This remarkable vessel is of buff-coloured clay with black glaze on the neck and handle. The neck is adorned with white rays and a band filled with a wave motif. The body is  More »

This remarkable vessel is of buff-coloured clay with black glaze on the neck and handle. The neck is adorned with white rays and a band filled with a wave motif. The body is in the shape of a woman’s head, perhaps a goddess or simply an idealization of feminine beauty. The hair is centrally parted and brushed to each side in undulating strands. The back of the hair is covered by a saccos with a pink lattice design. This type of vase clearly demonstrates the development from red-figure to a polychrome technique that took place in the second half of the fourth century BC. Inspired by Attic examples, the potters at Canosa produced a new version distinctive for its rich colouring. Head vases were a specialty of this area and their bottoms were often intentionally left open, which excluded any practical use for them. They were placed in tombs, often in pairs, as offerings for the dead. - (PF.0340)   « Less

A masterpiece of classical craftsmanship, this exquisite cup is richly decorated with mythological motifs. A lovely young woman dressed in a short flowing tunic--perhaps a  More »

A masterpiece of classical craftsmanship, this exquisite cup is richly decorated with mythological motifs. A lovely young woman dressed in a short flowing tunic--perhaps a nature deity or Artemis, goddess of the hunt--is shown four times amid lush vegetation and wild animals. The image of a woman with power over nature is a very ancient one, harking back to the Neolithic age and the Near Eastern " Mistress of the Beasts". This splendid vessel was perhaps used to celebrate a successful hunt. It enchants us with its delicate modeling and mysterious subject matter, which seems as old as civilization itself. - (PF.1078)   « Less

The legend of Alexander the Great’s favorite steed, Bucephalus, begins when Philonicus the Thessalian brought the horse to Philip II, King of Macedonia and father of  More »

The legend of Alexander the Great’s favorite steed, Bucephalus, begins when Philonicus the Thessalian brought the horse to Philip II, King of Macedonia and father of Alexander, offering to sell him for thirteen talents. However, when they went into the field to ride him, they found him very vicious and unmanageable. He reared up when they attempted to mount him and would not listen to the commands of any of Philip's attendants. As they were leading him away as wholly useless and intractable, Alexander, who stood by watching, said, "What an excellent horse do they lose for want of address and boldness to manage him!" Philip at first took no notice of what he said; but when he heard him repeat the same thing several times, and saw he was much vexed to see the horse sent away, he responded: "Do you reproach those who are older than yourself, as if you knew more, and were better able to manage him than they?" "I could manage this horse," Alexander replied, "better than others do." "And if you do not," said Philip, "what will you forfeit for your rashness?" "I will pay," answered Alexander, "the whole price of the horse." At this the whole company burst into laughter; yet as soon as the wager was settled amongst them, he immediately ran to the horse, took hold of the bridle, and turned him directly towards the sun. Alexander, it seems, observed that Bucephalus was disturbed by the motion of his own shadow. Then letting him go forward a little, still keeping the reins in his hands, stroking him gently when he found him begin to grow eager and fiery, and with one nimble leap he securely mounted him. When he was seated, Alexander drew in the bridle, and curbed him without either striking or spurring him. Eventually, he let Bucephalus run at full speed, inciting him now with a commanding voice, and urging him also with his heel. Philip and his friends looked on in silence, anxious of the result, until they saw him come back and began to rejoice in triumph. His father, King Philip, in tears of joy, kissed him as he came down from his horse, and stated the prophetic phrase, "O my son, look thee out a kingdom equal to and worthy of thyself, for Macedonia is too little for thee." This marked the beginning of Alexander and Bucephalus’ relationship, an alliance that would lead them to the edges of the known world. Eventually, Bucephalus died in 326 B.C. after the battle on the Hydaspes River. Alexander founded the city Bucephala there in his honor.   « Less

Illyria refers to an ancient region situated along the Eastern shore of the Adriatic Sea. The ancient historian, Appian, wrote that the Illyrians inhabited the lands beyond  More »

Illyria refers to an ancient region situated along the Eastern shore of the Adriatic Sea. The ancient historian, Appian, wrote that the Illyrians inhabited the lands beyond Macedon and Thrace, roughly equivalent to modern Serbia and Albania. The Illyrians were a tribal society governed by chieftans. Traditionally, they raised livestock, mined the hills, and traded their commodities with other linguistically linked neighboring tribes.Historical records indicate that the Illyrian army was composed primarily of infantryman. Through archaeology, we have extensive knowledge of their arms and armor. Excavations have produced swords, bows and arrows, javelins, and battle-axes that would have been wielded by the soldiers. On defense, the Illyrian military was equiped with wooden and leather shilds that were embossed with metal. More refined armor, including pieces such as breastplates, leg protectors, and helmets such as this one, were most likely reserved for the commanding officers and the military elite.   « Less

