Early Greek religion centered on the veneration of natural objects such as rocks, trees and animals. There is no unequivocal evidence of a bull-cult or bull-god in Greece or  More »

Early Greek religion centered on the veneration of natural objects such as rocks, trees and animals. There is no unequivocal evidence of a bull-cult or bull-god in Greece or Crete. However, the bull image as depicted in art from these regions strongly suggests a profound reverence for this powerful animal. The bull's strength, agility and courage made it a perfect symbol for eternity and fertility, especially the horns with their phallic connotation. This remarkable bull's head beautifully captures these qualities that have been so long admired in a beast that is both wild and domestic, but never tamed. Its head and neck form a solid mass, delicately modeled in the fine curves of the eyes, sloping nose, fully extended ears and broad expanse of the horns. The ribbed vertical rod from the neck indicates the head was attached to something, perhaps a scepter, as in examples from the Near East. The dual horizontal extensions are suggestive of a utilitarian rather than a decorative use. Though this bull's head can fit in the palm of the hand, it holds within itself the cult mystery and sheer physical power of the Iron Age. - (FZ.350)   « Less

Stone Plaque with Warriors - AM.0359Origin: Mediterranean Circa: 900 BC to 500 BC Dimensions: 2.5 " (6.4cm) high x 2.9 " (7.4cm)wide Collection:Near Eastern Art Medium: Stone

Stone Plaque with Warriors - AM.0359Origin: Mediterranean Circa: 900 BC to 500 BC Dimensions: 2.5 " (6.4cm) high x 2.9 " (7.4cm)wide Collection:Near Eastern Art Medium: Stone   « Less

Origin: Eastern Mediterranean Circa: 300 AD to 500 AD Dimensions: 3.93" (10.0cm) high x 2.44" (6.2cm) wide Collection: Biblical Antiquities Style: Talmudic Medium: Terracotta

Origin: Eastern Mediterranean Circa: 300 AD to 500 AD Dimensions: 3.93" (10.0cm) high x 2.44" (6.2cm) wide Collection: Biblical Antiquities Style: Talmudic Medium: Terracotta   « Less

Origin: Mediterranean Circa: 100 AD to 300 AD Dimensions: 30" (76.2cm) high x 16" (40.6cm) wide Collection: Biblical Antiquities Style: Roman Medium: Terracotta

Origin: Mediterranean Circa: 100 AD to 300 AD Dimensions: 30" (76.2cm) high x 16" (40.6cm) wide Collection: Biblical Antiquities Style: Roman Medium: Terracotta   « Less

Early sand-core aquamarine glass amphoriskos with tall, cylindrical neck, and two high swung handles. The vessel is decorated with a continuous red spiral trail from rim to  More »

Early sand-core aquamarine glass amphoriskos with tall, cylindrical neck, and two high swung handles. The vessel is decorated with a continuous red spiral trail from rim to shoulder and with a festoon pattern on the body. In the flower of the classical age, this lovely, colorful vessel contained some rare and costly perfume, perhaps attar from roses as red as the glass. We can picture it among the cosmetics of a noble beauty, who perhaps often admired its exquisite form, delicate as the scent within. Though we can never know its past except in our imaginations, its graceful beauty is undeniably real. A rare and splendid masterpiece of early glassworks. - (GF.0103)   « Less

Most probably based on an original of the late Hellenistic era--which favored depictions of children and cupids--this superb sculpture depicts the young god of love asleep on  More »

Most probably based on an original of the late Hellenistic era--which favored depictions of children and cupids--this superb sculpture depicts the young god of love asleep on the lion skin of the hero Herakles. As with much classical art, there is more going on than the eye alone sees, and this may be a reference to love being an exhausting labor. A torch (probably a metaphor for marriage) lies by Eros' side and a lizard sits at his feet. Though such references lend added depth to this work, it may also be viewed a tender portrait of youth and innocence, one easily understood in any place and time. - (PF.0001)   « Less

Perhaps originally part of an altar, this remarkable relief depicts the god of wine and revelry. He is nude except for a crown of ivy and berries, holding a staff and  More »

