Animals in Antiquity - Vol 2

ANIMALS IN
ANTIQUITY
VOL. 2 - EGYPTIAN AND
CLASSICAL ANTIQUITIES
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London
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Seoul
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www.barakatcontemporary.com
Los Angeles
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CATALOGUE EDITED BY: GIAN PIERO C. G. MILANI
CURATED BY: MARIA SERENA PADRICELLI
PAINTINGS: FAYEZ BARAKAT
COPYRIGHT © BARAKAT GALLERY TEXTS © THE AUTHORS
PUBLISHED BY: HANNA BELLA PUBLISHING
01.10.2021
All rights reserved. No part of this book may be reproduced in any form of electronic or mechanical means
including storage by information or retrieval systems without written permission of the authors except in the
case of brief quotations embodied in critical articles or reviews.
All our artefacts are guaranteed to be genuine and a certificate of authenticity is included with each item.
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CONTENTS
Egyptian Antiquities 9
Classical Antiquities 73
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Foreword
This catalogue is the second volume of our series on Animals in Antiquity, focussing on the
Egyptian and Classical Worlds and encompassing three of the great ancient civilisations of the
Mediterranean: Egypt, Greece, and Rome. While sometimes ancient cultures are thought as
completely separate and almost insulated, these three civilisations compenetrated and influenced
each other, and the discerning eye of the reader will be able to spot numerous similarities across
this catalogue, revealing common trends of evolution and the synthesis of a plurality of cultural
elements.
Domestic and wild animals are presented in this catalogue, along with mythical animals and
animal gods. For example, a number of Egyptian Scarabs are featured, calling the reader to
reflect on the peculiar symbology behind this subject: in the life cycle of the beetle, the Ancient
Egyptians envisioned a microcosm of the daily rebirth of the sun. They imagined that the ancient
sun god Khepri was a great scarab beetle rolling the sun across the heavens. The scarab also
became a symbol of the enduring human soul as well, hence its frequent appearance in funerary
art.
Further ahead, a Greek fresco and a Roman statuette portray dogs. Greeks and Romans had
many pets, from cats to apes, but favoured the dog above all others. Dogs feature in many mosaics,
wall frescoes, in poetry and prose. There is a large series of reliefs showing men and women
with their canine companions, sometimes even on funerary sculptures with the pets bidding an
emotional farewell to their departed masters. Dogs will even be mentioned in the Roman law
code as guardians of the home and flocks. In one case which was recorded, a farmer brings a suit
against his favored because the neighbour dogs rescued the farmer’s hogs from wolves and the
neighbor’s then claimed ownership of the hogs. Varro claimed that no farm should be without
two dogs and they should be kept indoors during the day and let free to roam at night in order
to prevent just such a possibility as the one discussed above. He also suggested that a white dog
should be chosen over a black one so that one could distinguish between one’s dog and a wolf in
the darkness or the twilight of early morning.
These objects show the meaningful relationship between man and nature in these three great
cultures, a subject which I have tried to make sense of in my art and through the artefacts I have
collected.
Fayez Barakat
President
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EGYPTIAN
ANTIQUITIES
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This image of the hippopotamus depicts the heavy, lumbering beast at ease as if it is resting on a
bank of the Nile River with its head nestled between its fore-legs. In keeping with ancient Egyptian
artistic conventions, the craftsmen have captured the essence of this mammal in a remarkably
abstract manner with restrained modeling within a highly modernistic abstract design. Notice
how subtly the details of the head are indicated with the slight depression between the eyes and the
nostrils in the animal’s snout. Note as well the hieroglyphically designed eyes and their eyebrows.
These observations of telling details have not been coloured naturalistically because the hippo’s
entire body is a turquoise- green in colour, and that green surface has been enhanced with the
addition floral motifs done in black glaze in a linear, calligraphic style. The turquoise colour of the
surface and the profusion of floral motifs rendered in black glaze may be taken to symbolize the
Nilotic environment in which the hippopotamus lived and prospered.
In general the hippopotamus, particularly the male of the species, was regarded by the ancient
Egyptians as a representative of chaos because he often trampled and destroyed crops, as this
famous passage from a didactic treatise of New Kingdom date reveals, “…Do you not recall
the fate of the farmer when the harvest is registered? The worm has taken half the grain, the
hippopotamus has devoured the rest…” Furthermore, the hippopotamus would impede travel on
the Nile River and was widely feared by the ancient Egyptians because it posed a hazard to all
boats trying to navigate waters in which it lived.
