Showing 81–96 of 174 results
Amphorisque with a dark blue background. Dark blue, light blue and yellow opaque glass.
REFERENCE #
GL_RM_1014
Greco-Phoenician, 500 B.C.E. – 400 B.C.E.
H. 9.7 cm
Excellent condition
Price
available upon request
Baidun Family Collection
According to ancient literary sources, the sphinx was a monster with the face and bust of a woman, the talons of a lion, the body of a dog, a serpent’s tail and wings of a bird. Its pale appearance, venomous mouth and stony gaze characterised this demon of divine origin. Its presence amongst humans created uncertainty and fear. It is possible that this hybrid had its origin in Egyptian iconography, where it was represented with the body of a feline and a human face, and was probably related to the divine power of the pharaoh.
This terracotta piece shows a monster seated on its haunches and in profile, with its head turned to the right toward the public. The female countenance has idealised features of great beauty. The thick, wavy hair is crowned with a polos or crown on the Corinthian model. On the right wing the rendering of the feathers shows a clear interest in the anatomical details of birds: the feathers inserted into the body itself are small and short, rather like scales, while those at the extreme end of the wing are long and narrow, to help the bird take flight.
The sculptural prototype of Greek sphinxes appears around the 7th century BC in terracotta, and was usually found decorating large receptacles. A century later they appeared in marble crowning seated ex-votos on a column. The monstrous, aggressive nature of the hybrid was channelled into funerary art, serving as an apotropaic symbol to keep away malevolent forces. It was usual, therefore, to find this iconography in metopes and hollow acroteria in Greek necropoleis of the 6th century BC, usually with the animal in profile and turning its head toward the public in an attitude of defiance.
SI_GR_1034
Civilization Greek,
6th – 5th century B.C.E.
H. 18 cm
In a good state of preservation, without any restoration.
Private collection G. A., Gardena, California, USA.
According to ancient literary sources, the sphinx was a monster with the face and bust of a woman, the talons of a lion, the body of a dog, a serpent’s tail and wings of a bird. Its pale appearance, venomous mouth and stony gaze characterised this demon of divine origin. Its presence amongst humans created uncertainty and fear. It is possible that this hybrid had its origin in Egyptian iconography, where it was represented with the body of a feline and a human face, and was probably related to the divine power of the pharaoh.
This terracotta piece shows a monster seated on its haunches and in profile, with its head turned to the right toward the public. The female countenance has idealised features of great beauty. The thick, wavy hair is crowned with a polos or crown on the Corinthian model. On the right wing the rendering of the feathers shows a clear interest in the anatomical details of birds: the feathers inserted into the body itself are small and short, rather like scales, while those at the extreme end of the wing are long and narrow, to help the bird take flight.
The sculptural prototype of Greek sphinxes appears around the 7th century BC in terracotta, and was usually found decorating large receptacles. A century later they appeared in marble crowning seated ex-votos on a column. The monstrous, aggressive nature of the hybrid was channelled into funerary art, serving as an apotropaic symbol to keep away malevolent forces. It was usual, therefore, to find this iconography in metopes and hollow acroteria in Greek necropoleis of the 6th century BC, usually with the animal in profile and turning its head toward the public in an attitude of defiance.
BIBLIOGRAPHY:
SI_GR_1034
Size
Condition
In a good state of preservation, without any restoration.
Private collection G. A., Gardena, California, USA.
A beautiful aubergine Greek two tone core formed glass Oinochoai with opaque blue and opaque yellow decoration. A trefoil mouth with a single handle.
Cf. Grose D., The Toledo Museum of Art Early Ancient Glass, no. 114, pg. 96
GL_GR_1003
Greek, 600 B.C.E. – 500 B.C.E.
10 cm
Fine Condition. A small chip on the rim
Price available upon request
A beautiful and graceful long necked glass flask, decorated with four concentric circles around the body. And more circles at the bottom of the neck and along it. It is a very heavy piece because of its thick walls. The circles were done by etching the glass with a stone tool.
Greek, 500 B.C.E. – 400 B.C.E.
