Sometime in the millennium before the patriarch Abraham, this elegant vessel might have held an offering of food or drink. It was perhaps left as a votive offering to win the  More »

Sometime in the millennium before the patriarch Abraham, this elegant vessel might have held an offering of food or drink. It was perhaps left as a votive offering to win the favor of a powerful deity. As we hold it in our hands today, admiring its simple beauty, we are aware of the touch of other hands long ago. Who might have held it when it was new? Were the dreams and emotions that guided their lives so very different from our own? The vessel's graceful unadorned shape appeals as much to the contemporary eye as it did to the culture that created it. Such artifacts, ordinary enough in their own age, connect us in an intimate way with the world of the past. In its presence, we cross the bridge of time and set the imagination on a journey of discovery. - (SP.369)   « Less

Origin: Egypt Circa: 380 BC to 200 BC Dimensions: 26" (66.0cm) high x 16" (40.6cm) wide x 4.875" (12.4cm) depth Collection: Egyptian Style: 30th Dynasty/Early Ptolemaic  More »

Origin: Egypt Circa: 380 BC to 200 BC Dimensions: 26" (66.0cm) high x 16" (40.6cm) wide x 4.875" (12.4cm) depth Collection: Egyptian Style: 30th Dynasty/Early Ptolemaic Period Medium: Limestone This monument is in the form of a niche stela, its top crowned by a cavetto cornice fronted by a sun disc flanked on each side by a uraeus, the protective cobra of ancient Egypt. Below is a framed panel depicting a male figure wearing a belted kilt, with a prominent central flap perhaps representing a decorative apron, who kneels on a nebu-sign, the hieroglyph for “gold.” There is a sun disc atop his head and he holds a notched palm frond in each hand. The palm fronds represent the hieroglyph for “year” and are notched. Each notch symbolically represents a number of years. Taken together the figural decoration within the niche is a rebus, or visual pun, which can be “read” as a hieroglyphic phrase to be translated something on the order of, “millions upon millions of years [of life].” The nebu-sign is a frequent base for support deities in ancient Egyptian two- dimensional art, and inclines one to identify the kneeling figure as the god, Heh, a personification of infinity. Heh came to be identified as the god of eternal life. His image is often associated with pharaohs not only as an expression of their eternal existence in the Hereafter but also as an expression of the desire that their rule over Egypt would be both long and prosperous. The pharaoh associated here with Heh has not been named, as the blank rectangle, intended to hold an inscription, in the field to the upper right of the figure reveals.   « Less

Origin: Egypt Circa: 664 BC to 332 BC Dimensions: 1" (2.5cm) wide Collection: Egyptian Style: Late Dynastic Period Medium: Faience Faience, which dates back to  More »

Origin: Egypt Circa: 664 BC to 332 BC Dimensions: 1" (2.5cm) wide Collection: Egyptian Style: Late Dynastic Period Medium: Faience Faience, which dates back to pre-dynastic times, of at least 5,000 years, is a glasslike non-clay substance made of materials common to Egypt: ground quartz, crushed quartz pebbles, flint, a soluble salt-like baking soda, lime and ground copper, which provided the characteristic color. The dried objects went into kilns looking pale and colorless but emerged a sparkling "Egyptian blue." Called tjehnet by the ancient Egyptians, meaning that which is brilliant or scintillating, faience was thought to be filled with the undying light of the sun, moon and stars and was symbolic of rebirth. In the cultural renaissance of the 26th Dynasty, also known as the Saite Period (when work was produced), a green, the color of the Nile and evocative of the verdant landscape in springtime, was particularly popular. The ibis was a sacred bird in Ancient Egyptian mythology, most closely identified with the moon god Thoth, the messanger of the sun god Ra, who is often represented as an ibis-headed man or as a baboon. The name “Thoth” is actually the Greek term used to refer to this deity, whom the Greeks closely identified with Hermes, their messenger to the gods. Thoth, like Hermes, was credited as the inventor of astronomy, writing, and mathmatics. Here, Thoth is represented as an ibis, gorgeously rendered with dark blue glazed highlights added to his eyes, claws, and tail feathers. In front of the bird, just below his arching beak, a crouching woman is present. She can be identified as Maat, the wife of Thoth, recognizably by the relatively large ostrich feather that crowns her head. Maat was the personification of the fundamental order of the universe, without which all of creation would perish.   « Less

