Origin: Egypt Circa: 2323 BC to 2152 BC Dimensions: 18.125" (46.0cm) high x 12" (30.5cm) wide Collection: Egyptian Style: 6th Dynasty Medium: Limestone The image  More »

Origin: Egypt Circa: 2323 BC to 2152 BC Dimensions: 18.125" (46.0cm) high x 12" (30.5cm) wide Collection: Egyptian Style: 6th Dynasty Medium: Limestone The image depicts an elite member of Egyptian society who was the owner of the tomb from which this forceful vignette came. The owner is represented seated on a luxurious chair, designed with a curvilinear bolster-like back, and feline feet themselves resting upon inverted conical casters decorated with a series of concentric rings. In keeping with ancient Egyptian conventions, the tomb owner is bare- chested and, presumably, bare footed. He wears a simple, undecorated linen kilt, wrapped around his waist and secured into place with a belt. His accessories are limited to a broad collar, its multiple strands symbolically representing floral forms from which such attributes were originally crafted. He wears a short, bobbed wig arranged with parallel rows of short, tightly styled curls. The tomb owner is shown facing to the left and is holding one attribute in each hand. In general, only depictions of standing tomb owners represent them holding an object in each hand; seated depictions are generally shown holding only one attribute, and that attribute is usually a staff traditionally held in the hand of the elevated far arm, as it is indeed held in our relief. Our tomb owner appears to be holding a second attribute in his lowered hand as well. This attribute may perhaps to be identified as a shorter baton. The staff and baton are standard attributes for elite male members of Egyptian society during the Old Kingdom. Although rare, there are parallels for seated tomb owners holding a baton in one hand and a staff in the other from this period.   « Less

Since the dawn of time, the bull has represented power, strength and nobility. This splendid votive, unusually large, depicts a Zebu, the hump-backed bull common to Asian  More »

Since the dawn of time, the bull has represented power, strength and nobility. This splendid votive, unusually large, depicts a Zebu, the hump-backed bull common to Asian regions. At the height of the Hittite empire, it was offered as a gift to win the favor of the gods. A fierce warrior people, the Hittites worshiped deities for whom a bull was the ultimate sacrifice. As atribute to masculine strength, it impresses seven today with its timeless aura of power. -(FZ.213)Hittite Bronze Zebu Bull Votive Sculpture - FZ.213Origin: Anatolia Circa: 2000 BC to 1500 BCDimensions: 3" (7.6cm) high x 4.25" (10.8cm) wide Collecton:Near Eastern Style:Hittite 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.0190)   « Less

Origin: Egypt Circa: 1991 BC to 1783 BC Dimensions: 47" (119.4cm) high x 9" (22.9cm) wide Collection: Egyptian Style: 12th Dynasty Medium: Limestone Sculpted in  More »

Origin: Egypt Circa: 1991 BC to 1783 BC Dimensions: 47" (119.4cm) high x 9" (22.9cm) wide Collection: Egyptian Style: 12th Dynasty Medium: Limestone Sculpted in classically-designed sunken hieroglyphs, this single column of inscription, oriented to the left, contains a partial string of titles belonging to the cursus honorum of a highly placed official in pharaoh’s court. The inscription as preserved may be translated as, “.,..the oldest official of [pharaoh’s] senut-palace, the one who is over particular offerings, the one who presides over the secrets…” The exact nature of a senut-palace remains enigmatic, but was ostensibly the administrative branch of the bureaucracy in which senior officials exercised their duty and in which the owner of this inscription served as “the eldest statesman.” The owner was also in charge of special offerings, which, although not specifically enumerated, comprised both victuals and other products. And finally, this owner was charged with rituals, the practice of which were kept secret and hidden from the uninitiated. From these titles and from the style of the sculpting of the signs and their shapes, one can confidently date this panel to Dynasty XII and suggest that it once adorned the tomb of an elite official.   « Less

Origin: Fayum, Egypt Circa: 2 nd Century AD Dimensions: 14.2" (36.1cm) high x 8.2" (20.8cm) wide Collection: Egyptian Style: Roman Period Medium: Paint on Wood Our  More »

Origin: Fayum, Egypt Circa: 2 nd Century AD Dimensions: 14.2" (36.1cm) high x 8.2" (20.8cm) wide Collection: Egyptian Style: Roman Period Medium: Paint on Wood Our evocative portrait depicts an aristocratic young man with curly hair, his head inclined toward our right hand side with the glance of his enormous eyes cast far into the distance. He appears to be wearing a white tunic without additional accessories. Recent scholarship suggests that such portraits may have been displayed in the homes of the elite members of Roman Egypt’s society in much that same way that we display portraits and photographs of our loved ones and friends today. Upon death, these portraits were reverentially entrusted to the funerary priests who ceremoniously attached them over the head of the deceased’s wrapped mummy. There is a good parallel for our portrait in the collections of the British Museum [inventory number EA 6713] which is still attached to its intact mummy. That example is dated to the period between 200-250 AD, to which era our example should likewise be assigned.   « Less

Origin: Egypt Circa: 2 nd Century AD Dimensions: 11.75" (29.8cm) high Collection: Egyptian Style: Roman Period Medium: Paint on Wood Although commonly referred to as  More »

