Moghul Bronze jug - RP.333, Origin: India, Circa: 16 th Century AD to 18 th Century AD, Collection: Islamic Art, Style: Moghul.

Moghul Bronze jug - RP.333, Origin: India, Circa: 16 th Century AD to 18 th Century AD, Collection: Islamic Art, Style: Moghul.   « Less

The Greek colonies of southern Italy (known in antiquity as Magna Grecia) were marked by their initial allegiance to the ceramic styles of the Attic mainland. However, over  More »

The Greek colonies of southern Italy (known in antiquity as Magna Grecia) were marked by their initial allegiance to the ceramic styles of the Attic mainland. However, over the years, native traditions and innovations heavily influenced the works of Magna Grecian potters. Unorthodox forms and painting-styles were seamlessly merged with the standard Greek style, creating distinctive works of art unique to the Hellenistic world. This gorgeous red-figure stamnos comes from the Faliscan region of central Italy, to the northwest of Rome. Neighbors of the Etruscans, today the Faliscan people are best remembered for their language, which was believed to be very similar to Latin. So similar, in fact, that scholars believed the language was displaced by Latin in the years after Falerii, the Faliscan capital, was conquered by the Romans in 241 B.C. Faliscan pottery, as revealed by this red-figured stamnos, was highly influenced by the vessels created by their Greek neighbors to the south.This exquisite vessel is commonly known as a “kylix”. A “kylix” is a drinking cup with a horizontal handle on either side and used for wine. Its name seems to be applied to the cup in any shape. The kylix usually has a frieze picture on its outside and another picture on its inside which is called a tondo. This bowl with continuous profile from the lip to the body and handles has a shape like a wishbone. This cup was produced in the middle of the fourth century and very few examples have survived.The tondo with a seated woman to the left, a mantle around her waist with a tongue border and a star pattern throughout, a bandolier across her nude torso, a rayed diadem in her curly locks, coiled bracelets on her fore-arms, her left arm raised, her right arm at her side, facing a nude youth with a mantle across his shoulders, leaning forward on a staff, a laurel wreath in his hair, grapes and a fillet in the field, framed by a border on meander with saltire and checkered squares; both sides of the exterior with a draped woman between a draped and nude youth, palmette complexes below the handles. - (PF.5519)   « Less

The Greek colonies of southern Italy (known in antiquity as Magna Grecia) were marked by their initial allegiance to the ceramic styles of the Attic mainland. However, over  More »

The Greek colonies of southern Italy (known in antiquity as Magna Grecia) were marked by their initial allegiance to the ceramic styles of the Attic mainland. However, over the years, native traditions and innovations heavily influenced the works of Magna Grecian potters. Unorthodox forms and painting-styles were seamlessly merged with the standard Greek style, creating distinctive works of art unique to the Hellenistic world. This gorgeous red-figure stamnos comes from the Faliscan region of central Italy, to the northwest of Rome. Neighbors of the Etruscans, today the Faliscan people are best remembered for their language, which was believed to be very similar to Latin. So similar, in fact, that scholars believed the language was displaced by Latin in the years after Falerii, the Faliscan capital, was conquered by the Romans in 241 B.C. Faliscan pottery, as revealed by this red-figured stamnos, was highly influenced by the vessels created by their Greek neighbors to the south Belonging to the so-called “Fluid Group,” this stamnos, with its wide mouth, broad body with two handles, and footed base, would have been used for the storage and transportation of wine. One side of the work has been decorated with the painted image of a bearded satyr steadying a large amphora with his left and while simultaneously drinking from a smaller white one with his right hand. White pigment has also been employed to highlight his shoes, his pearl diadem that crowns his heads, and the pearl necklace draped across his torso. The other side is adorned with an image of Eros, facing left, holding a thyrsos. He too wears white shoes and a pearl diadem. The large palmette and scrolling tendrils that decorate the intermediate space between the two main scenes is typical of Magna Grecian art. Satyrs typically symbolize the darker side of man’s nature that the consumption of wine has a tendency to encourage. Hence, these wild creatures were quite popular as decorations for wine vessels, perhaps warning the drinker to be wary. Juxtaposed to the Eros figure on the opposite side, these two scenes seem to depict the best and the worst ideal of mankind: affection and inebriation. - (X.0102)   « Less

Small globular stamnos, belonging to the so- called 'fluid group', with small collared neck, wide mouth and vertical handles on the shoulder. Relief lines in the decorative  More »