18 cm
Fine condition
available upon request
7 leaves and one part-leaf, 312 x 215mm — 372 x 265mm: (i) ORIGEN (d.253/4), translated by RUFINUS (d.410), In Numeros Homiliae, in Latin, [Italy, perhaps Tuscany, early 12th century], 2 almost complete leaves, two columns of 34 lines written in a fine rounded Carolingian minuscule bookhand in dark brown ink, the text containing parts of Homily XXVI and XXVII, with a December 1580 inscription in Italian on f.1v, 372 x 265mm; A MISSAL, in Latin, [Italy, probably Tuscany, early 13th century], 2 leaves, two columns of 31 lines written in brown ink, rubrics and initials in red, the text from the Sanctoral containing masses for Saints Zenobius, Romulus, Reparata and Cerbonius, all Tuscan, 311 x 215mm; ROLANDINUS RODOLPHINUS (d.1300), Summa artis notariae, in Latin, [Italy, late 13th or early 14th century], 1 leaf and one part leaf, two columns of 44 lines written in brown ink, rubrics and paraphs in red, the text containing parts of chapters VIII and IX, 320 x 223mm; A BREVIARY, in Latin, [Italy, late 14th century], two leaves, two columns of at least 23 lines, initials in red and blue, rubrics in red, with part of the text for Feria VI in Easter week, ownership inscriptions in Italian, 355 x 275mm (all recovered from bindings, some cropping, staining and creasing). All in modern card bindings.
Reference #
MS_BZ_1005
Medieval , 1200 C.E. – 1400 C.E.
7 leaves and one part-leaf, 312 x 215mm — 372 x 265mm
Fine Condition
Price available upon request
Baidun Collection, acquired at Christies sale November 2013
This bronze depiction of Silenus, Greek god of drunkenness and wine-press, dates to the Hellenistic period 300 B.C.E. – 200 B.C.E. He was companion of the wine god Dionysus, and from the 5th century B.C.E. the name Silenus was applied to Dionysus’ foster father, which thus aided the gradual absorption of the Satyrs and Sileni into the Dionysiac cult.
Here Silenus is depicted as an old satyr with a long mustache and a square beard with big curling hair locks. The face has strong features with chubby cheeks, snub-nose, fleshy lips, frowning brows, as well as pointed ears with ivy leaves set over both of them. The face is finely modeled with a strong and living expression. It is framed with a contour line at the border of the missing upper and back parts of the head.
Such a facial depiction was applied on a statue which was possibly made of other material. The punched surface of the face may indicate that it was plated or sheathed with silver or gold.
A notorious consumer of wine, Silenus was usually drunk and had to be supported by satyrs or carried by a donkey. When intoxicated Silenus was said to possess special knowledge and the power of prophecy: It was believed that he acquired arcane knowledge and was able to predict the future. Seilenos was, in essence, the spirit of the treading dance of the wine-press – his name being derived from the words seiô, “to move to and fro,” and lênos, “the wine-trough.”
cf. Smith, R.R.R., Hellenistic Sculpture, Thames and Hudson, London 1991, fig. 299; Stewart, A., Greek Sculpture. An Exploration, II ( plates ), Yale University Press, New Haven & London, 1990, figs. 684, 708.
cf. Mitten, D. G., and Doeringer, S. F., editors, Master Bronzes from the Classical World, Exh. cat., Fogg Art Museum, Cambridge, Mass., 1967, p.222, fig. 225.
cf. Ibid, p. 125, fig. 125.
1.) Britannica – Satyr
2.) Wikipedia – Silenus
3.) Theoi – Seilenos
4.) Greek Mythology – Silenus
SI_GR_1016
Hellenistic, 300 B.C.E. – 200 B.C.E.
H. 6.5 cm
Two holes below the mouth. Surface with light punch marks
$8,500 USD
The Baidun Collection
This Indus Valley civilization copper anthropomorph is a rare and fine example of abstract silhouettes of human figures that were produced by the indigenous inhabitants of the Ganges river valley. Found together with other implements such as harpoons and rings, the figures were cast in molds from copper and then hammered, with the chisel marks left easily discernible. The natural attractive patina and the earthy deposits are signs of prolonged burial. It has been suggested that these idols functioned as protective guardian spirits.