Middle Kingdom Faience Sculpture of a Recumbent Hippopotamus - X.0180
Origin: Egypt
Circa: 19th Century BC
Dimensions: 2.75” (7.0cm) high x 3.125” (7.9cm) wide
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As a result, the hippopotamus was greatly feared because the ancient Egyptians believed that their
journey to the Hereafter on the nocturnal counterpart of the Nile River would be thwarted by the
hippopotamus just as this mammal threatened boats on the Nile in real life. It was doubtless for
this reason that images of the hippopotamus, such as this one, were interred in tombs. However,
these funerary images of the hippopotamus were intentionally damaged before interment with
the deceased when their legs were broken off and discarded. This intentional damaging of the
statuette was ritually motivated to insure that all hippopotami encountered by the deceased in
the Hereafter would be similarly incapacitated, by means of such sympathetic magic, so that
the journey toward eternal life would not be thwarted by this beast. The lack of uniform glaze
on the surface of this animal would be consistent with the ancient Egyptian desire to render the
hippopotamus harmless in the Hereafter.
However, the ancient Egyptians were ambivalent toward their symbols and often adopted a
polyvalent approach with regard to individual motifs. As a result, the turquoise green of such
statuettes is itself a symbol of resurrection and renewal as were species of the floral kingdom.
Consequently, the immobilized figure of the hippopotamus was still beneficial to the deceased
because its color represented the life- giving Nile River and its floral motifs in black glaze suggested
both fertility and rebirth.
Scholars have long maintained that these figures of the hippopotamus are enormously popular
with art collectors. Most of the known examples depict the mammal standing on all fours; a few
represent him sitting on his hind legs with his head lifted and jaws open as he roars. There is a
smaller number still of such statuettes in this pose, which are prized for their charming depiction
of the essence of one of the most majestic denizens of the ancient Nilotic marshes.
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This faience hippopotamus belongs to a group of statuettes found in large numbers
in Egyptian tombs of the Middle Kingdom period. The black line drawings represent
flowers, plants and insects native to the Nile Region. Often shown standing or striding
forward, this example is unusual for its seated and almost docile pose. The animal is
fashioned as though lying on the banks of the Nile with its legs tucked beneath the
body and the head lowered as if to graze.
The symbolism of the hippopotamus in ancient Egypt was ambiguous. Known

for their aggression, these animals were a threat to crops and people. As a force of
destruction they were often associated with the evil god Seth. One of Egypt’s earliest
kings was believed to have been killed by a hippopotamus and many temple walls
depicted the god Horus hunting them with a harpoon. In the Old and New Kingdoms
court officials had themselves depicted on tomb walls engaged in the same activity.
The faience examples discovered during recorded excavations were often placed
behind the mummy’s back or below the feet. Many of the standing statuettes had
their legs deliberately broken before burial. This has been interpreted as an attempt
to render evil spirits harmless. However they were also associated with fertility and
rebirth. The composite goddess Tawaret, for example, was believed to protect women
during pregnancy. The use of faience also suggests that the figurine was used to achieve
rebirth in the afterlife. Faience, or ‘tjehnet’, literally means ‘what is gleaming’ and was
associated with the light of the sun, moon and stars. Grave goods such as ushabtis or
amulets were made from this material in the belief that this would help impart life to
the dead.
This is a rare and interesting example of Egyptian funerary art that deserves to be
included in any comprehensive collection of Egyptian art.
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Middle Kingdom Faience Hippopotamus - SK.020
Origin: Egypt
Circa: 2040 BC to 1640 BC
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A beautiful New Kingdon Alabaster Vessel with a representation of three snakes.
Snakes were particularly important subjects in Egyptian iconography: the Uraeus, the
cobra snake native of Egypt, was usually featured on the headpiece of the Pharaohs
as a symbol of their authority and power.
Various gods were represented in the form of snakes: Nehebkau, the primordial
snake, acted as a judge in the afterlife, bestowing upon the soul of the departed the
‘ka’, the peculiar element of the soul distinguishing the dead from the alive. Wadjet,
often represented as a snake, used to be the protectress of Lower Egypt, and after the
unification of the two kingdoms became the Patron of all Egypt.
Alabaster Reptilian Vessel - OF.127
Origin: Egypt
Circa: 16th Century BC to 11th Century BC
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The sacred beetle of ancient Egypt, the scarab is an emblem of the creator,
Khepera. The word kepher denotes Being, Existence, Creation, or Becoming,
and the god Kephera is the self-existent maker of all things. The worship
of the scarab, which is symbolic of resurrection and fertility, dates from the
earliest period of civilization in Egypt. Carved scarabs served two major
functions: as amulets with protective and religious powers, and as personal
seals, which designated the property and authority of the individual whose
name was placed upon them. In both cases, the power ascribed to the scarab
was very great—in life they served as the signature of their owner and were
thought to bring prosperity, and in the afterlife they ensured rebirth through
eternity.
Inscribed with the head of a ram wearing a headress with two plumes and two
urai. The ram was an animal sacred to the god Amun, whom he represents
here.
New Kingdom Steatite Scarab - S.076
Origin: Lower Egypt

Dimensions: 375″ (1.0cm) high x .625″ (1.6cm) wide x .875″ (2.2cm) depth
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Inscribed with a design depicting a winged scarab above a cartouche. This means that the king
whose name is inscribed in the cartouche is the son of Re, the sun god, and rises to new life.