Small globular stamnos, belonging to the so- called 'fluid group', with small collared neck, wide mouth and vertical handles on the shoulder. Relief lines in the decorative borders, the ovolo and tongue patterns on the collar, around the handles lavish tendril and palmette ornaments with foreshortened campanula flowers enriched with white details. On one side, a youth is portrayed seated and holding a long campanula stem, while on the other side, a nude youth is engaged with a bearded silenus and both are holding a dove in their hands. This subject derived most probably from the Greek repertoire and involved mostly Dyonisiac motifs, linked to the same function of the stamnos, which was used to store wine; perhaps these motifs were instrumental in the passage of those who drank from the vessel to a happy afterworld.   « Less

With abstract simplicity, this little sculpture depicts a male goat with floppy ears and curving horns. Crafted from heavy lead, it was probably offered as a votive gift  More »

With abstract simplicity, this little sculpture depicts a male goat with floppy ears and curving horns. Crafted from heavy lead, it was probably offered as a votive gift during the height of the classical age. Goats were a popular sacrifice in antiquity, and this metal example was intended to serve as a permanent gift to the gods. What did the person who offered it wish for? Were the gods benevolent in their favor? As we hold it in our hands today, we connect directly with that votary's vanished life and with its hopes and dreams. - (FZ.276)   « Less

Agate, a member of the quartz family formed in the recesses of volcanic rocks, is found in a variety of colors: red, green, blue, brown, gray and striped. Since Antiquity,  More »

Agate, a member of the quartz family formed in the recesses of volcanic rocks, is found in a variety of colors: red, green, blue, brown, gray and striped. Since Antiquity, agate has been one of the most popular stones for talismans and amulets, and remarkable powers are ascribed to each of the different varieties. The use of agate amulets bas continued unabated into modern times, though early examples exist from the Sumerian and Egyptian cultures, dating back four millennia before Christ. In addition to jewelry, agate was carved into cups, dishes and works of art. The Roman naturalist Pliny records that pharmacists favored mortar and pestles crafted from agate, a practice that is still common. By far the most preferable of the agate gems is the brown, or "tawny" type. It is believed to cure an enormous number of ailments, including fevers, epilepsy, schizophrenia, intestinal troubles, rheumy eyes and difficult menstruation. It is a good antidote for poison, and is said to quicken the intelligence. Green agate is excellent for quelling eye diseases and preventing sterility; blue cures depression and sleeplessness; gray or white prevents neck problems and stomach upset; while red (or blood) agate was used by the Ancients as an antidote to poisonous insect bites and other ailments spread through the circulatory system. All varieties of agate are useful for curing insomnia and inducing pleasant dreams and are thought to have a universally positive effect on those who wear them. - (SP.638)   « Less

A robust rooster sits on a thick branch surrounded by leaves, buds and flowers. Two fruits (like pomegranates) on a stem occupy the central area at left, nestled within a  More »

A robust rooster sits on a thick branch surrounded by leaves, buds and flowers. Two fruits (like pomegranates) on a stem occupy the central area at left, nestled within a circle of heavy foliage. The rooster seems a part of nature, sometimes almost disappearing, only to reappear again with vivid force. Its fine flurry of feathers are nicely delineated, as are the various plants and flowers, growing together in an inextricable whorl of floral life. This mosaic has been reconstructed using ancient and modern materials. - (PF.5322)   « Less

Mughal Glazed Terracotta Tiled Panel - X.0401, Origin: India, Circa: 18 th Century AD, Dimensions: 30.25" (76.8cm) high x 48.75" (123.8cm) wide, Collection: Islamic Art,  More »

Mughal Glazed Terracotta Tiled Panel - X.0401, Origin: India, Circa: 18 th Century AD, Dimensions: 30.25" (76.8cm) high x 48.75" (123.8cm) wide, Collection: Islamic Art, Style: Mughal Dynasty, Medium: Glazed Terracotta.   « Less

JB.1150 - JB.1150, Dimensions: 5.1" (13.0cm) high x 12.4" (31.5cm) wide.

JB.1150 - JB.1150, Dimensions: 5.1" (13.0cm) high x 12.4" (31.5cm) wide.   « Less

Mughal Bronze Spout - JB.1241, Origin: India, Circa: 16 th Century AD to 19 th Century AD, Dimensions: 4.5" (11.4cm) high, Collection: Islamic Art, Style: Mughal, Medium:  More »

Mughal Bronze Spout - JB.1241, Origin: India, Circa: 16 th Century AD to 19 th Century AD, Dimensions: 4.5" (11.4cm) high, Collection: Islamic Art, Style: Mughal, Medium: Bronze.   « Less