Origin: Egypt Circa: 2 nd Century AD Dimensions: 11.75" (29.8cm) high Collection: Egyptian Style: Roman Period Medium: Paint on Wood Although commonly referred to as “Faiyum portraits,” mummy portraits from Roman Egypt have been found throughout the country, from the Mediterranean coast to the banks of the Nile Valley; however, many of the most celebrated works come from cemeteries in the desert oasis of Faiyum. These fascinating paintings are the product of two worlds, combining Egyptian funerary beliefs with the sophisticated portraiture of the Greco-Roman tradition. The preservation of the physical remains of the deceased was a central focus of Egyptian funerary customs, eventually leading to the creation of mummies. However, mere preservation of the corpse was not sufficient, the mummy itself had to appear alive. Elaborate coffins and funerary masks evolved to present the remains with the appearance of vitality. Although mummification was still practiced during the Roman Period, the techniques had begun to devolve and many of these mummies have since decayed, leaving behind only these haunting portraits.   « Less

Origin: Egypt Circa: 664 BC to 525 BC Dimensions: 15" (38.1cm) high x 25.625" (65.1cm) wide Collection: Egyptian Style: 26th Dynasty Medium: Limestone The 26th Dynasty,  More »

Origin: Egypt Circa: 664 BC to 525 BC Dimensions: 15" (38.1cm) high x 25.625" (65.1cm) wide Collection: Egyptian Style: 26th Dynasty Medium: Limestone 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. Psammetik 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 pharaoh in order to bolster their own claims to power and legitimize their authority. Yet despite that artist sought to replicate models of the past, Egyptian art of this era was infused with a heightened sense of naturalism. This fact is likely due to the influx of Greek culture. The Saite rulers recognized that Egypt had fallen behind the rest of the Mediterranean world in terms of military technology. Thus, they were forced to rely upon foreign mercenaries, many of whom were Greek. With ties between these two cultures firmly established during the 7th Century B.C., commercial trading quickly blossomed. Special entrepots for foreign traders were established, including the famed town of Naucratis, a Delta town in which Greek merchants were permitted access. During the Saite Period, two great powers of the Mediterranean world became intimately linked, commercially and culturally. As the exchange of ideas flowed across the sea, the Greeks began to experiment on a monumental scale while the Egyptians began to approach art with an enhanced sense of realism.   « Less

For thousands of years, mortals offered gifts to their gods in hopes of receiving their benevolent blessings. For male deities, the most magnificent sacrifice was the bull,  More »

For thousands of years, mortals offered gifts to their gods in hopes of receiving their benevolent blessings. For male deities, the most magnificent sacrifice was the bull, symbolic of strength, virility, and power. This bronze Zebu, the humped ox among the first animals domesticated by man, was surely meant to stand in place of a living animal. With great simplicity, the ancient artist has captured the essence of the beast. As we hold it today, we cannot help but wonder if the prayers of the ancient votary were heard and answered. - (FZ.229)Bronze Sculpture of a Zebu Bull - FZ.229Origin: Central Asia Circa: 1200 BC to700BCDimensions:2.25"(5.7cm)highx1.25"(3.2cm)wollection: Near Eastern Style: Iron Age Medium:ronze   « Less

The graceful form and restrained linear decoration of this vessel make it as appealing to the modern eye as it no doubt was to the ancient age that created it. Looking at its  More »

The graceful form and restrained linear decoration of this vessel make it as appealing to the modern eye as it no doubt was to the ancient age that created it. Looking at its flowing contours, we do not doubt that its now-vanished contents--probably olive oil--were of the finest quality. Today, its timeless beauty holds only the seductive fragrance of imagination. One whiff sends us traveling backward through time. - (P.0219)   « Less

Origin: Egypt Circa: 664 BC to 525 BC Dimensions: 12.625" (32.1cm) high Collection: Egyptian Style: 26th Dynasty Medium: Sandstone Carved from sandstone, this  More »

Origin: Egypt Circa: 664 BC to 525 BC Dimensions: 12.625" (32.1cm) high Collection: Egyptian Style: 26th Dynasty Medium: Sandstone Carved from sandstone, this magnificent model of a temple façade appears to rise from the desert dunes. The architecture consists of four columns mounted over a fairly large base with a lintel above. Compared to the size and complexity of some Egyptian temples, this one appears to be quite modest. It might also reflect the influx of Greek ideals as related to architecture. However, despite the similarities to Greek buildings, this temple is purely Egyptian. The lintel is decorated with a central winged solar disk flanked by two rearing uraei cobras, typical Egyptian symbols. The base features a central plaque into which a symbol has been etched three times. The symbol consists of an ankh resting in what appears to be a shallow basket flanked by two staffs. A column of pseudo-glyphs has been inscribed on either side of this central panel. As well, two of the columns have been decorated with empty cartouches. Might this temple model have once served as a soviegner for a foreign merchant to take home with him? Perhaps it was a model of a famous temple? Perhaps it was used as a building model to show the patron before construction began? This temple façade is a stunning work of art in itself, but it also symbolizes the glories of Egyptian architecture and this civilization as a whole. - (X.0385)   « Less