The king’s eternal life renews itself every day like Khepera, the dawning aspect of the sun god,
depicted as a beetle. The symbols within the cartouche are somewhat difficult to read, but they
appear to form a phrase which means “child of the god.”
Origin: Egypt
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Inscribed with a design. At the top are two Maat feathers, symbolizing divine order. These flank
a sign meaning “good” or “beautiful”. Below is a pair of Wedjat eyes, which can be the Eyes of
Horus or the Eyes of Re. This entire design means that divine order, or rightness, is good. In the
myth of Horus, when the god’s eye, torn out by Seth, was restored, it meant that divine order had
been restored in agreement with the Maat feathers above.
Origin: Egypt
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By far the most important amulet in ancient Egypt was the scarab, symbolically as sacred to the
Egyptians as the cross is to Christians. Based upon the dung beetle, this sacred creature forms a
ball of dung around its semen and rolls it in a large ball over the sand dropping it into its burrow.
The female lays her eggs on the ground and covers them with the excrement ball that is consumed
by the larvae that emerge in the following days as if miraculously reborn. In the life cycle of
the beetle, the Ancient Egyptians envisioned a microcosm of the daily rebirth of the sun. They
imagined the ancient sun god Khepri was a great scarab beetle rolling the sun across the heavens.
The scarab also became a symbol of the enduring human soul as well, hence its frequent appearance
in funerary art. Scarabs of various materials form an important class of Egyptian antiquities.
Though they first appeared in the late Old Kingdom (roughly 2575–2130 B.C.), scarabs remained
rare until Middle Kingdom times (circa 1938-1600 B.C.) when they were fashioned in great
numbers. While some were used as ornaments, others were purely amuletic in purpose.
New Kingdom Steatite Scarab Seal - fj.2429dc
Origin: Egypt
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This finely crafted turquoise faience charm is
fashioned in the form of a hare. It may be a three
dimensional representation of the biconsonantal
hieroglyph “wn,” but it could also represent
one of the many members of the Egyptian
pantheon (such as the goddess Wennenet or
the god Wennen). This hare is depicted with
an almost leonine muscularity, especially in the
treatment of the powerful looking haunches,
which is all the more remarkable for the small
scale on which it was carved. The execution of
this sculpture in miniature would certainly have
required painstaking attention to detail.
New Kingdom Faience Amulet of a Hare - PF.2950
Origin: Egypt
Dimensions: .75” (1.9cm) high x .375” (1.0cm) wide
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This elegantly-carved head represents the Egyptian goddess Hathor – also known as Mehturt –
who was one of the longest- worshipped deities in the Egyptian pantheon. Like most Egyptian
gods, she went through various incarnations from a “cow goddess” flanking Narmer (who unified
Egypt in the 31st century BC) on his eponymous palette, through to being the wife of Ra (the sun
god), the wife of Thoth (god of the moon and/or a heavenly mediator) and the mother of Horus
(the god of the sky). However, she never lost her primary role, which was goddess of the Milky
Way, representative of milk spilling from the udders of a heavenly cow.
As the Milky Way, she was believed to encircle the sky – and thus her son, Horus – although she
was worshipped for much longer than her offspring, who was replaced by the sun god, Ra. Her
significance was mainly economic, for the Milky Way was believed to be a heavenly version of
the terrestrial Nile, which could not flood without her assistance. As three quarters of Egypt’s
population was directly reliant upon the Nile, a failure to flood spelled disaster; thus her social
importance never declined. Expectant mothers also worshipped Hathor, as she was seen as a
herald of imminent birth, and she was also seen as a protector for those in desertic areas. It is
also interesting to note the parallels between Egypt and other parts of the ancient world who
also revered bulls and cows; the Neolithic site of Catal Huyuk was but one of many who became
invested with “tauromaquia”, while zebus constituted much of the economy of various Near
Eastern and Central Asian countries.
Iconographically, she is depicted as a human female with horns supporting a sun disc, or as a cow,
again with the horns and disc motif. Early versions of her image show her with what later became
known as the Eye of Horus. When in human form, she wears a distinctive dress with circular
decorations. She is often shown with an ankh, a cobra and a sun-disc; she also usually wore a
(jewelled) collar. Hathor’s cult was centered in Dendera where she was a goddess of fertility and
childbirth. There are many others across Egypt, including one in Southern Sinai. Many of these
temples maintained a live incarnation of Hathor, which had to measure up to certain standards.
He (for it was usually a bull) was used for divination purposes and lived in the temple, tended to
as merits a living deity.
This piece represents Hathor without her usual paraphernalia, but with the ornate eye-design
seen in earlier pieces. Her neck is slim and elongated, narrowing superiorly and merging smoothly
with the underside of the jaw and the back of the head. The curves are sensuously and fluidly
carved, with details such as the ears and the mouth/nose picked out with consummate care. The
stone bears signs of applied pigment, which is concentrated on the complex eyes, with elevated
rims and the iris and pupil carefully picked out. There are two cavities atop the head that indicate
the presence of horns, which were presumably made from an organic material, since lost.