Origin: Jericho Circa: 2700 BC to 2100 BC Dimensions: 5.8" (14.7cm) high x 4.5" 11.4cm) wide Collection: Biblical Style: Early/Middle Bronze Age Medium: Egg Shell

Origin: Jericho Circa: 2700 BC to 2100 BC Dimensions: 5.8" (14.7cm) high x 4.5" 11.4cm) wide Collection: Biblical Style: Early/Middle Bronze Age Medium: Egg Shell   « Less

Art, at its peak, captures the very essence of some quality in our lives. The artist of this masterpiece has captured in vivid dynamism, the very spirit of animal motion.  More »

Art, at its peak, captures the very essence of some quality in our lives. The artist of this masterpiece has captured in vivid dynamism, the very spirit of animal motion. Their limbs outstretched, muscles rippling- these twin gazelles are the picture of athleticism and energy. The dramatic sweep of their horns, the length of their stretching bodies, and the wind blowing on their beards come together to create a piece exceptional in its activity, and the grace of its execution. The duality and perfect symmetry of the piece gives the action of the gazelles a very human element. Every muscular force in the human body comes in pairs, and the twin gazelles remind us of the locomotion of our legs or the push of our arms. The elegance of our form comes from the unity of our motion, and the artist of this work understood this on the most intimate of levels. In seeing these gazelles, we are thrilled with the exceptional craft of their movement, and are intrinsically fascinated with their zealous grace. The ring between them perhaps would have held a pennant pole, a standard that would have identified a group of warriors or a tribe on the field of battle. It would make sense for warriors to wish the spirit and energy of these gazelles infused into its standard. Whether the hooves of these gazelles ever mingled with those of cavalry horses, or sat more ornamentally in the home of noble, they remain a striking display of movement and human artistry. Today, they inspire and invigorate our bodies and hearts with all of the intensity of gazelle, leaping across the sun-drenched plain. This charming object has a graceful beauty drawn from nature. Two gazelles with curved horns stand heraldically erect, as if nibbling at the lower branches of a tree. The ring between them perhaps would have held a pennant pole, a standard that would have identified a group of warriors or a tribe on the field of battle. Whatever its original function, it comes down to us today as an artwork of infinite delicacy and lively humor. - (FZ.085)Luristan Sculpture of Two Rampant Gazelles-FZ.085Origin:Iran Circa:900BCto600BCDimensions:4.25"(10.8cm)high Catalogue:V1ollection: Near Eastern Style: Luristan Medium: Bronze   « Less

In Israel, as in other ancient nations, it was customary to dedicate persons or objects to sacred use by anointing them with oil. Thus Samuel anointed Saul king, as Moses had  More »

In Israel, as in other ancient nations, it was customary to dedicate persons or objects to sacred use by anointing them with oil. Thus Samuel anointed Saul king, as Moses had hallowed the tabernacle and Aaron the High Priest before, and Abraham had sanctified Isaac. A vessel such as this--simple but elegant--may have contained oil for ritual use. Whose hands might have held it so long ago we can only guess, yet the connection is a direct one between our age and theirs. - (P.0127)   « Less

In Israel, as in other ancient nations, it was customary to dedicate persons or objects to sacred use by anointing them with oil. Thus Samuel anointed Saul king, as Moses had  More »

In Israel, as in other ancient nations, it was customary to dedicate persons or objects to sacred use by anointing them with oil. Thus Samuel anointed Saul king, as Moses had hallowed the tabernacle and Aaron the High Priest before, and Abraham had sanctified Isaac. A vessel such as this--simple but elegant--may have contained oil for ritual use. Whose hands might have held it so long ago we can only guess, yet the connection is a direct one between our age and theirs. - (P.0149)   « Less

Origin: Egypt Circa: 1550 BC to 1295 BC Dimensions: 1.25" (3.2cm) high x 4.8" (12.2cm) wide Collection: Egyptian Style: 18th Dynasty Medium: Faience Faience, which  More »

