Origin: Mediterranean Circa: 1 st Century AD to 3 rd Century AD Dimensions: 5.5" (14.0cm) high Collection: Classical Style: Roman Medium: Bronze

Origin: Mediterranean Circa: 1 st Century AD to 3 rd Century AD Dimensions: 5.5" (14.0cm) high Collection: Classical Style: Roman Medium: Bronze   « Less

Origin: Mediterranean Circa: 1 st Century AD to 3 rd Century AD Dimensions: 4.625" (11.7cm) high Collection: Classical Style: Roman Medium: Bronze

Origin: Mediterranean Circa: 1 st Century AD to 3 rd Century AD Dimensions: 4.625" (11.7cm) high Collection: Classical Style: Roman Medium: Bronze   « Less

Origin: Mediterranean Circa: 1 st Century AD to 3 rd Century AD Dimensions: 4.875" (12.4cm) high Collection: Classical Style: Roman Medium: Bronze

Origin: Mediterranean Circa: 1 st Century AD to 3 rd Century AD Dimensions: 4.875" (12.4cm) high Collection: Classical Style: Roman Medium: Bronze   « Less

Origin: Mediterranean Circa: 1 st Century AD to 3 rd Century AD Dimensions: 6" (15.2cm) high x 1.625" (4.1cm) wide Collection: Classical Style: Roman Medium: Bronze

Origin: Mediterranean Circa: 1 st Century AD to 3 rd Century AD Dimensions: 6" (15.2cm) high x 1.625" (4.1cm) wide Collection: Classical Style: Roman Medium: Bronze   « Less

This highly unusual artefact demonstrates the best of Roman technical and artistic abilities in the casting of bronze sculptures. Originally belonging to a monumental  More »

This highly unusual artefact demonstrates the best of Roman technical and artistic abilities in the casting of bronze sculptures. Originally belonging to a monumental larger-than-life-size statue (the piece is 27 tall), this lower left leg has been exquisitely modelled and is in a very fine state of preservation. The musculature of the calf namely the gastrocnemius and soleus group is perfectly rendered, while the smaller muscles of the foot (extensor digitorum and associated muscles) can be clearly seen on the dorsal surface of the foot. As the tibia and fibula cannot be seen, and the muscles of the calf are very large, it is probable that this leg originally belonged to a statue of an athlete, a muscular deity, or at least a man who viewed it as appropriate to be portrayed in heroic stance. Using regression formulae designed for calculating height from skeletal remains, the statue would have stood roughly 7 feet 3 inches tall. The small details of the toenails and toes are incredibly lifelike and carefully rendered. There is a mark on the dorsal surface of the foot that may be an identifying stamp, but it cannot be clearly seen. This is a beautifully rendered, well-patinated and preserved masterwork from a dynamic time of Roman artistic and technical ingenuity: a wonderful art object and an unsurpassable conversation piece. - (X.0698)   « Less

The goddess is standing on a spool-shaped base with her wight on the left, the separately-made arms missing and wearing armlets, gold earrings, and cloak tied in a knot at  More »

The goddess is standing on a spool-shaped base with her wight on the left, the separately-made arms missing and wearing armlets, gold earrings, and cloak tied in a knot at the hips and falling in cascading folds to her feet, her face with bow-shaped lips, straight nose, and eyes with indented pupils, her centrally parted wavy hair swept back to a chignon behind, surmounted by a stephane, and gathered ina high top-knot on the crown, two loose long tresses escaping onto each shoulder. - (LA.546)   « Less

Processional crosses were widely used in the Byzantine era in liturgical processions, military campaigns and imperial ceremonies. They were also offered to religious  More »

Processional crosses were widely used in the Byzantine era in liturgical processions, military campaigns and imperial ceremonies. They were also offered to religious foundations as votive gifts. This elegantly shaped example is fashioned from a sheet of bronze with engraved ornamentation. Each of the flaring arms ends in two circular finials. The piercing at the bottom, filled with iron deposits, probably indicates that the cross was once attached to a base. In the centre is an imposing representation of the archangel Michael, standing in frontal view. Above the figure, a Greek inscription identifies the chief of the heavenly host. The style is highly abstract, particularly the saint’s elongated face. This is framed by a halo and a small but delicate set of wings are also present. Dressed in a long ankle length robe, the saint adopts a highly unusual pose, resting his weight on his toes. The robe itself is divided into panels and adorned with dot and wave motifs. This elegant piece impresses us with its simplicity and offers a unique insight into the world of medieval spirituality. (AM) - (SK.042)   « Less