The origin of the piece is uncertain, although it was clearly a devotional object. Its size suggests
that it may have been a domestic piece, receiving prayers, libations and requests for supernatural
assistance. This is a mature and serene piece of ancient sculpture, and a major asset to any serious
collection of Egyptian religious art.
Egyptian Stone Head of the Goddess Hathor - LO.610 (LSO)
Origin: Egypt
Dimensions: 5” (12.7cm) high
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This bronze statuette represents a ram gingerly striding forward on integral rectangular base. The
ram is modeled with restraint with sculptural emphasis placed on the stylized musculature of its
body rather than an articulation of its fleece. Nevertheless, certain details such as its hooves, tail,
horns, and muzzle are more naturally rendered and imbue the figure with a sobriety consistent
with its depiction as a manifestation of the state god, Amun. That identification is confirmed by
the sun disc fronted by a serpent uraeus, which serves as the ram’s headdress and sole insignia.
The cult of the state god Amun rose to prominence during the course of the Egyptian New
Kingdom in the late second millennium BCE and continued to maintain its pre-eminent role into
the Late Period. So, for example, the Kushite pharaohs of Dynasty XXV linked the Egyptian
god Amun of Thebes with their own local deity of Napata worshipped deep in Nubia at Gebel
Barkal. Later, in the fourth century BCE, Alexander the Great, in an effort to promote his divine
claim, often chose to be depicted with the ram’s horns of Amun as his personal emblem. Our ram
can, therefore, be dated to this late resurgence of the cult of Amun. And while, admittedly, there
are few known parallels for our particular depiction, its style is consistent with that known for the
depiction of other animals, such as the mongoose.
Sculpture of the God Amun in the Form of a Ram - Z.0038
Origin: Sinai, Egypt

Dimensions: 2.5” (6.4cm) high x .75” (1.9cm) wide
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Egyptian Bronze Staff Finial in the Form of Isis-Selket - X.0300
Origin: Egypt
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This carefully cast bronze figure depicts a composite being in the form of a scorpion goddess. Her female torso
from the level of the waist to the crown of her head is designed in accordance with ancient Egyptian conventions
for the depiction of goddesses. Consequently, she appears to be unclothed, but should be understood as clad
in the tightly- fitting sheath which was the staple of an ancient Egyptian aristocratic woman’s wardrobe.
Depictions of this particular garment, particularly on sculpture, generally lack all indications of a neckline,
hem, and ends of the sleeves, as here. Her accessories include armlets and a broad collar, rendered as linearly
incised bands, and a striated, tri-partite headdress, the lappets of which fall to the level of her breasts but do
not cover her ears. Atop the wig is the goddess’s principal attribute in the form of a cylindrical modius fronted
by a uraeus which serves to support the cow’s horns cradling the sun disc. The cow’s horns and sun disc were
once the exclusive emblem of the goddess Hathor. Due to the syncretistic nature of ancient Egyptian religion
over time, the sun disc and cow’s horns were gradually incorporated into the regalia of other goddesses whose
characteristics also began to merge with those of Hathor. The arms of the goddess are bent at a ninety degree
angle at the elbows with her hands, palms open and face down, resting on the integral plinth in order to raise
and support her body in an up- right position.
Her scorpion body, which conveys a very real sense of corpulence, is well-modeled and detailed. A series of
parallel bands running perpendicular to alignment of the body separate it into sections with parallel strokes
ornamenting each zone within. This same decorative scheme, but reduced in size, adorns the proportionately
smaller tail, the stinger of which is raised and poised as if to strike. The eight legs of the scorpion are likewise
ornamented with linear adjuncts with their “feet” oriented toward the front of the composition where they
align quite nicely with the hands of the goddess.
The entire composition is set on to an ancient, integral plinth with which it was cast as a piece. This base is
provided with a centered, cylindrical fitting on its underside for attachment into a staff. Such finials, originally
affixed to staves of either metal or exotic hard wood such as ebony or cedar, served as standards either to be
carried by priests in procession or to be affixed to a sacred barque. The smaller scale of our figure, however,
suggests it is a votive object, deposited for the well-being of its owner, and intentionally modeled on such
monumental temple accruements.
The ancient Egyptians pioneered the development of such composite beasts, the design tenets of which are
rooted in the hieroglyphic basis of ancient Egyptian art. And yet, these images are exceedingly benign in their
appearance and are neither as frightening nor terrifying as their counterparts in Western art. The reason
for this fundamentally different approach to “monsters” lies in the observation that most of these ancient
Egyptian creatures were intended to assist mortals in time of need. Furthermore, ancient religious praxis often
transformed that which was malevolent into that which became benevolent on the principle of alexikakoi,
best explained by the modern analogy of “fighting fire with fire.” The scorpion, whose venom attacks the
respiratory system of humans and can cause death, was, therefore, transformed into a deity whose primary
function was to insure the breathing of the deceased in the Hereafter. This transformation occurred rather
early in Egyptian history, as demonstrated by the fact that a late Pre-dynastic ruler of Egypt is known as
the Scorpion King, doubtless because he considered himself to be under tutelage of that goddess. Shortly,
thereafter, during the course of the Old Kingdom that goddess was named and identified as Selket- hetu,
which literally translates into English as, “She-who-causes-the-throat-to-breathe.” By convention in popular
literature, she is referred to merely as Selket.
