A Ceramic Red Slip with Radial Burnish Amphoriskos
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A Ceramic Red Slip with Radial Burnish Amphoriskos

Description

Amphoriskos are shortened versions of the classic amphora, jars with two handles located on either side of the neck. This particular piece is about 19.5 cm in height, not large by traditional standards, yet still smaller than the massive amphora meant for storing water in the arid climate of the ancient Levant.
This beautiful red slip amphoriskos comes from the ancient Israeli city of Samaria, located just west of the Jordan River. Dating from approximately 900 B.C.E. – 800 B.C.E., this piece was made well before the Roman occupation of the region that eventually led to the first Great Jewish revolt.

REFERENCE #

KB_PT_9995

CIVILIZATION

Iron Age II B, 900 B.C.E. – 800 B.C.E.

SIZE

H. 19.5 cm

CONDITION

Fine condition

PRICE

SOLD

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An Egyptian Mummy Mask
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An Egyptian Mummy Mask

DESCRIPTION

Made of cartonnage – a medium consisting of layers of fibers – this mummy mask features a broad foliate and beaded collar. The wig is decorated with an open lotus blossom on the forehead and a scarab on the crown. The cheek straps and other details are painted in blue, purple, red, pink and green on a yellow ground.

REFERENCE #

SI_EG_1049

CIVILIZATION

Egyptian, 100 C.E.

SIZE

H. 33 cm

CONDITION

Some normal areas of edge losses, mostly minor; a few open splits and some areas of the interior have been strengthened with a linen backing. Some normal minor paint flakes. Lower front portion of wig is curled under; the very tip of the nose chipped.

PRICE

Sold

PROVENANCE

Private NYS collection, ex. Sotheby’s, Sale 5464, lot 250, May 30th, 1986

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Ancient Bronze Thrusting Sword
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Ancient Bronze Thrusting Sword

DESCRIPTION

This Persian sword is a remarkable example of the technology and design that went into crafting an ancient piece of weaponry. The dark hue of this sword lends it an austere weight, while the thick ribs and large crescent of the hilt are an indication of the strength required to wield such a heavy object. The broad blade seems to be made not for bludgeoning as much as cutting, with the raised ridge that runs along its length adding force to its blows.

This is a piece that makes a forceful statement in any collection, especially for collectors looking for a simpler alternative to the overwrought designs of later civilizations. The ancient Persians were known for their battle prowess, and this weapon is a fine example as to the tools ancient warriors had at their disposal. This sword has been wonderfully restored and displays a brilliant luster that still gleams along its long blade.

REFERENCE #

WP_PR_1111

CIVILIZATION

Persian, 1200 B.C.E. – 1100 B.C.E.

SIZE

L. 54 cm, 8 cm W

CONDITION

Excellent condition

PRICE

$11500

PROVENANCE

Jerusalem Private Collection

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Bronze Imperial Roman Bull Stomping Hoof
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Bronze Imperial Roman Bull Stomping Hoof

Civilization: Roman
Material: Metal

Description

This incredible Bronze Imperial Roman Bull statuette dating from 200 – 300 C.E. is decorated with two stylized markings on its flanks and one large ribbon across its torso.  The bull’s powerful stance is accentuated by his head that is turned, as well as his front left leg that is raised in an aggressive stomping motion.  Additional decorations are present on the bull’s head in the form of decorous curls.  This Bronze Imperial Roman Bull statuette was part of a composed relief depicting a procession that leads to the sacrifice of the bull which was performed for the welfare of the Roman empire.

For more than 5,000 years, bronze and other copper alloys have been essential materials used to create everything from life-size sculptures to objects of daily life such as weapons, jewelry, tableware, and as featured here:  This incredible Bronze Imperial Roman Bull statuette.  Similar pieces are found in museums such as the Met Museum in New York City, but few found are as majestic and powerful as this piece.

Roman Bull in Cult of Magna Mater (Great Mother of the gods) Cybele

The religious practices of the Roman Empire of the 2nd to 4th centuries C.E. included the taurobolium, in which a bull was sacrificed for the well being of the people and the state. Around the mid-2nd century C.E. the practice became identified with the worship of Magna Mater (i.e. the Great Mother of the gods, Cybele), but was not previously associated only with that cult (cultus).

After 159 CE all private taurobolia inscriptions mention Magna Mater.  Public taurobolia enlisting the benevolence of Magna Mater on behalf of the emperor became common in Italy, Gaul, Hispania, and Africa. The last public taurobolium for which there is an inscription was carried out at Mactar in Numidia at the close of the 3rd century C.E. It was performed in honor of the emperors Diocletian and Maximian.