While Christianity replaced the gods of antiquity, traditional Classical culture continued to flourish. Greek and Latin were the languages of the learned classes. Before  More »

While Christianity replaced the gods of antiquity, traditional Classical culture continued to flourish. Greek and Latin were the languages of the learned classes. Before Persian and Arab invasions devastated much of their eastern holdings, Byzantine territory extended as far as south as Egypt. After a period of iconoclastic uprising came to resolution in the 9th Century, a second flowering of Byzantine culture arose and lasted until Constantinople was temporarily seized by Crusaders from the west in the 13th Century. Christianity spread throughout the Slavic lands to the north. In 1453, Constantinople finally fell to the Ottoman Turks effectively ending the Byzantine Empire after more than 1,100 years. Byzantine art and culture was the epitome of luxury, encorporating the finest elements from the artistic traditions of both the East and the West. The Byzantine Divine Liturgy was a symbolic re- enactment of Christ's incarnation, teachings, and sacrifice. This Great Mysterium - the redemption of humanity - unfolded in an elaborate church ceremony that included prayer readings, the singing of hymns, and procession of clergy decorated in lavish vestments, some of whom carried processional crosses. Others swung censers gently back and forth, filling the air with sweet smelling smoke. The eucharistic bread was stamped with various patterns. The ceremony stimulated all the senses and engaged the mind, allowing the worshipper to experience the divine. - (CK.0117)   « Less

The balsamarium in the shape of the bust of Antinous has strong features, a deep brow, eyes inset, a stern nose and mouth. His hair somewhat long and gathered in thick waves  More »

The balsamarium in the shape of the bust of Antinous has strong features, a deep brow, eyes inset, a stern nose and mouth. His hair somewhat long and gathered in thick waves falling across his forehead and down his neck. Around the neck, a simple but elegant torque. The bust covered with a tunic which falls on his left shoulder across his chest, secured with a long knotted strap.This balsamarium, a richly detailed vessel for transporting oils and cosmetics to the baths, is a fully realised example of the Roman period. The artist of this work has included minute details and also has injected an emotional component into his rendition of the subject. It is as much a portrait as it is an everyday vessel, and today, a rich green patina adds depth to the work and enhances the smallest of details.Balsamaria are a fascinating type of vessel, originating in Classical Greece and remaining a fertile vessel for innovation through the Hellenistic and Roman times. Some balsamaria were simple footed vessels, a modest receptacle in which to transport bath oils. Some were small but intricate, portraits of curious people or odd animals. In Alexandria in particular, the Hellenistic and Graeco-Roman bronzesmiths crafted vessels of striking realism as they sought to portray dwarves, Nubians, and other 'exotic' people. In the later years of the Roman Empire, the Gallic craftsmen created astonishingly detailed balsamaria using bronze, paste glass and fine millefiori enamel.   « Less

This style of bronze appliqué is well attested in Roman imperial artwork, yet each such piece is unique in its dedication to this style. Such objects were often attached  More »

This style of bronze appliqué is well attested in Roman imperial artwork, yet each such piece is unique in its dedication to this style. Such objects were often attached to larger works of art, such as furniture or other home adornments. The elements with which the appliqué would be attached are evident at the rear of the piece, as well as in the ring at the base of the item’s front. Around her neck she wears a simple pendant, and her countenance is stoic and proud.In this depiction, Athena, or Minerva as the Romans called her, conforms to traditional iconography in which she wears a classical Greek helmet of the Corinthian variety, bearing a tall crest, perhaps imagined by the artist as made of feathers or horsehair. Interestingly, her lips bear a red color from the patina that has come to rest upon the bronze, as if it were applied through cosmetics in an attempt to accentuate her attractiveness and rival the beauty of Aphrodite.   « Less