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Although the integral base is inscribed in hieroglyphs, the inscription is abraded in places and so worn
that an exact transcription and translation is difficult to achieve. Nevertheless, individual signs are clearly
visible, including those forming the first group at the right-hand side of the front of the base. The signs there
conform to a known dedicatory formula on such bronzes which include the name of the deity depicted and an
invocation on behalf of the individual for whom it was dedicated and named. In the case of our bronze, we
can read, “May the goddess Isis grant life to….” The sign for this goddess’s name is the throne, and that sign
is unmistakable and clearly visible.
The inscription clearly indicates that its accompanying figure of a scorpion- goddess is to be identified as the
goddess Isis. That association at first appears to defy neat Aristotelian categories into which one is accustomed
to compartmentalize deities and their animal manifestations. Such an impression is based upon a Eurocentric
approach to the culture of ancient Egypt and fails to address the polyvalent nature of that society’s material
culture. Because ancient Egyptian art was hieroglyphic, and the hieroglyphs are depictions of things in the
real world, the Egyptians were forced to employ one and the same visual image for expressing a variety of
ideas and concepts because the world of abstract thought far transcends the actual number of real objects
known to the Egyptians. The syncretistic nature of ancient Egyptian religious beliefs developed concurrently
with the practice of employing the same visual image for different concepts. As a result, the ancient Egyptians
witnessed an exponential rise in the importance of the cult of the goddess Isis, particularly during the course
of the Third Intermediate Period. As the priesthoods of that cult asserted more and more leverage, they folded
into the cult of Isis characteristics and attributes of other goddesses which were already inherent, but perhaps
not fully developed, within the Isis cult. The maternal nature of Hathor, for example, was compatible with
the nurturing personality of Isis who raised her son Horus. Hence it was appropriate for Isis to appear with
Hathor’s attribute of the cow’s horns and sun disc, with which she is shown on our bronze statuette. By the
same token, the roles of Isis, Nephthys, Neith, and Seklet were instrumental in the protection of the corpse
of Osiris. By the time of the New Kingdom, the powers of these goddesses had expanded to include the
protection of the Canopic jars (witness the beautiful, gilded, wooden figures of these four goddess embracing
the Canopic shrine of King Tutankhamun) and sarcophagus. Slowly but surely the close association of these
four goddesses in such contexts blurred their distinctions with the result that the exponential rise of the cult
of Isis enabled her priesthoods to elevate her to such a supreme position of authority that she could now be
identified with any number of deities, Selket among them, and assume both their characteristics and outward
manifestations.
This particular bronze is datable to Dynasty XXVI, the so-called Saite Dynasty (664-525 BC) and is particularly
rare among the preserved repertoire of bronze types known from that period. Nevertheless, our bronze finds
its closest parallels in examples in both the collections of Baltimore and Berlin, which are, however, not a
consummately crafted.
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Modern scholars believe that the worship of Sobek, the crocodile god, arose from a fear of these
ferocious beasts. However, crocodiles were not universally feared in ancient Egypt. In certain
regions, they were held sacred. Some were even tamed, kept in shallow pools and temples,
embellished with jewellry and hand fed fresh meats, milk, and honey by reverent priests. While
this may have been the case, it was certainly the exception; for throughout the greater part of
the land, crocodiles remained a constant threat both to sailors cruising along the Nile as well as
workers tilling the fertile banks of the mighty river. Sobek, the crocodile god, is either represented
in the form of a crocodile, as he is here, or with the body of a human man with the head of the
animal. A water deity, Sobek was the most popular deity in the oasis city of Arsinoe (renamed
Crocodilopolis by the Greeks), one of the places where tamed crocodile were openly revered.
Archaeologists have unearthed numerous examples of mummified crocodiles, and in some cases
even their eggs, revealing the Ancient Egyptian’s honour for this powerful deity. The Nile was the
life source of Ancient Egpyt, however, this waterway was filled with dangerous, unpredictable
beasts. In order to mollify the danger of these wild animals, Sobek was honoured with prayers,
sacrifices, and libations, thereby ensuring a prosperous harvest and safe sailing.
This grey stone sculpture of Sobek in the form of a crocodile is a splendid example of the stylized
naturalism that characterizes Egyptian art. While subject of the work is unmistakable and his head
is rendered with a fair amount of realism, the texture of the body has been conveyed through a
series of abstract patterns that appear more fanciful than imitative. However, while these patterns
are clearly of the sculptor’s own creation, they do marvellously convey the thick, scaly hide of
these beasts. The top of the crocodile’s back is filled with small donut-shaped markings that spill
over onto hi neck. The sides of his body and his legs are marked by a diagonal grid pattern.
