Origin: Egypt Circa: 304 BC to 30 BC Dimensions: 28 " (71.1cm) high Collection: Egyptian Style: Ptolemaic Period Medium: Wood The multiplicity of gods in the Ancient  More »

Origin: Egypt Circa: 304 BC to 30 BC Dimensions: 28 " (71.1cm) high Collection: Egyptian Style: Ptolemaic Period Medium: Wood The multiplicity of gods in the Ancient Egyptian pantheon frequently resulted in the merger of the identities of the different gods into one composite deity. Ptah-Sokar-Osiris is one such syncretic deity, combining the attributes of the three gods after whom he is named. Ptah, the creator god, is regarded as one of the greatest deities in the Egyptian pantheon. Ancient inscriptions describe him as “creator of the earth, father of the gods and all the being of this earth, father of beginnings.” He was regarded as the patron of metalworkers and artisans and as a mighty healer and is usually represented as a mummy. The main centre of his worship was in Memphis. Sokar, the “Adorned One,” was depicted in the form of a hawk-headed mummified man. Lord of darkness and death (in the sense of inertia), he presided over the Memphis necropolis and was sometimes viewed as an alternate form of Ptah before their identities were combined. By the end of the New Kingdom, the composite Ptah-Sokar had merged with yet another deity, Osiris, god of fertility, king of the dead, and ruler of eternity. The legend of Osiris states that his brother Seth, overcome by jealousy, murdered him and tore his body into fourteen parts, scattering them across Egypt. Isis, the faithful wife of Osiris, traversed the land and gathered all the parts of his body. She then cast a spell that resurrected her deceased husband for one night, during which their child, Horus, was conceived. Thus, Osiris was the central figure of Egyptian religion, the god who had triumphed over death and therefore offered the hope of rebirth and resurrection to all men.   « Less

Origin: Egypt Circa: 16 th Century BC to 11 th Century BC Dimensions: .625" (1.6cm) high x .8" (2.0cm) wide Collection: Egyptian Antiquities Style: New Kingdom Medium:  More »

Origin: Egypt Circa: 16 th Century BC to 11 th Century BC Dimensions: .625" (1.6cm) high x .8" (2.0cm) wide Collection: Egyptian Antiquities Style: New Kingdom Medium: Amazonite The first examples of amulets appeared in Ancient Egypt as early as 4000 B.C. Believed to possess magical powers that protected the wearer or bestowed upon the properties they symbolized, amulets were worn both by the living as well as the dead. Throughout their evolution, talismans were crafted from a variety of materials including precious metals such as gold and silver, semiprecious stone like jasper and carnelian, as well as other more affordable glazed compositions such as faience. The particular powers of an individual amulet were based upon its specific shape, although the material and even the color of the charm could affect its magical abilities. While many of the amulets created to be worn by the living could also be worn after death, there also existed a specific group of charms that were made specifically to be placed upon the mummified remains of the deceased. All together, amulets represent an important class of Ancient Egyptian art that furthers our understanding of their complex religious beliefs. The Ancient Egyptians believed the wedjat eye was the most powerful protection against evil. Ever-vigilant against bad luck and misfortune, the symbolic eye of the god Horus was worn by king and peasant alike. Though the eye was sometimes fashioned in gold and precious stones, it was thought to be at its most powerful when colored blue. The tradition of blue amulets guarding against harm is a very ancient one. Throughout the Mediterranean world today, one sees beads and talismans of bright blue, which are meant to avert the evil eye of bad luck. In Egypt, peasants dip the palm of their hands in blue paint and press their palms against the sides of their houses. When the Egyptian Empire was at its glorious height, this faience eye of the god Horus was worn by some long-forgotten person to bring good fortune and luck. Much has changed in the world since then, but the power of this talisman remains strong and benevolent as always. - (CK.0212)   « Less

Gold Pendant With A Cross Motif - C.0403 Origin: Jericho/ Palestine Circa: 1300 BC to 700 BC Collection: Ancient Jewelry Medium: Gold

Gold Pendant With A Cross Motif - C.0403 Origin: Jericho/ Palestine Circa: 1300 BC to 700 BC Collection: Ancient Jewelry Medium: Gold   « Less

Origin: Mediterranean Circa: 1 st Century AD to 2 nd Century AD Dimensions: 3.5" (8.9cm) high x 2" (5.1cm) wide Catalogue: V1 Collection: Classical Style: Roman Medium:  More »

Origin: Mediterranean Circa: 1 st Century AD to 2 nd Century AD Dimensions: 3.5" (8.9cm) high x 2" (5.1cm) wide Catalogue: V1 Collection: Classical Style: Roman Medium: Bronze Mercury (the Greek Hermes), messenger of the gods, was the patron deity of travelers, gamblers, tricksters and businessmen. In this magnificent small statue, he is shown nude, wearing the winged hat which allowed him to travel swiftly and carrying a money sack, a symbol of promised prosperity. In our world--as in the Classical one--this seems the ideal work of art for someone who charts a swift and successful course through life. - (FZ.023)   « Less

Origin: Central Asia Circa: 900 BC to 700 BC Dimensions: 2.75" (7.0cm) high x 3.625" (9.2cm) wide Collection: Near Eastern Style: Luristan Medium: Bronze Luristan (or  More »

