artistic influence of Classical Greece spread throughout the Mediterranean and Near East. In and around Alexandria--where the Olympian gods were mixed freely with those of ancient Egypt--the temples were filled to overflowing with lively depictions of deities, royalty, actors and ordinary folk. As gifts to the gods, these could not be destroyed, so periodically the votives were buried in pits to make room for new offerings. When we look upon their features today--sometimes agelessly beautiful, divine, regal or aloof, sometimes comic or infinitely wise--we come face to face with the human past. - (P.3419)   « Less

Since the dawn of time, man has offered votives to win the benign favor of his gods. Sometimes these were perishable gifts of food, or wine, or livestock. At other times they  More »

Since the dawn of time, man has offered votives to win the benign favor of his gods. Sometimes these were perishable gifts of food, or wine, or livestock. At other times they were figures of stone, metal or clay--votives of a more enduring nature. The art of the sculpted clay votive reached its peak in the Hellenistic age, when the artistic influence of Classical Greece spread throughout the Mediterranean and Near East. In and around Alexandria--where the Olympian gods were mixed freely with those of ancient Egypt--the temples were filled to overflowing with lively depictions of deities, royalty, actors and ordinary folk. As gifts to the gods, these could not be destroyed, so periodically the votives were buried in pits to make room for new offerings. When we look upon their features today--sometimes agelessly beautiful, divine, regal or aloof, sometimes comic or infinitely wise--we come face to face with the human past. - (P.3674)   « Less

Since the dawn of time, man has offered votives to win the benign favor of his gods. Sometimes these were perishable gifts of food, or wine, or livestock. At other times they  More »

Since the dawn of time, man has offered votives to win the benign favor of his gods. Sometimes these were perishable gifts of food, or wine, or livestock. At other times they were figures of stone, metal or clay--votives of a more enduring nature. The art of the sculpted clay votive reached its peak in the Hellenistic age, when the artistic influence of Classical Greece spread throughout the Mediterranean and Near East. In and around Alexandria--where the Olympian gods were mixed freely with those of ancient Egypt--the temples were filled to overflowing with lively depictions of deities, royalty, actors and ordinary folk. As gifts to the gods, these could not be destroyed, so periodically the votives were buried in pits to make room for new offerings. When we look upon their features today--sometimes agelessly beautiful, divine, regal or aloof, sometimes comic or infinitely wise--we come face to face with the human past. - (P.4453)   « Less

Since the dawn of time, man has offered votives to win the benevolent favor of his gods. Sometimes these were perishable gifts of food, or wine, or livestock. At other times  More »

Since the dawn of time, man has offered votives to win the benevolent favor of his gods. Sometimes these were perishable gifts of food, or wine, or livestock. At other times they were figures of stone, metal, or clay--votives of a more enduring nature. The art of the sculpted clay votive reached its peak in the Hellenistic age, when the artistic influence of Classical Greece spread throughout the Mediterranean and Near East. In and around Alexandria--where the Olympian gods were mixed freely with those of ancient Egypt--the temples were filled to overflowing with lively depictions of deities, royalty, actors, beasts and ordinary folk. As gifts to the gods, these could not be destroyed, so periodically the votives were buried in pits to make room for new offerings. When we look upon their features today--at times mysterious, ageless, beautiful, divine, regal or aloof, sometimes comic or infinitely wise--we come face to face with the human past. - (PF.1638)   « Less

Since the dawn of time, man has offered votives to win the benign favor of his gods. Sometimes these were perishable gifts of food, wine, or livestock; at other times they  More »

Since the dawn of time, man has offered votives to win the benign favor of his gods. Sometimes these were perishable gifts of food, wine, or livestock; at other times they were figures of stone, metal or clay--votives of a more enduring nature. The art of the sculptured clay votive reached its peak in the Hellenistic Age, when the artistic influence of Classical Greece spread through the Mediterranean and Near East. In and around Alexandria, where the Olympian Gods were mixed freely with those of Ancient Egypt, the temples were filled with lively depictions of deities, royalty, actors and ordinary folk. As gifts to the gods, these could not be destroyed, so periodically the votives were buried in pits to make room for new offerings. When we look upon their features today, sometimes agelessly beautiful, divine, regal, aloof, comical or infinitely wise, we come face to face with the human past. - (PF.2824)   « Less

Since the dawn of time, man has offered votives to win the benign favor of his gods. Sometimes these were perishable gifts of food, or wine, or livestock; at other times they  More »

Since the dawn of time, man has offered votives to win the benign favor of his gods. Sometimes these were perishable gifts of food, or wine, or livestock; at other times they were figures of stone, metal, or clay-- votives of a more enduring nature. The art of the sculpted clay votive reached its peak in the Hellenistic age, when the artistic influence of Classical Greece spread throughout the Mediterranean and near east. In and around Alexandria-- where the Olympian gods were mixed freely with those of Ancient Egypt-- the temples were filled to overflowing with lively depictions of deities, royalty, actors, beasts and ordinary folk. As gifts to the gods, these could not be destroyed, so periodically the votives were buried in pits to make room for new offerings. When we look upon their features today-- sometimes agelessly beautiful, divine, regal or aloof, sometimes comic or infinitely wise-- we come face to face with the human past. - (PF.1171)   « Less