Meanwhile, his fragmented tail is decorated with a larger brick pattern. These geometric patterns
belie the naturalism of the face. His eyes and the skin around them have been carefully incised and
his sharp fangs have been indicated by a series of triangles around his narrow mouth. A double
plumed headdress, perhaps made from a less durable material such as wood, may have originally
been inserted into the hole in his head, thereby revealing his divine nature. Hundreds of years
ago, when wild beasts still lurked alongside human civilization, this sculpture would have been
worshipped in order to protect the people and ensure the prosperity of the Kingdom.
Stone Sculpture of Sobek in the Form of a Crocodile - X.0189
Origin: Egypt
Dimensions: 2.875” (7.3cm) high x 3” (7.6cm) wide x 12.625” (32.1cm) depth
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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.
26th Dynasty Bronze Sculpture of the Apis Bull - X.0347
Origin: Egypt
Dimensions: 3” (7.6cm) high x 3” (7.6cm) wide
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Yet despite that artist sought to replicate models of the past, Egyptian art of this era
was infused with a heightened sense of naturalism. This fact is likely due to the influx of
Greek culture. The Saite rulers recognized that Egypt had fallen behind the rest of the
Mediterranean world in terms of military technology. Thus, they were forced to rely upon
foreign mercenaries, many of whom were Greek. With ties between these two cultures firmly
established during the 7th Century B.C., commercial trading quickly blossomed. Special
entrepots for foreign traders were established, including the famed center of Naucratis,
a Delta town in which Greek merchants were permitted access. During the Saite Period,
two great powers of the Mediterranean world became intimately linked, commercially and
culturally. As the exchange of ideas flowed across the sea, the Greeks began to experiment
on a monumental scale while the Egyptians began to approach art with an enhanced sense
of realism.
The sacred Apis bull was considered the living manifestation of the creator god Ptah. In
the temple of Ptah at Memphis, the Apis bull resided, serving as an intermediary allowing
mankind to communicate with this mighty deity through oracles. From dedicatory sculptures
and the writings of Greek historian Herodotus, we are familiar with the special physical
attributes that differentiate the Apis from any other bull. The bull is coloured black, save
for a small white triangular patch on its forehead. Sometimes a solar disk crowns its head,
revealing the divine nature of the animal. On its back, it features the wings of a vulture
goddess. Here, the wings have been carefully engraved along the top of the bulls body. As
well, the tail is typically divided into two stands, perhaps reflecting the original two kingdoms
of Upper and Lower Egypt.
As a representative of Ptah, the Apis bull was naturally pampered, residing close to the
temple of Ptah in Memphis in a palatial structure befitting for a pharaoh. The average
lifespan of the Apis was fourteen years during which time the upper echelons of Memphis
society were able to view the creature at certain annual ceremonies in the temple of Ptah.
After the Apis passed away, it was mourned as if the pharaoh himself had died. The bull
would be mummified, and the embalmed and bejeweled carcass would be paraded through
the city on route to the burial plot in Saqqara. Like Ptah himself, the origin of the Apis dates
back from the earliest days of Egyptian history, well before the Dynastic era. After Greek
occupation, during the Ptolemaic Period, the Apis bull would survive in the form of the
composite deity Sarapis.
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It is believed that some stucco works such as this one functioned as aids for apprentices to learn
the art of sculpting before embarking upon royal commissions where one mistake could mean
disaster. Similar pieces were unearthed in what are thought to have been artist workshops, thus
their identification as models. Considering the stylization of Egyptian art, it is clear that there
was not much room for individual interpretation. When one realizes that many sculptors would
have been responsible for decorating a single tomb or temple, stylistic unity becomes a foremost
concern. Today, these sculptures give us unique insight into the creative process behind some of
the most endearing and enduring artworks ever created by mankind.
The lion is a symbol of strength and ferocity. The largest of the cat family, this animal is known
as the “king of the beasts.” They are equally feared and respected for their power, speed, and
intimidating growl. Kings and rulers have associated themselves with this noble creature since
the days of antiquity. However, the lack of a bushy mane on this stucco work indicates that it
represents a lioness. Therefore, it is probable that this head was a sculptor’s model employed
during the manufacturing of Sekhmet sculptures.
Sekhmet, along with her husband the creator- god Ptah and their son Nerfertum, was part of
the powerful trio of deities that protected Ancient Memphis. She was a sun goddess, embodying
the scorching, burning, destructive heat of the sun. Fierce goddess of war, the destroyer of the
enemies of Ra and Osiris, she was represented as having the head of a lioness and the body of a
woman. Like the sun, her temper was uncontrollable. In the legend of Ra and Hathor, Sekhmet’s
anger became so great, she would have destroyed all of mankind if Ra had not taken pity on us
and made her inebriated.