 

Roman Bull in Eastern Cult of Mithras

Another Roman mystery cult in which a sacrificial bull played a role was that of the 1st-4th century C.E. Mithraic Mysteries.  The cult of Mithras was very popular throughout the Roman Empire and was followed especially by soldiers.  It was one of several eastern cults that spread rapidly as a result of the Pax Romana (Roman peace) – others included the worship of Jupiter Dolichenus, Manichaeism, and of course Christianity.

Shrouded in secrecy, ancient mystery cults fascinate and capture the imagination.  Like all Greco-Roman mysteries, the cult of Mithraic Mysteries was limited to initiates, and there is very little known about the cult’s beliefs or practices.  In the so-called “tauroctony” artwork of that cult (cultus) – and which appears in all its temples – the god Mithras is seen to slay a sacrificial bull. The tauroctony should not be confused with a “taurobolium”, which was an actual bull-killing cult act performed by initiates of the Mysteries of Magna Mater, and has nothing to do with the Mithraic Mysteries.

Although there has been a great deal of speculation on the subject, the mystery that the tauroctony scene was intended to represent remains unknown.  Like the other ancient “mystery religions” such as the Eleusinian mysteries and the mysteries of Isis, Mithraism maintained strict secrecy about its teachings and practices, revealing them only to initiates. As a result, reconstructing the beliefs of the Mithraic devotees has posed an enormously intriguing challenge to scholarly ingenuity.

Owing to the Mithraic cult’s secrecy, we possess almost no literary evidence about the beliefs of Mithraism. The few texts that do refer to the cult come not from Mithraic devotees themselves, but rather from outsiders such as early Church fathers who mentioned Mithraism in order to attack it, as well as from Platonic philosophers who attempted to find support in Mithraic symbolism for their own philosophical ideas.

However, although our literary sources for Mithraism are extremely sparse, an abundance of material evidence for the cult exists in the many Mithraic temples and artifacts that archaeologists have found scattered throughout the Roman empire – from England in the north and west to Palestine in the south and east.  The temples – called mithraea by scholars – were usually built underground in imitation of caves.  These subterranean temples were filled with an extremely elaborate iconography: carved reliefs, statues, and paintings – depicting a variety of enigmatic figures and scenes. This iconography is our primary source of knowledge about Mithraic beliefs, but because we do not have any written accounts of its meaning the ideas that it expresses have proven extraordinarily difficult to decipher.

 

Sources:

1.) Met Museum – Bronze Statuette of Bull

2.) Met Museum – Bronze Plaque of Mithras slaying the bull

3.) Met Museum – Mystery Cults in the Greek and Roman World

4.) Harvard Art Museums – Ancient Mediterranean and Near Eastern Bronzes

5.) Wikipedia – Sacred Bull Roman Empire

6.) Wikipedia – Taurobolium

7.) Wikipedia – Magna Mater, Cybele

8.) Wikipedia – Tauroctony

9.) Wikipedia – Pax Romana

10.) Ulansey, D., “The Origin of Mithraic Mysteries”, 1991; and
  Ulansey, D., “Solving the Mithraic Mysteries” within:  Biblical Archaeology Review, vol. 20, #5 (September/October 1994) pp. 40-53

11.) The Tertullian Project – The Roman Cult of Mithras

 

REFERENCE #

SI_RM_1085

CIVILIZATION

Roman, 200 C.E. – 300 C.E.

SIZE

H. 16 cm

CONDITION

Fine condition

PRICE

Price available upon request

PROVENANCE

The Baidun Collection, Ex German Private Collection, acquired in the 1980’s

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Greek Ceramic Figurine of a Sphinx
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Greek Ceramic Figurine of a Sphinx

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:

  • BILLOT, M.F. “Le Sphinx du Louvre CA 637”, Bulletin de Correspondence Hellénique. 1977.
  • MARCONI, C. Temple Decoration and Cultural Identity in the Archaic Greek World. Getty Foundation. 2007, p. 90.
  • RENGER, A.B. Oedipus and the Sphinx: The Threshold Myth from Sophocles through Freud to Cocteau. UCP. 2013.
  • STILLWELL, A. N. Corinth: The Potters’ Quarter. Harvard Univ. Press. 1952.

REFERENCE #

SI_GR_1034

Civilization Greek,

6th – 5th century B.C.E.

 

SIZE

H. 18 cm

 

CONDITION

In a good state of preservation, without any restoration.

 

PROVENACE,

Private collection G. A., Gardena, California, USA.

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