Origin: Egypt Circa: 1550 BC to 1295 BC Dimensions: 1.25" (3.2cm) high x 4.8" (12.2cm) wide Collection: Egyptian Style: 18th Dynasty Medium: Faience Faience, which dates back to predynastic times, at least 5,000 years, is a glasslike non-clay substance made of materials common to Egypt: ground quartz, crushed quartz pebbles, flint, a soluble salt-like baking soda, lime and ground copper, which provided the characteristic color. The dried objects went into kilns looking pale and colorless but emerged a sparkling "Egyptian blue." Called tjehnet by the Ancient Egyptians, meaning that which is brilliant or scintillating, faience was thought to be filled with the undying light of the sun, moon and stars and was symbolic of rebirth. Ancient Egyptians believed the small blue-green objects helped prepare them for eternity in the afterlife. This faience bowl and others like it are sometimes referred to as “marsh bowls” by scholars. This name is derived from the decorative imagery that typically features marshland motifs. It is believed that marsh bowls served as votives offerings and were not used as tableware as is sometimes suggested. Fragments of similar bowls have been found at temples and shrines dedicated to the goddess Hathor, suggesting a link between these works and the deity. The aquatic imagery painted onto the insides of the bowls also alludes to fertility and rebirth while other motifs employed relate to the goddess more directly, such as sistra, masks, and overt representations of the goddess in her cow form. Less frequently, marsh bowls have been found entombed alongside the remains of the deceased as funerary offerings. In the burial context, the fertility imagery seems to suggest the concept of rebirth in the afterlife. The tombs in which such bowls have been excavated are non-royal and mostly female, furthering the link between Hathor and these works. Although nearly every bowl has been discovered empty, a few contained remnants of milky substances, suggesting they once held votive offerings to the goddess Hathor.   « Less

Origin: Egypt Circa: 664 BC to 525 BC Dimensions: 7.5" (19.1cm) high Collection: Egyptian Style: 26th Dynasty Medium: Stucco It is believed that some stucco works such  More »

Origin: Egypt Circa: 664 BC to 525 BC Dimensions: 7.5" (19.1cm) high Collection: Egyptian Style: 26th Dynasty Medium: Stucco It is believed that some stucco works such as this one functioned as aids for apprentices to learn the art of sculpting before embarking upon royal commissions where one mistake could mean disaster. Similar pieces were unearthed in what are thought to have been artist workshops, thus their identification as models. Considering the stylization of Egyptian art, it is clear that there was not much room for individual interpretation. When one realizes that many sculptors would have been responsible for decorating a single tomb or temple, stylistic unity becomes a foremost concern. Today, these sculptures give us unique insight into the creative process behind some of the most endearing and enduring artworks ever created by mankind. The lion is a symbol of strength and ferocity. The largest of the cat family, this animal is known as the “king of the beasts.” They are equally feared and respected for their power, speed, and intimidating growl. Kings and rulers have associated themselves with this noble creature since the days of antiquity. However, the lack of a bushy mane on this stucco work indicates that it represents a lioness. Therefore, it is probable that this head was a sculptor’s model employed during the manufacturing of Sekhmet sculptures.   « Less

Origin: Egypt Circa: 664 BC to 525 BC Collection: Egyptian Style: 26th Dynasty Medium: Bronze The 26th Dynasty, also known as the Saite Period, is traditionally placed  More »

Origin: Egypt Circa: 664 BC to 525 BC Collection: Egyptian Style: 26th Dynasty Medium: Bronze The 26th Dynasty, also known as the Saite Period, is traditionally placed by scholars at the end of the Third Intermediate Period or at the beginning of the Late Dynastic Period. In either case, the Saite Period rose from the ashes of a decentralized Egyptian state that had been ravaged by foreign occupation. Supported by the assistance of a powerful family centered in the Delta town of Sais, the Assyrians finally drove the Nubians out of Egypt. At the close of this campaign, Ashurbanipal’s kingdom was at the height of its power; however, due to civil strife back east, he was forced to withdraw his forces from Egypt. Psamtik I, a member of the family from Sais, seized this opportunity to assert his authority over the entire Nile Valley and found his own dynasty, the 26th of Egyptian history. Known as the Saite Period due to the importance of the capital city Sais, the 26th Dynasty, like many before it, sought to emulate the artistic styles of past pharaohs in order to bolster their own claims to power and legitimize their authority. This magnificent bronze votive sculpture represents Osiris, god of fertility, king of the dead, and ruler of eternity. Many centuries ago, it might have been found inside a temple, placed as an offering to the mighty deity. He is depicted wrapped as a mummy, holding a crook and flail. These two attributes act as scepters symbolic of his divine authority over the forces of nature. He wears a double-plumbed atef crown, featuring a uraeus cobra slithering down the front and a pair of undulating ribbed ram’s horns emerging from the sides, and a false braided beard with a curved tip. This type of beard is a symbol of divinity while the headdress associates the god with the ruling pharaohs.   « Less