Many centuries ago, a master sculptor might have corrected his apprentice by showing them such
a model. A useful tool for understanding the dimensions and shape of the subject, such models
would have assisted young students when natural observation was not possible. Considering the
subject of this work, a lioness’ head, it is unlikely that many artists would have been keen to
venture into the wild and sketch likenesses of this beast. There is a royal presence visible in the
face of this lionness, suggesting that she would be a suitable model for a sculpture of the goddess
Sekhmet.
Egyptian Stucco Model of the Head of a Lioness - X.0354
Origin: Egypt
Dimensions: 7.5” (19.1cm) high
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The Egyptians have left us with what is perhaps the most detailed legacy of an ancient civilization.
They had strong beliefs about what would happen after the death and spent much of their earthly
lives preparing for the next world.
The falcon is one of the few clear examples of a motif known in Egypt’s Predynastic times
that continued into the Dynastic period, after 3100 B.C., when it symbolized the king as an
embodiment of the falcon-headed god Horus, the patron deity of kingship. Horus was the falcon-
deity, originally the sky-god, identified with the king during his lifetime Known more importantly
as the son of Osiris and Isis. Horus was also the avenger of his father Osiris, who was killed by Set.
Masterfully carved from stone, the falcon’s shape and profile are familiar from later representations.
In all his forms, the Egyptian Horus was seen as the Prince of Gods, other gods of the pantheon
becoming subordinate to him. Archaeologists researching the sites of Ancient Egypt have
uncovered numerous falcon figures, ranging from life-size representations to tiny statuettes crafted
with exquisite precision. This is also partly due to the fact that the falcon was sacred to Sokar, the
Memphite patron of the Dead.
Stone Falcon Horus Figure - LK.009
Origin: Egypt
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Figures of animals used for magical protection are often termed amulets of assimilation and can
be assigned to what Sir Flinders Petrie the father of Egyptology designated as the homopoeic
category. The idea of wearing zoomorphic amulets was based upon the belief that one or more
perceived characteristics of an animal would pass to the human being wearing it. This varied
according to the animal owls are said to be good luck in some parts of the world even today and
some animal parts were believed to endow the wearer with good fortune. An enduring modern
parallel for this ancient practice is the rabbits foot. This apple-green faience amulet depicts a
recumbent maned (i.e. male) lion at rest upon an integral rectangular base. The head is held
majestically erect, the forelegs extended, the rear legs retracted and the tail curled around his
right haunch. The modelling of the amulet is highly accomplished, the main body being smoothly
finished, and with details in relief and highlighted with incisions. The suspension loop formed
from an eminence in the middle of the lions back is pierced at a right angle to the bodys long axis.
In ancient Egypt, the lion has always been associated with a series of regal characteristics power,
serenity, stealth and cunning with which people were eager to be associated.
The long identification of pharaonic leaders with lions is evidenced by their sculptural hybridisation
the famous sphinx figures. Our example is representative of a type traditionally cast in faience,
and invariably shown in this pose with a suspension loop and integral base. Most examples are
believed to date from Dynasty XXVI (654 625 BC), although some may be later. There is evidence
to suggest that they may have played a more active role than a good luck charm. One magic spell
preserved on a papyrus requires an individual to recite a spell over a lion of glazed composition
threaded to red linen, so as to protect against snakebite, although it is possible that snakebite may
metaphorically represent any type of accidental misfortune.
26th Dynasty Faience Sculpture of a Recumbent Lion - X.0689
Origin: Egypt
Dimensions: 1” (2.5cm) high x .75” (1.9cm) wide x 2” (5.1cm) depth
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This object is a flat-backed plaque depicting the right facing head of a ram in high relief. The
horn of the ram is re-curved and curls around the ear toward the front of its face. The profile is
aristocratic, helped by the high nasal bones and small ears that characterise many North African
domestic and wild sheep breeds. The details of the ear particularly the treatment of the hair in the
area from which it springs from the head the tear duct anterior to the eye, and the mouth-nostrils
are meticulously observed and executed.
The entire object is modelled in broad planes to which linear detail has been added. The facial
aspect is smooth clay: the horns and long hair at the neck level are in stronger relief. Without
either an accompanying inscription or distinctive specific attribute, it is difficult to identify the
deity to which this particular ram carving was intended to relate. Candidates include Khnum
(who, as potter, fashioned mankind on the potters wheel), Amun (whose depiction as a ram is
demonstrated by the avenues of ram-headed sphinxes in Thebes) and Bad-neb-djed, the ram-
headed god of Mendes (the capital of Egypt during Dynasty XXIX). Our ram may well represent
any one of these deities. In style and technique, our terracotta plaque finds its closest stylistic
parallels in limestone plaques that are often termed sculptors models, with the understanding
they were maquettes for larger works, However, they may in fact have served as votive offerings in
their own right. Limestone versions are usually dated to the Late Period, but stylistic comparisons
with related artefacts including an example in Boston seem to suggest a date somewhere in the
Ptolemaic Period. In essence, however, our plaque is unique. This is an exceptionally beautiful,
perfectly executed and very rare artefact that will appeal to anyone with interests in ancient
Egyptian artworks.
