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

The history of glass making before the Industrial revolution can be separated in two stages: in the first, which began in the 3rd millennium BC and ended in the period from  More »

The history of glass making before the Industrial revolution can be separated in two stages: in the first, which began in the 3rd millennium BC and ended in the period from 100 to 50 BC, craftsmen discovered how to transform raw materials into glass and how to make vessels and other objects either with moulds or by forming a molten glass around a removable core. Both techniques were labour-intensive and were seldom made in big quantities. In the second stage, beginning in the 1st century AD in the Syro-Palestinian region, glass workers found that molten glass could be formed by inflation and manipulation with tools. Glass blowing enabled them to make quickly a wide range of shapes, thus widening its market. However, after the 2nd century AD, glass is generally found in a more confined area. The change appears to have taken place under the Flavian Emperors (69-96 AD), an era that in many ways represents a watershed in the history of glass making. It is from this time onwards that glassblowing in the East and the West developed along independent lines, the only exception being fine tableware decorated with special techniques, which was probably due to the still unifying factor of the Roman Imperial administration. Yet, the most prolific period in the history of glass in the Eastern Mediterranean was during the late Roman Empire, when Egypt, Palestine, Syria, Cyprus, Asia Minor and the north Pontic region all had flourishing glass industries. With the increased demand for glass, regionalism became the dominant factor in the production of glass vessels. Marked regional differences existed not only between the glass made in Syria, Jordan and Palestine, but even between different parts of Palestine (inland vs coast; Galilee and Phoenicia vs Judea). The glass industries of these regions experienced a prolonged period of growth, and the late Roman and early Byzantine period were by far the most important not only in terms of absolute output but also in terms of typologies used. Only during this period, glass was finally used by different strata of societies, sometimes even replacing pottery for certain functions.   « Less

The figure is inscribed with a text of eight lines which translates as follows: 1) Illumine Osiris--Har, child of Hathor in the necropolis, when he says: O; 2) Ushabti, this  More »

The figure is inscribed with a text of eight lines which translates as follows: 1) Illumine Osiris--Har, child of Hathor in the necropolis, when he says: O; 2) Ushabti, this O Osiris--Har, child of Hathor in the necropolis; do the work that is to be done; 3) there in the necropolis. Then you will smite there, as a man about his affairs; 4) Behold me, say you, when one counts; 5) at any time, to act there in the necropolis; 6) to cause to grow the fields, to cause to fill the channels; 7) to carry sand from the east; 8) to the west. Behold me, say you. - (PF.0479)   « Less

The Phoenician homeland was a coastal strip roughly corresponding to modern day Lebanon. ‘Phoenicia’ is a Greek word meaning red/purple and was used to refer to  More »

The Phoenician homeland was a coastal strip roughly corresponding to modern day Lebanon. ‘Phoenicia’ is a Greek word meaning red/purple and was used to refer to the people of the Levantine coast because the inhabitants of Tyre were renowned for their ability to produce fine purple dye. The dominant influence in the area lay with the city-states, especially Sidon, Byblos and Tyre. These cities were ruled separately but- despite their often hostile relations- their common maritime interests held the area together as a recognisable political entity. From the ninth century BC overseas colonies, at Carthage and Cyprus (Kition), reinforced the Phoenicians’ trade in the Mediterranean. Over the following centuries they established outposts further afield in Sicily and Spain. This expansion was motivated by the desire to find new markets for their goods and sources of precious metals which were particularly plentiful in the African interior and the Iberian coast.   « Less

Vessel with piriform body, high neck with slightly everted rim and flat base. The protrusions on the body denoting breasts, while the two arms in relief are bent on the  More »

Vessel with piriform body, high neck with slightly everted rim and flat base. The protrusions on the body denoting breasts, while the two arms in relief are bent on the belly. Eyes and mouth are applied in relief below two horizontal continuous lines indicating eyebrows. A sharp flattened curved protuberance indicates the nose while the ears are flanges continuing into the arms. This type of antropomorphic vessel would have had either a discoid or curved lid with a small horn-shaped projection on the top.This vase is a typical example of the anthropomorphic pottery from Troy, datable to the Early Bronze Age II-III (Troy II-V). Pottery with mould, incised or painted rendering of human features or full figures -for the most part female- constituted a special category of Early Bronze Age pottery thoughout the Aegean and western Anatolian world, with a particular significance, probably symbolic and a special use, possibly ritual.For a comparable example see: J. Aruz ed., The Art of the First Cities, 2003: p. 274, no. 179. - (LO.1039)   « Less

Origin: Egypt Circa: 664 BC to 525 BC Dimensions: 0.75" (1.9cm) high x .625" (1.6cm) wide x 1.25" (3.2cm) depth Collection: Egyptian Style: 26th Dynasty Medium:  More »

Origin: Egypt Circa: 664 BC to 525 BC Dimensions: 0.75" (1.9cm) high x .625" (1.6cm) wide x 1.25" (3.2cm) depth Collection: Egyptian Style: 26th Dynasty Medium: Faience Ancient Egyptian artists faced a dilemma. Although they had worked in clay for thousands of years, they had not mastered the glazing technique. But a modest material solved that problem and became revered. Faience, which dates back to pre-dynastic times, of 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. This diminutive seal pendant is a masterpiece of intricacy. Originally, this ancient statuette would have been attached a chord and worn as a bracelet or necklace. Drilled holes just above the base attest to this use. Formed in the image of a porcupine, that spiny rodent that was hunted in Ancient Egypt for sport and food, the seal features the representation of a crocodile etched onto the base. When pressed onto wet clay or wax, this seal would have been used to ensure that a message or shipment of merchandize was not tampered with while en route to the hands of its intended recipient. Certain objects, masterpieces treasured in their own time, are of an eternal beauty that is easily appreciated regardless of era or culture. This amulet is one such stunning example; a reminder of how close the Ancient Egyptians were to their natural environment and the great diversity of wildlife that lived alongside them. - (PF.2995)   « Less

This mould features the goddess Sekhmet with several ancient hebrew letters. - (SP.049)Origin: Israel Circa: 900 BC to 500 BC Collection: Biblical Antiquities Medium:  More »

This mould features the goddess Sekhmet with several ancient hebrew letters. - (SP.049)Origin: Israel Circa: 900 BC to 500 BC Collection: Biblical Antiquities Medium: Terracotta   « Less

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  More »

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.   « Less

Egyptian Wooden Inscribed Mummy Tag - LO.1195 Origin: Egypt Circa: 200 BC to 200 AD Dimensions: 1.75" (4.4cm) high x 3.75" (9.5cm) wide Collection: Egyptian  More »

Egyptian Wooden Inscribed Mummy Tag - LO.1195 Origin: Egypt Circa: 200 BC to 200 AD Dimensions: 1.75" (4.4cm) high x 3.75" (9.5cm) wide Collection: Egyptian Antiquities Medium: Wood   « Less

Older than memory, this is the great female deity, the goddess of fertility. Whatever guise she takes, her chief function is to make fecund the earth, men and beasts, to  More »

Older than memory, this is the great female deity, the goddess of fertility. Whatever guise she takes, her chief function is to make fecund the earth, men and beasts, to insure the continuity of life. Sometimes she fills other roles--as a goddess of wisdom, of love, or of war--but her power over the fate of mankind is enormous. This votive was offered centuries ago by some person seeking her favor and protection. We do not know if the goddess granted the wishes of the ancient life, but we feel about her still the aura of benevolence and mystery - (SP.626)   « Less