Given that pure copper is a relatively soft metal and most of the objects show little or no signs of wear, it seems likely that their function was largely dedicatory. Hoards of such objects have been found across north India, the greatest concentration being in Uttar Pradesh. The findspots suggest they were ritually deposited in rivers or marshes, though several related antennae swords were recorded in late Indus Valley civilization (ca. 1500 B.C.) burials at Sanauli.
– Type I – semi-circular headed, curved arms signifying ram’s horns, standing with spread legs.
– Type II – (Indus Script ‘fish’ hieroglyph) similar to Type I but with Indus script incription of ‘fish’ hieroglyph.
– Type III – (Seated, with right arm upraised) similar to Type I but with variants of ‘seated posture’ and one right arm lift upwards.
– Type IV – (Indus Script ‘boar’ ligature & ‘yong [sic] bull’ hieroglyh [sic] inscribed) similar to Type I but with Indus Script inscriptions/ligatures of boar’s head and hieroglyph of one-horned young bull.
Paul Yule had identified Type I and Type II artefacts from among the Copper Hoard Culture finds as anthropomorph types based on orthographic features. With the discovery of new artefacts of the Copper Hoard Culture, the typology can now be extended to four types of anthropomorphs. The types are:
– Type I – semi-circular headed, curved arms signifying ram’s horns, standing with spread legs.
– Type II – similar to Type I but with Indus script incription of ‘fish’ hieroglyph.
– Type III – similar to Type I but with variants of ‘seated posture’ and one right arm lift upwards.
– Type IV – similar to Type I but with Indus Script inscriptions/ligatures of boar’s head and hieroglyph of one-horned young bull.
The findspot of Type II “Sheorajpur Anthropomorph” (with ‘fish’ hieroglyph) is Sheorajpur where an ancient Shiva temple has been discovered. The temple ceiling is decorated with metalwork plates of sculptural friezes attesting to the metalwork tradition of the site during the Bronze Age.
Apart from the insribed or ligatured anthropomorphs with Indus Script hieroglyphs, the link to Indus Script tradition is validated by the finds of anthropomorphs in Sultanate of Oman dated to ca. 1900 BCE and to the find of an anthropomorph in Lothal (2500 BCE?). Thus the Copper Hoard Culture can be seen as a continuum of the Bronze Age Revolution evidenced by the Indus Script Corpora of over 7000 inscriptions – all related to metalwork catalogues or data archives.
It is submitted that the anthropomorphs of Copper Hoard Culture are a reinforcement of the Indus Script decipherent as metalwork cataloguing in Prakrtam (Indian sprachbund), a cipher system mentioned by Vatsyayana as mlecchita vikalpa ‘lit.cipher of mleccha/meluhha, ‘copper workers’.
While many anthropomorph examples are of small size which led Paul Yule to infer that they did not have utilitarian value as ‘metal’, some examples have been reported from Metmuseum of anthropomorphs of sizes 4 1/2 x 3 15/16 in. and 6 1/8 x 4 7/8 in. which have led to their identification as axe-heads or ax celts or copper ingots.
Srini Kalyanaraman suggests that all the anthropomorphs are orthographic form hieroglyphs of Indus Script to signify metalwork dharma saṁjñā ‘signifiers of responsibilities (in guild — as artisans/seafaring merchants) or professional calling cards’. Such dharma saṁjñā may have been disseminated as badges to herald or proclaim the holders’ professional competence in metalwork.
RV 1.10.1 indicates ‘worshippers held aloft as it were (on) a pole’ during Indra dhvaja festivals. It is possible that such anthropomorphs were held aloft on poles as exhibits during festivals to proclaim to the people the new competence in metalwork.
– Anthropomorphic Figure, Copper hoard culture, Farukkhabad, Uttar Pradesh
– http://museumsofindia.gov.in/repository/record/alh_ald-AM-ARCH-218-7671
– Sheorajpur anthropomorph with ‘fish’ hieroglyph and ‘markhor’ horns hieroglyph. ayo’fish’ Rebus: ayo ‘iron, metal’ (Gujarati) khambhaṛā ‘fish fin’ rebus: kammaTa ‘mint, coiner, coinage’. Fish sign incised on copper anthropomorph, Sheorajpur, upper Ganges valley, ca. 2nd millennium BCE, 4 kg; 47.7 X 39 X 2.1 cm. State Museum, Lucknow (O.37) Typical find of Gangetic Copper Hoards.