Origin: Central Asia Circa: 900 BC to 700 BC Dimensions: 2.75" (7.0cm) high x 3.625" (9.2cm) wide Collection: Near Eastern Style: Luristan Medium: Bronze Luristan (or Lorestan) literally means “Land of the Lurs”, and was situated in a wide sweep of the Zagros mountains in what is now western Iran. The sociopolitics of this area are complex, with repeated waves and invasions of Medes, Cimmerians and Persians, amongst others, but the culture thus created is remarkable for its superb control of metalworking. There are many styles, but the best-known pieces of bronze from this area are anthropomorphic and zoomorphic pieces reflecting religious and secular tastes, as well as weaponry and utilitarian items that were buried with the deceased in tombs across the Zagros area. It was nonetheless viewed as a precious resource, and was used alongside iron once this metal became available, for while its qualities of hardness and durability were recognized, it merely made bronze a more socially exclusive material. The hallmark of Luristan wares is the tendency to elongate the necks, tails and bodies of the animals to produce graceful curves and arches. The re-discovery of the splendor of Luristan metalwork began in the 1930s and made considerable progress after World War II. The absence of relevant written records makes their complex imagery difficult to interpret in specific religious terms but it is likely that they represent local deities of some kind. It has been suggested that such elaborate bronze items must have been the preserve of the tribal leaders, a warrior class with the means to equip themselves and their households for war. Two curly-horned mountain sheep are harried by a hunting dog across the tops of two incised harness hoops. In the ancient cultures of Persia, hunting was the favored pastime of the nobility, a sport that is reflected even in the trappings of their horses. The lord who was buried with this vibrant sculpture wished to be reminded for all eternity of the pleasures of this world, of the excitement of the hunt. We today can experience the same sensations of delight. - (FZ.190)   « Less

In the ancient world, engraved gem seals served many functions. In addition to their decorative appeal as jewelry, intaglios could act as an individual's signature, placing  More »

In the ancient world, engraved gem seals served many functions. In addition to their decorative appeal as jewelry, intaglios could act as an individual's signature, placing his mark on property or documents, or as talismans to bring good luck and protect against illness and the evil eye. This unusual piece has as its central motif a running goat, perhaps the celestial Capricorn. To hold such a seal in our hands today is to touch in an intimate way upon the life of the person who owned it long ago. We cannot help but wonder who that person was, what they thought, what mattered to them. This simple object sets the imagination upon an exciting journey of discovery. - (FJ.3258), Origin: Israel, Circa: 900 BC to 700 BC,Dimensions: .875" (2.2cm) high x .75" (1.9cm) wide, Collection: Biblical, Style: Iron Age, Medium: Limestone   « Less

The use of costly silver and the slender sculptural purity of its lines suggest that this was a ceremonial weapon rather than a functional one. It nonetheless radiates a  More »

The use of costly silver and the slender sculptural purity of its lines suggest that this was a ceremonial weapon rather than a functional one. It nonetheless radiates a mysterious, hypnotic power, as if it was witness to ancient rituals and could speak of secrets that lie deep within us all. - (FZ.010)Origin: Golan Heights, Israel/Syria Circa: 2100 BC to 1600 BC, Dimensions: 3.5" (8.9cm) high x 1.625" (4.1cm) wide Catalogue: V1, Collection: Biblical, Style: Bronze Age, Medium: Silver   « Less

Origin: Mediterranean Circa: 375 BC to 325 BC Dimensions: 7.25" (18.4cm) high x 2.5" (6.4cm) wide Collection: Classical Style: Greek Medium: Terracotta The polychrome  More »

Origin: Mediterranean Circa: 375 BC to 325 BC Dimensions: 7.25" (18.4cm) high x 2.5" (6.4cm) wide Collection: Classical Style: Greek Medium: Terracotta The polychrome on this sculpture is remarkably well preserved. The seated woman is dressed in a white himation that wraps around her body and over her head. She wears large red disk earrings and a pale blue beaded necklace. Her face is highlighted in pale pink hues while her lips are the same bold red of her earrings and the fruit she holds in her left hand, most likely a pomegranate. Black delineates her eyes and eyebrows as well as her curly hair. The woman’s right hand is placed at her breast in a soft, human gesture of concern. Placed upon her head is a polos, a cylindrical crown associated with fertility goddesses. Who this statue represents remains a mystery, yet the beauty of the woman and of the artistry of the work remain intact. - (PF.5557)   « Less

What does the mind see when we look upon the graceful yet efficient lines of this powerful weapon? The heat of ancient battles? Dark rituals done to honor long forgotten  More »

What does the mind see when we look upon the graceful yet efficient lines of this powerful weapon? The heat of ancient battles? Dark rituals done to honor long forgotten gods? It touches a chord somewhere deep within us, emotions as old as the earth, that even the best of us cannot always deny. Perhaps we should not try to, and instead admire this axe as a work of art, made beautiful and harmless by time. - (FZ.075)Origin: Kfar Malek, Palestine Circa: 2100 BC to 1600 BC Dimensions: 6" (15.2cm) high x 5.5" (14.0cm) wide Catalogue: V1 Collection: Biblical Style: Bronze Age Medium: Bronze   « Less

Bronze Conical Incense Burner Top with Repoussé Decoration - LO.662 Origin: Israel Circa: 900 AD to 1300 AD Dimensions: 4.75" (12.1cm) high x 7.50" (19.1cm)  More »

Bronze Conical Incense Burner Top with Repoussé Decoration - LO.662 Origin: Israel Circa: 900 AD to 1300 AD Dimensions: 4.75" (12.1cm) high x 7.50" (19.1cm) wide Collection: Biblical Antiquities Medium: Bronze   « Less