Origin: Egypt Circa: 600 AD to 900 AD Dimensions: 4" (10.2cm) high x 4.125" (10.5cm) wide Collection: Egyptian Style: Coptic Medium: Textile Though it was created  More »

Origin: Egypt Circa: 600 AD to 900 AD Dimensions: 4" (10.2cm) high x 4.125" (10.5cm) wide Collection: Egyptian Style: Coptic Medium: Textile Though it was created centuries ago, the imagery of power and rank that adorns this circular garment appliqué is easily readable today. Two rampant lions, symbols of kingly authority, heraldically flank a stylized tree, epitomizing prosperity, wealth and life itself. The person who commissioned this delicate work so long ago must have enjoyed the privileges of worldly power. The centuries have placed such changeable fortune in perspective, but this small manifestation of power continues to impress us today. - (P.3614)   « Less

Origin: Egypt Circa: 664 BC to 525 BC Dimensions: 2.875" (7.3cm) high x 3" (7.6cm) wide x 12.625" (32.1cm) depth Collection: Egyptian Style: 26th Dynasty Medium:  More »

Origin: Egypt Circa: 664 BC to 525 BC Dimensions: 2.875" (7.3cm) high x 3" (7.6cm) wide x 12.625" (32.1cm) depth Collection: Egyptian Style: 26th Dynasty Medium: Stone Modern scholars believe that the worship of Sobek, the crocodile god, arose from a fear of these ferocious beasts. However, crocodiles were not universally feared in ancient Egypt. In certain regions, they were held sacred. Some were even tamed, kept in shallow pools and temples, embellished with jewelry and hand fed fresh meats, milk, and honey by reverent priests. While this may have been the case, it was certainly the exception; for throughout the greater part of the land, crocodiles remained a constant threat both to sailors cruising along the Nile as well as workers tilling the fertile banks of the mighty river. Sobek, the crocodile god, is either represented in the form of a crocodile, as he is here, or with the body of a human man with the head of the animal. A water deity, Sobek was the most popular deity in the oasis city of Arsinoe (renamed Crocodilopolis by the Greeks), one of the places where tamed crocodile were openly revered. Archaeologists have unearthed numerous examples of mummified crocodiles, and in some cases even their eggs, revealing the Ancient Egyptian’s honor for this powerful deity. The Nile was the life source of Ancient Egpyt, however, this waterway was filled with dangerous, unpredictable beasts. In order to mollify the danger of these wild animals, Sobek was honored with prayers, sacrifices, and libations, thereby ensuring a prosperous harvest and safe sailing.   « Less

Origin: Egypt Circa: 7 th Century BC to 5 th Century BC Dimensions: 10.5" (26.7cm) high Collection: Egyptian Style: Late Dynastic Period Medium: Wood The funerary rites  More »

Origin: Egypt Circa: 7 th Century BC to 5 th Century BC Dimensions: 10.5" (26.7cm) high Collection: Egyptian Style: Late Dynastic Period Medium: Wood The funerary rites and rituals of Egypt are among the most elaborate and celebrated burial traditions in the ancient world. The foremost concern was the preservation of the body, in order that it might be reborn in the afterlife. While the painstaking mummification process achieved this goal of counteracting the effects of physical decomposition, the ancient Egyptian were not satisfied with a wrapped body alone. Gorgeously decorated mummy cases and sarcophagi developed over the course of thousands of years so that the body could be properly presented to the audience of the gods awaiting the deceased’s arrival in the next world. These cases were created from a variety of materials, including stone, wood, and cartonnage, that were utilized depending upon the wealth and status of the deceased. This gesso-painted wooden funerary mask is a splendid example of Egyptian art. Wooden sculptures from Ancient Egypt are exceedingly rare, since fine wood was scarce and expensive. Considering the relative expense of wood, it is likely that this work was once inserted into a large mummy case likely formed from cartonnage or carved from stone. Dowel pins still in place on the reverse support this theory. Additionally, there are traces of painted decoration adorning the headdress that may have corresponded to the greater decorative motif of the casket as a whole. However, the focus here is the slender face, expertly rendered with idealized features and a smooth, polished surface. The stylized almond-shaped eyes, so characteristic of Egyptian art, with tapering cosmetic lines and black brows, draw our attention with their captive gaze. They appear to stare back at us from beyond the grave. Who might this man have been? A pharaoh? A priest? A scribe? Surely he was someone of tremendous importance and great stature in order to be honored with such a gorgeous rendition of his being. - (X.0301)   « Less

Origin: Egypt Circa: 664 BC to 525 BC Dimensions: 5.25" (13.3cm) high Collection: Egyptian Style: 26th Dynasty Medium: Bronze and Gold The 26th Dynasty, also known as  More »

Origin: Egypt Circa: 664 BC to 525 BC Dimensions: 5.25" (13.3cm) high Collection: Egyptian Style: 26th Dynasty Medium: Bronze and Gold 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 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 center 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

Carnelian Frog - LO.1106 Origin: Egypt Circa: 1500 BC to 1100 BC Dimensions: 1" (2.5cm) wide Collection: Egyptian Art Style: New Kingdom Medium: Carnelian