– http://katalog.ub.uni-heidelberg.de/cgi-bin/titel.cgi?katkey=900213101
– http://heidicon.ub.uni-heidelberg.de/heidicon/239/213101.html
– http://heidicon.ub.uni-heidelberg.de/id/213101
– http://asi.nic.in/asi_museums_lucknow.asp
– http://uptourism.gov.in/pages/top/explore/lucknow/state-museum
– Anthropomorphic figure, Copper hoard culture, Northern India, Doab region, Ganges Valley
– http://www.barbier-mueller.ch/collections/antiquite/age-du-bronze/?lang=en
– http://www.barbier-mueller.ch/collections/antiquite/age-du-bronze/?lang=fr
– Samuel Eilenberg Collection, Bequest of Samuel Eilenberg, 1998
– http://www.metmuseum.org/art/collection/search/39432
– http://www.metmuseum.org/art/collection/search/50592
– http://www.metmuseum.org/art/collection/search/50588
– http://www.metmuseum.org/art/collection/search/50641
– Anthropomorphic Figure. India. Bronze Age. Mid/Second Half of the 2nd Millenium BCE.
– Norman O. Stone and Ella A. Stone Memorial Fund
– http://www.clevelandart.org/art/2004.31
“Art of Asia Acquired by North American Museums”, 2003-2004 (p. 113, Fig. 8)
Archives of Asian Art
Vol. 56 (2006), pp. 109-132
Published by: Duke University Press
Stable URL: http://www.jstor.org/stable/20111341
Page Count: 24
– P. Yule/A. Hauptmann/M. Hughes, “The Copper Hoards of the Indian Subcontinent: Preliminaries for an Interpretation”, Jahrbuch des Römisch-Germanischen Zentralmuseums Mainz 36, 1989 [1992], 193-275.
– “The Copper Hoards of the Indian Subcontinent: Preliminaries for an Interpretation” with Appendix I and II by Andreas Hauptmann and Michael J. Hughes (p. 239, fig. 1105; see also p. 241-242 figs. 1121-1123, 1128 for similar anthropomorphs).
– http://crossasia-repository.ub.uni-heidelberg.de/509/
– http://crossasia-repository.ub.uni-heidelberg.de/509/1/00jrgzm_all.pdf
– P. Yule, ‘Addenda to “The Copper Hoards of the Indian Subcontinent: Preliminaries for an Interpretation”‘
– http://crossasia-repository.ub.uni-heidelberg.de/510/
– http://crossasia-repository.ub.uni-heidelberg.de/510/1/yule_man_envir_2001.pdf
– P. Yule, “Beyond the Pale of Near Eastern Archaeology: Anthropomorphic Figures from al-Aqir near Bahla’, Sultanate of Oman” within: T. Stöllner et al. (Hrsg.), “Mensch und Bergbau Studies in Honour of Gerd Weisgerber on Occasion of his 65th Birthday”, (Bochum 2003) 537-542
– http://archiv.ub.uni-heidelberg.de/propylaeumdok/109/1/Yule_2003.pdf
– P. Yule, “Metalwork of the Bronze Age in India”
– http://crossasia-repository.ub.uni-heidelberg.de/1895/
– http://crossasia-repository.ub.uni-heidelberg.de/1895/1/Metalwork_BronzeAge_India.pdf
“The Copper Hoard Culture of the Gangā Valley”
– B. Lal (1972), “The Copper Hoard culture of the Gangā Valley”. Antiquity, 46 (184), 282-287. doi:10.1017/S0003598X00053886
– https://www.cambridge.org/core/journals/antiquity/article/copper-hoard-culture-of-the-ganga-valley/EB6ABFD8D5BD193835C0145C3BD55925
– J. Manuel, “The antecedent’s diverse influences on and by Vaishnava Art, as perceptible from the times of Copper Anthropomorphic Figures” within:
Journal of Religious History South Asia, Vol. A-1 (Published Fall 2015)
– http://www.jorhsa.com/Edition_2015/Copper.pdf
“On Copper Age Anthropomorphic Figures from North India An Ethnological Interpretation”
Jürgen W. Frembgen
East and West
Vol. 46, No. 1/2 (June 1996), pp. 177-182
Published by: Istituto Italiano per l’Africa e l’Oriente (IsIAO)
Stable URL: http://www.jstor.org/stable/29757261
Page Count: 6
“The Copper Hoards Problem: A Technological Angle”
D. P. AGRAWAL
Asian Perspectives
Vol. 12 (1969), pp. 113-119
Published by: University of Hawai’i Press
Stable URL: http://www.jstor.org/stable/42929067
Page Count: 7
T.K.D GUPTA, “The anthropomorphic figures of the copper-hoards from India”
– https://www.researchgate.net/publication/306878726_The_anthropomorphic_figures_of_the_copper-hoards_from_India
15 museums around the world where ancient Indus Civilization artifacts are live.