The Carthaginian 'triad' of important gods included Baal Hammon, Tanit, and Eshmun. The word Baal (pronounced ba-al) meant "lord" in Phoenician and was the term used in the  More »

The Carthaginian 'triad' of important gods included Baal Hammon, Tanit, and Eshmun. The word Baal (pronounced ba-al) meant "lord" in Phoenician and was the term used in the Old Testament to refer to any Canaanite god. Baal bears the titles "Rider of the Clouds," "Almighty," and "Lord of the Earth." He was the god of the thunderstorm, the most vigorous and aggressive of the gods, and was believed to reside on Mount Zaphon, in Phoenicia. Archaeological evidence of Baal Hammon includes sacrificial pits in his temples, where victims usually first-born sons were burned in his honour. This was, in fact, a fairly common practice in most of the Mediterranean area, and is noted frequently in the Old Testament (notably amongst the Egyptians and the Carthaginians). His temples were also associated with holy prostitution. The Roman god Saturn was the main deity of agriculture (protector of seeds and sowers) and was associated with the Greek god Kronos. The mythologies of the two gods are therefore intertwined to no little extent, and become more complex once the older Carthaginian god Baal (Hammon) became associated with both Saturn and Kronos during the Greek and Roman imperial expansions of the late first millennium BC. This culture clash led to a fusion of modern and ancient traditions as invaders struggled to impose their culture upon conquered but not defeated societies. The uneasy truce has many archaeological manifestations: a notable example is the Roman habit of being mummified in the traditional Egyptian style. Such evidence is rare and highly significant, denoting major social developments in the Mediterranean basin that would go on to affect much of the known world. This sculpture is an elegant embodiment of those troubled times. Standing 18.5 high, this statue represents Saturn/Baal in traditional garb, with a tunic overlain by a toga. The drapery is very finely carved, and is gathered in the mid-chest with a small round brooch. His face and beard are extremely detailed and beautifully executed, and are topped with a soft cloth hat bound at the brows with a cord. His features are cast in an expression of pensive reflection. His feet are shod with sandals. His right hand rests upon a bale of barley, and he is holding a circular object possibly a discus in his right hand. His left hand has suffered some damage, but probably originally held a scythe an implement associated with both Saturn and Kronos (and, incidentally, the inspiration behind Deaths wielding of a scythe in his role as the grim reaper). Judging from the sculptures size, it was probably a domestically-owned household god, kept in a niche in a private home of substance in order to cast benedictions upon the householders. This is a genuinely beautiful sculpture, and also one of considerable importance to anyone interested in the dynamics of the Mediterranean crucible in which the roots of western civilisation were forged. - (X.0502)   « Less

From a funerary bust, wearing a high cylindrical headdress with two vertical grooves, his face with down-turned nose, square chin and prominent ears, his arching brows  More »

From a funerary bust, wearing a high cylindrical headdress with two vertical grooves, his face with down-turned nose, square chin and prominent ears, his arching brows sharply defined, the thickly-lidded eyes with the pupils and irises incised, a dimple below the thin lips. On the edge of the Syrian desert, in the eastern periphery of the Roman empire, the ancient city of Palmyra stood as a gateway linking the Western world to the luxuries of the Orient. To the ancient denizens of this arid realm, Palmyra was known simply as the Bride of the Desert, and for centuries intrepid merchants passed through this oasis seeking relief from the merciless desert sun. The Hebrew Bible attributes the city to King Solomon, though ancient Mari records mention Palmyra from the second millennium BC. Under the mercurial reign of the Seleucids—the progeny of Alexander the Great—the city experienced the delights of Hellenic civilization, continued three hundred years later when in the first century AD Tiberius incorporated Syria into the Roman Empire. From the Romans the city passed to Byzantium before falling to the armies of Muhammad and being abandoned around 800 AD. In its heyday Palmyra was an elegant symbol of imperial grandeur juxtaposed against a harsh, primordial environment. Trade brought wealth, power, and splendor to this desert town, transforming Palmyra into a limestone metropolis that has bequeathed a rich and abundant source of archaeological remains reflecting the city’s long imperial history. Palmyrenes are renowned for their construction of colossal funerary monuments built both above and below the desert floor. Burial compartments were sealed with limestone slabs decorated with magnificent busts in high relief and representing the soul of the deceased. This heroic bust is a superlative example of Palmyran artistry. The bust, though somewhat smaller than the proportions of life, exudes nobility with an imperious presence befitting a man of high esteem. In life, the subject of this statue was a priest, indicated by his tall, cylindrical headdress. As for what god or cult this cleric worshiped, the answer is unclear; however, given the statue’s Classical aesthetic, one can readily infer that the priest belonged to the Hellenic religious tradition. With his square chin and exquisite facial symmetry, the handsome priest epitomizes the idealized proportions espoused by the Greeks. Yet unlike so many examples of expressionless Greek statues, fine details in this funerary bust allude to the subtleties of personality. The priest’s arching, inquisitive brow crowns large, intelligent eyes—thickly lidded and with irises incised. A dimple accents a set of thin lips expressing the charms of youth. Yet with his large ears, furrowed brow, and wrinkled eyes the sculptor makes no allusion that the priest is anything but a man of maturity—testifying to the wisdom in his penetrating gaze. Neither a death mask nor an aggrandized icon, this remarkable bust exists outside of time and place, capturing the spirit of the ancients through the idiosyncrasy of a flesh and blood human being. It is a work of tremendous character beguiling our imagination with a relatable sensibility alien in the ubiquitous statues of mythic gods and heroes. The subject of this bust existed not in the empyrean but in reality, provoking whoever beholds this artifact to wonder just who was the man behind this imposing face? What was his name? How did he die? What were his qualities? While such questions are sadly unanswered, the profound strength and majesty of this extraordinary creation is ineffable and yet the answer to their quality is quite simple: genius. Provenance: European Private Collection, 1980s - (LA.557)   « Less