Carnelian Frog - LO.1106 Origin: Egypt Circa: 1500 BC to 1100 BC Dimensions: 1" (2.5cm) wide Collection: Egyptian Art Style: New Kingdom Medium: Carnelian   « Less

Origin: Egypt Circa: 1940 BC to 1750 BC Dimensions: 9.75" (24.8cm) high Collection: Egyptian Art Style: Middle Kingdom Medium: Wood Condition: Very Fine This offering  More »

Origin: Egypt Circa: 1940 BC to 1750 BC Dimensions: 9.75" (24.8cm) high Collection: Egyptian Art Style: Middle Kingdom Medium: Wood Condition: Very Fine This offering bearer was designed to accompany her 12th dynasty “master” into the afterlife. This period of Egyptian history is characterised by notable feats of architecture and engineering such as the creation of a canal through the Wadi Tumilat, and various temples of considerable note. It also witnessed important artistic achievements including the creation of numerous papyri that have gone on to define most of what we know about the Middle Kingdom. The kingdom moved from Thebes to somewhere near the Faiyum Oasis at this time, and was renamed Amenemhat-itj-tawy. Diplomatic relations were established with Byblos and various Aegean communities, while military missions were sent to Nubia, the Levant and up the Nile to the Third Cataract and beyond. The cultural palimpsest of the 12th dynasty was the most strident of the Middle Kingdom dynasties, which – in turn – was heavily reliant upon Old Kingdom traditions. Burial practices during this period were traditionally flamboyant, with food, drink, furniture, jewellery and a full cast of slaves, assistants and other members of staff accompanying the deceased into the afterlife. The current piece represents a bearer; female bearers did work in the homes of rich Egyptians as maids and culinary assistant, perhaps with other duties in certain cases as suggested by her pose and raiment.   « Less

Origin: Fayoum, Egypt Circa: 100 AD to 200 AD Dimensions: 8.625" (21.9cm) high x 6.25" (15.9cm) wide Catalogue: V4 Collection: Roman Style: Egypto-Roman Medium: Plaster  More »

Origin: Fayoum, Egypt Circa: 100 AD to 200 AD Dimensions: 8.625" (21.9cm) high x 6.25" (15.9cm) wide Catalogue: V4 Collection: Roman Style: Egypto-Roman Medium: Plaster And Paint Since earliest times in Egypt, there was a tradition for funerary portraiture, for an effigy that preserved a likeness of the deceased. In the later periods, the influence of Greek and Roman art infused a new element of realism into the mummy portrait, as this splendid plaster image demonstrates. When we look upon the visage of a man who lived centuries ago, we cannot help but think how familiar he looks. - (PF.0086)   « Less

Origin: Egypt Circa: 664 BC to 525 BC Collection: Egyptian Style: 26th Dynasty Medium: Faience 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: Faience 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 pharaoh in order to bolster their own claims to power and legitimize their authority. 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.   « Less

Origin: jericho Circa: 1300 BC to 900 BC Dimensions: 0.750" (1.9cm) wide Collection: Egyptian Style: Scarab Medium: Steatite The sacred beetle of ancient Egypt, the  More »

Origin: jericho Circa: 1300 BC to 900 BC Dimensions: 0.750" (1.9cm) wide Collection: Egyptian Style: Scarab Medium: Steatite The sacred beetle of ancient Egypt, the scarab is an emblem of the creator, Khepera. The word kepher denotes Being, Existence, Creation, or Becoming, and the god Kephera is the self-existent maker of all things. The worship of the scarab, which is symbolic of resurrection and fertility, dates from the earliest period of civilization in Egypt. Carved scarabs served two major functions: as amulets with protective and religious powers, and as personal seals, which designated the property and authority of the individual whose name was placed upon them. In both cases, the power ascribed to the scarab was very great—in life they served as the signature of their owner and were thought to bring prosperity, and in the afterlife they ensured rebirth through eternity. - (LO.1129)   « Less

Origin: Egypt Circa: 300 BC to 100 BC Dimensions: 1.75" (4.4cm) high Collection: Egyptian Style: Ptolemaic Period Medium: Terracotta Following the death of Alexander  More »

Origin: Egypt Circa: 300 BC to 100 BC Dimensions: 1.75" (4.4cm) high Collection: Egyptian Style: Ptolemaic Period Medium: Terracotta Following the death of Alexander the Great, his empire was divided between his three generals, each of whom set up their own kingdoms. One of them, Ptolemy, took Egypt as his share and made Alexandria his capital. Ruling as Ptolemy I Soter, he established the last dynasty to rule Egypt with the title of Pharaoh. For the next two and a half centuries, the Ptolemaic Dynasty of Greeks controlled Egypt, mingling Hellenic traditions with the mighty legacy of the Pharaohs. A fragmentary figure from a larger work, perhaps an oil lamp, this item derives from the Ptolemaic period in Egypt. The figure appears to be that of a man, clinging tightly to something that he straddles, perhaps the torso of a horse upon which he is mounted. He also appears to have scale armor about his midriff, supporting the notion that this individual may represent mounted cavalry. The depiction is simple and almost playfully childlike in its appearance. Whatever its originally intended function or role in the larger work, it conveys the charm of an item used in everyday life in ancient Egypt during the Ptolemaic period, something that would have added to the beauty and comfort of the home or daily surroundings. - (SP.328)   « Less