A pyxis was a jar used to hold balms, ointments or other cosmetics. Such vessels adorned the dressing table of every lady of fashion in the Classical world. On occasion,  More »

A pyxis was a jar used to hold balms, ointments or other cosmetics. Such vessels adorned the dressing table of every lady of fashion in the Classical world. On occasion, pyxides have been known to have stored gold coins or other valuables such as jewelry. Even today, women continue to keep their treasures in luxurious containers that both protect and enhance the prestige of the items. Surely this phenomenon can trace its roots back to objects like this pyxis. This particular pyxis was made from ivory, a very rare and costly material. Such a container would have been used to hold the most precious and expensive of ointment or jewelry. Its simplicity of form belies its great value, stored in the very atoms of the material that comprises it.Over two thousand years ago, a noble lady or a woman of great wealth, living in the area surrounding Jerusalem might have safeguarded her priceless jewelry of her most precious ointments or cosmetics in this pyxis. However, today the pyxis has become the treasure. Although the contents it once contained have long since disappeared, the beauty and history of this pyxis astounds us in itself. Today, we appreciate it for what it is, not for what it holds. - (PF.6300)   « Less

This Mask is a depiction of Bacchus, the Roman god of wine and sensual enjoyment. The hair, carefully styled in the Greco-Egyptian manner is framed with a wreath of grape  More »

This Mask is a depiction of Bacchus, the Roman god of wine and sensual enjoyment. The hair, carefully styled in the Greco-Egyptian manner is framed with a wreath of grape vine. It borders a delicate and androgynous face with large and placid eyes and a quiet benign smile. The piece is exceptional in the intricacy of the design and the special attention paid to the unusual hair- styling. The veins in the grape leaves and the dapples of dew upon the fruit stand out in cautious impressure. Small funerary masks such as this are usually discovered in tombs, to act as a guide to the Elysian fields, and serve as a protector over the shade of the deceased. The gentle aristocrat that commissioned this piece did not opt for the conventional Hermes, the fierce Mars, or the wise Augustus to be his ward in the next dimension, but rather Bacchus.For this particular epicure the ephemeral fruits of our world were pleasure and sustenance enough for this life and for the next. His Elysian fields, he hoped, would be dotted with grape vines, laden with aromatic meats, alive with the pastoral pleasures that he entertained in his life. Upon his face, the Bacchus of this mask has impressed upon him the quiet and complete satisfaction that one experiences in the presence of delightful company, rich wine, and beautiful music. The zealous happiness and simple fulfillment of the mask’s commissioner and subject cannot help but resonate with whoever falls into its presence. The grace and beauty of its execution makes this piece of art an even greater testament to the philosophy it represents. For those in ancient times, and in our own, who sprinkle libations at the altar of beauty, this piece is an idol worthy of our wine, our smile, and our admiration.- (PF.1486)   « Less

This Mask is a depiction of Bacchus, the Roman god of wine and sensual enjoyment. The hair, carefully styled in the Greco-Egyptian manner- is framed with a wreath of grape  More »

This Mask is a depiction of Bacchus, the Roman god of wine and sensual enjoyment. The hair, carefully styled in the Greco-Egyptian manner- is framed with a wreath of grape vine. It borders a delicate and androgynous face; the eyes large and placid, the smile benign and quiet. The piece is exceptional in the intricacy of the design, and the special attention paid to the unusual hair- styling. The veins in the grape leaves and the dapples of dew upon the fruit stand out in cautious impressure. Small funerary masks such as this are usually discovered in tombs, to act as a guide to the Elysian fields, and serve as a protector over the shade of the deceased. The gentle aristocrat that commissioned this piece did not opt for the conventional Hermes, the fierce Mars, or the wise Augustus to be his ward in the next dimension, but rather Bacchus. For this particular epicure, the ephemeral fruits of our world were pleasure and sustenance enough for this life, and for the next. His Elysian fields, he hoped, would be dotted with grape vines, laden with aromatic meats, alive with the pastoral pleasures that he entertained in his life. Upon his face, the Bacchus of this mask has impressed upon him the quiet and complete satisfaction that one experiences in the presence of delightful company, rich wine, and beautiful music. The zealous happiness and simple fulfillment of the mask’s commissioner and subject cannot help but resonate with whoever falls into its presence. The grace and beauty of its execution makes this piece of art an even greater testament to the philosophy it represents. For those in ancient times, and in our own, who sprinkle libations at the altar of beauty, this piece is an idol worthy of our wine, our smile, and our admiration. MR.003 - (MR.003)   « Less

Origin: Mediterranean Circa: 200 BC to 200 AD Dimensions: 9" (22.9cm) high Collection: Classical Style: Graeco-Roman Medium: Stone

Origin: Mediterranean Circa: 200 BC to 200 AD Dimensions: 9" (22.9cm) high Collection: Classical Style: Graeco-Roman Medium: Stone   « Less