Umayyad Silver Dirham Minted Under Umar Ibn Abd Al-Aziz - LC.441, Origin: Damascus, Circa: 718 AD, Weight: 2.9 Grams, Collection: Islamic Art, Style: Umayyad, Medium: Silver.

Umayyad Silver Dirham Minted Under Umar Ibn Abd Al-Aziz - LC.441, Origin: Damascus, Circa: 718 AD, Weight: 2.9 Grams, Collection: Islamic Art, Style: Umayyad, Medium: Silver.   « Less

Early Islamic Glass Jar - G.0123, Origin: Eastern Mediterranean, Circa: 700 AD to 900 AD, Dimensions: 2.5" , (6.4cm) high, Catalogue: V1, Collection: Islamic Art, Style: Mold  More »

Early Islamic Glass Jar - G.0123, Origin: Eastern Mediterranean, Circa: 700 AD to 900 AD, Dimensions: 2.5" , (6.4cm) high, Catalogue: V1, Collection: Islamic Art, Style: Mold Blown/Tooled, Medium: Glass, This slightly irregular globular bottle has a flattened base and a cylindrical neck that is sunken where it joins the body. The molded decoration, blown in a single part mold, consists of vertical ribbings running around the globular body of the vessel. Ribbing was one of the most common decorative patterns used during this period. The surface of the jar is slightly weathered, resulting in a tinted patina and iridescence. The small bottle is appealing because of its dark, almost black colour.   « Less

Islamic Green Glass Weight - G.0164, Origin: Jericho, Palestine, Circa: 700 AD to 1000 AD, Dimensions: 7.5" , (19.1cm) high, Catalogue: V1, Collection: Islamic, Medium:  More »

Islamic Green Glass Weight - G.0164, Origin: Jericho, Palestine, Circa: 700 AD to 1000 AD, Dimensions: 7.5" , (19.1cm) high, Catalogue: V1, Collection: Islamic, Medium: Glass, This impressive object has the appealing simplicity of modern sculpture. Surely something so beautiful could not have been used to balance the scales against any ordinary commodity. Glowing like a rich emerald, it must have calculated the weight of rare spices brought by caravan from the east, or the finest treasures of the bazaar.   « Less

Early Islamic Glass Bottle - G.0209, Origin: Jericho, Palestine, Circa: 700 AD to 900 AD, Dimensions: 3" (7.6cm) high, Collection: Islamic, Style: Mold-Blown, Medium: Glass,  More »

Early Islamic Glass Bottle - G.0209, Origin: Jericho, Palestine, Circa: 700 AD to 900 AD, Dimensions: 3" (7.6cm) high, Collection: Islamic, Style: Mold-Blown, Medium: Glass, The advent of Islam in the seventh century and the empire created by its adherents had little immediate impact on glass production. In the Eastern Mediterranean Classical-Byzantine forms and techniques continued to be practised, whilst further east Parthian-Sassanian traditions prevailed. By the late eighth century however it is possible to discern a distinctively 'Islamic' style of glass. Cultural ties across the empire and the migration of craftsmen from one area to another helped to fuse Classical and Near-Eastern traditions. Whilst it is certainly true that one of the characteristic features of Islamic glass is the emphasis on decoration, undecorated vessels of great beauty were also created. Many of these were used for everyday purposes by the urban population- as tableware, containers for oils and perfumes, storage vessels, oil lamps and even for scientific and medicinal equipment.   « Less