Egyptian Faience Ushabti - SK.025 Origin: Egypt Dimensions: 6" (15.2cm) high x 2.15 " (5.5cm) wide Collection: Egyptian Medium: Faience

Egyptian Faience Ushabti - SK.025 Origin: Egypt Dimensions: 6" (15.2cm) high x 2.15 " (5.5cm) wide Collection: Egyptian Medium: Faience   « Less

Egyptian Faience Ushabti - SK.026 Origin: Egypt Dimensions: 6.15 " (15.6cm) high x 2.25 " (5.7cm) wide Collection: Egyptian Medium: Faience

Egyptian Faience Ushabti - SK.026 Origin: Egypt Dimensions: 6.15 " (15.6cm) high x 2.25 " (5.7cm) wide Collection: Egyptian Medium: Faience   « Less

Origin: Egypt Circa: 664 BC to 525 BC Dimensions: 4.625" (11.7cm) high x 1.375" (3.5cm) wide Collection: Egyptian Style: 26th Dynasty Medium: Faience The 26th Dynasty,  More »

Origin: Egypt Circa: 664 BC to 525 BC Dimensions: 4.625" (11.7cm) high x 1.375" (3.5cm) wide 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 pharaohs 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: Egypt Circa: 664 BC to 525 BC Dimensions: 4.375" (11.1cm) high x 1.25" (3.2cm) wide x .75" (1.9cm) depth Collection: Egyptian Art Style: 26th Dynasty Medium:  More »

Origin: Egypt Circa: 664 BC to 525 BC Dimensions: 4.375" (11.1cm) high x 1.25" (3.2cm) wide x .75" (1.9cm) depth Collection: Egyptian Art Style: 26th Dynasty Medium: Faience Perhaps no single object epitomizes the spirit of ancient Egypt better than the ushabti. Shaped like a divine mummy, the ushabti evokes the magical side of Egyptian belief in an afterlife. The two hoes clutched in the hands and the basket carried on the back recall the rural, agrarian culture of the land. The word ushabti (supplanting the older term shawabti) literally means "the answerer." The function of these little figures is described in Chapter VI of the Book of the Dead: "O this Ushabti! If (the deceased) is called upon to do hard labor in the hereafter, say thou: I am here." The ushabti was expected to answer the call to work in place of the deceased, and this passage was frequently inscribed on the figures themselves. Originally, a single ushabti was placed in any given tomb. But by the New Kingdom the statues had come to be regarded as servants and slaves for the deceased, rather than as a substitute. Many have been found buried together, along with an overseer figure. In the course of Egyptian history, ushabti were created from wood, stone, metal and faience. In the cultural renaissance of the XXVIth Dynasty (Saite period), a green faience, the color of the Nile and evocative of the verdant landscape in springtime, was particularly popular. To look upon an ushabti is to come face to face with the mystery and magic of Egypt itself. - (CK.0143)   « Less

Origin: Egypt Circa: 664 BC to 525 BC Dimensions: 5" (12.7cm) high x 1.25" (3.2cm) wide x .75" (1.9cm) depth Collection: Egyptian Style: 26th Dynasty Medium:  More »

Origin: Egypt Circa: 664 BC to 525 BC Dimensions: 5" (12.7cm) high x 1.25" (3.2cm) wide x .75" (1.9cm) depth Collection: Egyptian Style: 26th Dynasty Medium: Faience Perhaps no single object epitomizes the spirit of Ancient Egypt better than the ushabti. Shaped like a divine mummy, the ushabti evokes the magical side of the Egyptian belief in an afterlife, while the two hoes clutched in the hands recall the rural, agrarian culture of the land. The word ushabti (supplanting the older term shawabti) literally means “the answerer.” The function of these little figures is described in Chapter VI of the Book of the Dead: “O this Ushabti! If (the deceased) is called upon to do hard labor in the hereafter, say thou: I am here.” The ushabti was expected to answer the call to work in place of the deceased, and this passage was frequently inscribed on the figures themselves. Originally, a single ushabti was placed in a given tomb; but by the New Kingdom, the statues had come to be regarded as servants and slaves for the deceased rather than as a substitute, and many might be found buried together, along with an overseer figure. In the course of Egyptian history, ushabti were created from wood, stone, metal, and faience. In the cultural renaissance of the XXVI Dynasty (Saite period), a green faience, the color of the Nile and evocative of the verdant landscape in springtime, was particularly popular. To look upon an ushabti is to come face to face with the mystery and magic of Egypt itself. - (CK.0146)   « Less

Origin: Egypt Circa: 664 BC to 525 BC Dimensions: 4.25" (10.8cm) high x 1.25" (3.2cm) wide x .75" (1.9cm) depth Collection: Egyptian Style: 26th Dynasty Medium:  More »

Origin: Egypt Circa: 664 BC to 525 BC Dimensions: 4.25" (10.8cm) high x 1.25" (3.2cm) wide x .75" (1.9cm) depth Collection: Egyptian Style: 26th Dynasty Medium: Faience Perhaps no single object epitomizes the spirit of Ancient Egypt better than the ushabti. Shaped like a divine mummy, the ushabti evokes the magical side of the Egyptian belief in an afterlife, while the two hoes clutched in the hands recall the rural, agrarian culture of the land. The word ushabti (supplanting the older term shawabti) literally means “the answerer.” The function of these little figures is described in Chapter VI of the Book of the Dead: “O this Ushabti! If (the deceased) is called upon to do hard labor in the hereafter, say thou: I am here.” The ushabti was expected to answer the call to work in place of the deceased, and this passage was frequently inscribed on the figures themselves. Originally, a single ushabti was placed in a given tomb; but by the New Kingdom, the statues had come to be regarded as servants and slaves for the deceased rather than as a substitute, and many might be found buried together, along with an overseer figure. In the course of Egyptian history, ushabti were created from wood, stone, metal, and faience. In the cultural renaissance of the XXVI Dynasty (Saite period), a green faience, the color of the Nile and evocative of the verdant landscape in springtime, was particularly popular. To look upon an ushabti is to come face to face with the mystery and magic of Egypt itself. - (CK.0147)   « Less