Perhaps originally part of an altar, this remarkable relief depicts the god of wine and revelry. He is nude except for a crown of ivy and berries, holding a staff and attended by his sacred animal, the panther. Throughout classical history the worship of Bacchus (Dionysus in Greek) was widespread, for he was believed to rule over mankind's less inhibited nature. In Athens, great dramatic festivals were celebrated in his honor, and Alexander the Great spread the cult of Dionysus as far east as India. This splendid Roman work draws on centuries of visual tradition to evoke a part of the human spirit that is never far beneath the surface. - (PF.0004)   « Less

Black Africans were known to the Greeks and Romans, and they appear in art as symbols of the exotic, unknown realms beyond the borders of the Classical world. This  More »

Black Africans were known to the Greeks and Romans, and they appear in art as symbols of the exotic, unknown realms beyond the borders of the Classical world. This beautifully observed sculpture served a practical function as a fountainhead, but the sensitive workmanship elevates it to the status of an artistic masterpiece. In its own age, it was an object of superb quality, and time has only added to its rarity and beauty. - (Z.0262)   « Less

In the presence of the greatest artistic depictions of the human form, we are left not only awe- struck and inspired, but also slightly embarrassed. The presence is so  More »

In the presence of the greatest artistic depictions of the human form, we are left not only awe- struck and inspired, but also slightly embarrassed. The presence is so undeniably real, so irrevocably permanent, we of mortal flesh are made to feel as though we are imperfect and decaying imitations of the austere and silent forms that we run our hands and eyes across. Such a piece is this- for has ever any cloth billowed with as much richness, moved with such taught and intricate line as the supple folds of this toga suggest? Has the soil ever felt such tight and bold leather as the lustrous lines of these bronze sandals traces? Has a face so sublimely aristocratic- with cheeks that plane down so softly, with eyes so imploringly intelligent, with a brow so firm, ever cracked supple metal lips to utter a word? The genius who forged this masterpiece had a vision beyond sight. He did not capture what was human, but rather expressed a potential that the human form has yet to witness in actuality. The beauty of this Lar is truly worthy of its divinity. It is a timeless masterpiece that is more expressive and moving than pieces many times its size. While we may not offer it sacrifice, or expect its protection over our home, we undoubtedly bask in its beauty with just as much gratefulness and wonder as its original owners must have. This statue represents the spiritual guardian of an Ancient Roman household. Most striking about this figure is his silver inlaid eyes. He appears to gaze back at us through the solid bronze. His wavy hair is held in place by a headband. However, his curls fall out over his forehead and cover his ears. He wears a long- sleeved tunic that is elegantly wrapped around his waist and over his shoulder. The folds of the tunic flap in the breeze while the excess fabric falls in a zigzag pattern between his legs. He wears high sandals with animal skin flaps. This statue was a protector of families and the structure they inhabited. It warded off ill omens and evil spirits much like a horseshoe does today. Throughout time, the motivations of man do not change, just the forms of their superstition. - (FZ.358)   « Less

This gorgeous sculpture of a Youth head is but a fragment of a large, full-figure sculpture that most likely decorated an ancient Greek temple or shrine in the Holy Land.  More »

This gorgeous sculpture of a Youth head is but a fragment of a large, full-figure sculpture that most likely decorated an ancient Greek temple or shrine in the Holy Land. Under Greek occupation, the Jews of Israel and their religious beliefs were vehemently suppressed. Following the Bar Kochba uprising of 132-135 A.D., the city of Jerusalem was almost entirely rebuilt, including a temple dedicated to Jupiter on the site of the Temple Mount, and renamed Aelia Capitolina. This bust of a Youth, representing Alexander, the King of Kings, may have been a sculptural ornament decorating such a temple. While the Jews formally revolted as a community against Roman occupation on several occasions, individuals often issued their own objections in less formal, more discreet manners. The broken nose on the gorgeous face of this sculpture may be one such objection, voiced centuries ago, whose cry for justice still rings true. The artistic depiction of the human form by the Greeks clearly contradicted the tenants of the Torah. However, instead of revolting against Greek and Roman rule and inciting their wrath, an ancient protestor may have defaced this sculpture in accordance with the second commandment. Thus, this sculpture is not merely a beautiful work of Classical art, but also may be an important cultural relic documenting the struggles of the Jewish people under Roman occupation. - (PF.6135)   « Less