– https://www.harappa.com/museum
– http://bharatkalyan97.blogspot.co.il/2016/07/all-four-types-of-anthropomorphs-of.html
– http://bharatkalyan97.blogspot.co.il/2015/05/composite-copper-alloy-anthropomorphic.html
– http://bharatkalyan97.blogspot.co.il/2014/01/stunning-metallic-ceiling-of-shivrajpur.html
– http://bharatkalyan97.blogspot.co.il/2014/01/meluhha-hieroglyphs-snarling-iron-of.html
– http://bharatkalyan97.blogspot.co.il/2014/01/stunning-metallic-ceiling-of-shivrajpur.html
SI_IN_1001
Late Bronze, 1500 B.C.E. – 1300 B.C.E.
Ht. 33 cm, Wd. 31 cm
Fine Condition.
Price available upon request
Private English Collection, 1969
Colorless, bubbly/mold-blown. Ground rim, neck narrowing toward bottom, square body, which at the bottom part divides into four cut wedge-shaped feet arranged around a flat bottom. The Molar bottle is a characteristic example of cut Islamic glass. Its name derives from the four wedge-shaped feet, which resemble the root of a molar tooth. In Lamm’s opinion, such bottles were manufactured in Egypt, from where they were distributed throughout the Islamic world as perfume containers. Similar bottles were also fashioned from metal and ivory. They were common in the 900 and 1000 AD, but thereafter their production was ceased. They have been found in Iraq, Iran, Egypt, Syria and the holy land.
GL_IS_1001
Islamic, 900 C.E. -1000 C.E.
H. 7.5 cm
Fine condition
Price available upon request
The Baidun Collection
This ewer is from the reign of the Ayyubid dynasty that ruled much of the Middle East for over a century starting in approximately 1100 C.E.. The Ayybuids were Islamic warriors who conquered parts of Egypt, Syria, northern Mesoptamia, the Kingdom of Jerusalem and the southwestern swath of the Arabian Peninsula. In such a region, water was essential in daily life, and the cool relief that this ewer brought was not lost on those who received a glass from its long spout.
This ewer is of a recognizable shape, although the elongated mouth and the three careful holes at the neck’s top show how water was guarded preciously from being wasted in the desert. We see distinct Islamic designs that closely resemble the fluid movement of Arabic calligraphy. The crude craftsmanship gives way to the ewer’s brilliant front, designed with such intricate lines and patterns so as to lift this everyday object up beyond the everyday into a truly beautiful piece of antiquity. The ewer dates from approximately 1000 C.E. – 1200 C.E. and is 28 cm in height.
CR_IS_1002
Islamic, 1000 C.E. – 1200 C.E.
H. 28 cm
Fine condition
Sold
The Baidun Collection
A Israelite figurine of Astarte holding a drum or bread?. The head on this figure was made in mould wearing a wig like headdress, the neck was then inserted into the pillar-shaped body. The pillar-shaped body is holding drum or bread. There is no doubt that the figurines were considered to have some magical properties and were kept in the household as amulets to enhance fertility.[/vc_column_text]
KB_PT_2799
Iron Age II, 800 B.C.E. – 600 B.C.E.
H. 15 cm
Fine condition
$4500
The Private Collection of K. Baidun. 1970’s