Origin: Egypt Circa: 664 BC to 525 BC Dimensions: 4.25" (10.8cm) high x 1.25" (3.2cm) wide x .75" (1.9cm) depth Collection: Egyptian Style: 26th Dynasty Medium:  More »

Origin: Egypt Circa: 664 BC to 525 BC Dimensions: 4.25" (10.8cm) high x 1.25" (3.2cm) wide x .75" (1.9cm) depth Collection: Egyptian Style: 26th Dynasty Medium: Faience Perhaps no single object epitomizes the spirit of Ancient Egypt better than the ushabti. Shaped like a divine mummy, the ushabti evokes the magical side of the Egyptian belief in an afterlife, while the two hoes clutched in the hands recall the rural, agrarian culture of the land. The word ushabti (supplanting the older term shawabti) literally means “the answerer.” The function of these little figures is described in Chapter VI of the Book of the Dead: “O this Ushabti! If (the deceased) is called upon to do hard labor in the hereafter, say thou: I am here.” The ushabti was expected to answer the call to work in place of the deceased, and this passage was frequently inscribed on the figures themselves. Originally, a single ushabti was placed in a given tomb; but by the New Kingdom, the statues had come to be regarded as servants and slaves for the deceased rather than as a substitute, and many might be found buried together, along with an overseer figure. In the course of Egyptian history, ushabti were created from wood, stone, metal, and faience. In the cultural renaissance of the XXVI Dynasty (Saite period), a green faience, the color of the Nile and evocative of the verdant landscape in springtime, was particularly popular. To look upon an ushabti is to come face to face with the mystery and magic of Egypt itself. - (CK.0148)   « Less

Central Fragment of a Lustre Painted Plate - PF.5507, Origin: Egypt, Circa: 11 th Century AD to 12 th Century AD, Dimensions: 6.25" (15.9cm) wide, Collection: Islamic, Art,  More »

Central Fragment of a Lustre Painted Plate - PF.5507, Origin: Egypt, Circa: 11 th Century AD to 12 th Century AD, Dimensions: 6.25" (15.9cm) wide, Collection: Islamic, Art, Style: Fatimid Dynasty, Medium: Glazed Earthenware, Amongst the greatest and most eloquent manifestations of Islamic culture and civilization are the arts, especially the applied arts. It is through the universal language of art that one can appreciate the great achievements of the Muslim peoples and the contributions they have made to humanity. The earliest Islamic pottery was based upon the local traditions of newly conquered lands, particularly those of Syria, with its Greco-Roman traditions, and Iran and Iraq with their Sassanian cultures. Islamic pottery first flourished under the rule of the Abbasid dynasty when certain technical innovations relating to glazes were perfected. However, with the growing weakness of the Abbasids from the middle of the 10th century onwards, many artists and artisans moved migrated to new centers of power, particularly to Fatimid Egypt, importing their technical skills. Here, the arts flourished, nurtured and protected by the culturally enlightened rulers, establishing Islamic decorative techniques to pottery and ceramics with renewed vigor.   « Less

Origin: Egypt (Sinai) Circa: 200 BC to 200 AD Collection: Graeco Roman Terracotta Head Pendant Medium: Terracotta/gold Since the dawn of time, man has offered gifts to  More »

Origin: Egypt (Sinai) Circa: 200 BC to 200 AD Collection: Graeco Roman Terracotta Head Pendant Medium: Terracotta/gold Since the dawn of time, man has offered gifts to win the benign favor of his gods. The art of the terracotta votive reached its peak in the Hellenistic age, when the culture of classical Greece spread throughout the Mediterranean and the near east. This charming example, probably sculpted at Alexandria, depicts Silenus, comic companion of Dionysus, God of wine and merriment. Plump, given to excesses of pleasure, but not without dignity, Silenus was a beloved figure in classical myth. This lively pendant will make ideal adornment for those who believe in enjoying life to the fullest. - (FJ.3251)   « Less

Fatimid Lustre Painted Ewer - LO.1289, Origin: Egypt, Circa: 910 AD to 1170 AD, Dimensions: 11.50" (29.2cm) high x 5.50" (14.0cm) wide, Collection: Islamic Art, Style:,  More »

Fatimid Lustre Painted Ewer - LO.1289, Origin: Egypt, Circa: 910 AD to 1170 AD, Dimensions: 11.50" (29.2cm) high x 5.50" (14.0cm) wide, Collection: Islamic Art, Style:, Fatimid Dynasty, Medium: Glazed Terracotta, Condition: Very Fine, Lustre-painted ceramics represent the largest corpus of Islamic figural art that has come down to us from Fatimid Egypt. Scholars have often argued that the iconography of lustre ceramics from the Fatimid period emerged from a repertoire of Fatimid court painting, now entirely lost. The existence of several reconstructed bowls and countless fragments of lustre from various urban regions of Egypt has led scholars to conclude that the patrons of these ceramics were more likely the urban elite, rather than the court.   « Less