26th Dynasty Terracotta Sculpture of a Ram Head - X.0690
Origin: Egypt
Dimensions: 2” (5.1cm) high x 2.5” (6.4cm) wide
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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.
The first examples of amulets appeared in Ancient Egypt as early as 4000 B.C. Believed to possess magical
powers that protected the wearer or bestowed upon the properties they symbolized, amulets were worn both
by the living as well as the dead. Throughout their evolution, talismans were crafted from a variety of materials
including precious metals such as gold and silver, semiprecious stone like jasper and carnelian, as well as other
more affordable glazed compositions such as faience. The particular powers of an individual amulet were
based upon its specific shape, although the material and even the color of the charm could affect its magical
abilities. While many of the amulets created to be worn by the living could also be worn after death, there
also existed a specific group of charms that were made specifically to be placed upon the mummified remains
of the deceased. All together, amulets represent an important class of Ancient Egyptian art that furthers our
understanding of their complex religious beliefs.
Faience, which dates back to predynastic times, 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.
Jackals, like crocodiles and hippopotami, were a threatening force in the Ancient Egyptian environment.
However, while these two other beasts were a danger to the living who sailed the Nile or worked along its
banks, the jackal was mainly a danger to the deceased. While this fact might first appear less significant, it is
actually far more ominous. Black jackals wandered around desert cemeteries in search of bones to chew on.
Sometimes they even entered embalmers’ storage rooms and carried off a salted limb from an unsupervised
corpse. Since the preservation of the physical remains was a necessity to enter the afterlife, any desecration of
the corpse would have prevented the possibility of resurrection. Thus the jackal-headed deity Anubis became
the god of embalming, presiding over the very object the animal would attack in nature. The earliest jackal
amulet dates to the predynastic era and portrays the animal in a recumbent position much as this one does.
Throughout Egyptian history, such amulets were continually produced, evolving over time to include a variety
of position and materials. However, the couchant state remained popular until the end of the Pharaonic age,
as this work attests to. Created from a gorgeous blue faience, this amulet would have only been worn by the
deceased. By placing this powerful talisman upon the deceased, one could ensure the preservation of the
corpse and pave the way for a safe passage into the afterlife.
26th Dynasty Faience Amulet of a Jackal - X.0330
Origin: Egypt
Dimensions: 0.78” (2cm) high x 0.94” (2.4cm) wide x 1.19” (0.5cm) depth
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Lion amulet are known to date as early as the Old Kingdom. Lions, who inhabited
the deserts of Ancient Egypt, were believed to possess regenerative capabilities,
thus there frequent occurrence in funerary art. Lion amulets forged from gold
were often given to victorious generals to reward their courage and valor on the
battlefield.
Although they were produced until the end of the dynastic era, there are only
two main types of lion amulets. While both varieties feature the animal lying
down with the tail curled around the back right leg and a clearly defined mane,
they can be easily differentiated. One type depicts the animal without a base and
a suspension loop attached to the top of the back. The other variety, of which
this example belongs, portrays the lions resting upon a low base with a square
front and curved back. These amulets were suspended by a longitudinal boring as
opposed to a loop. This magnificent amulet of a couchant lion still possesses the
magical powers that Ancient Egyptians utilized in hopes of altering the course of
their lives for the better.
26th Dynasty Faience Amulet of a Recumbent Lion - X.0325
Origin: Egypt
Dimensions: 0.66” (1.7cm) high x 1.18” (3cm) wide x 0.27” (0.7cm) depth
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Khnum, the creator god, represented as a ram headed man, is one of the oldest deities in the
Ancient Egyptian pantheon. His name means: “to create.” He was the creator of all things that
are and all things that shall be. He created the gods and he fashioned mankind on a potter’s wheel.
A water god, he was closely associated with the annual flooding of the Nile, and thus intimately
interlinked with the life- nourishing harvest that made the desert terrain habitable.
This sculpture of Khnum represents the god in his animal form. Here he is not a human with the
head of a ram, but an entire ram. The modeLling of the head is especially impressive. The sculptor
carefully crafted the forms of the pointed ears that protrude from the semicircular projecting
horns. The facial structure of the ram, including the flat, hooked nose so characteristic of the
creature, is extremely naturalistic. So how do we know this is Khnum and not just an ordinary,
albeit noticeably beautiful, ram? There is the fragment of the crown of Upper Egypt on the top
of his head. This symbol, in its original state, would have been clearly recognizable to Ancient
Egyptians and would have revealed the divine nature of this creature. Today, this piece remains a
striking work of art as gorgeous as the day it was cast.
Bronze Sculpture of the God Khnum - PF.5777
Origin: Egypt
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Egyptian Bronze Sculpture of a Mongoose - FZ.033

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In a land like Egypt filled with serpents, the Ichneumon-- the sacred mongoose
of the Nile-- enjoyed a special status. Swift and clever, he alone was able to outwit
the anger of the cobra. A statue like this might have been offered to the mongoose
god in return for his protection from snakebite. Though we are perhaps in less
danger from such things today, it could hardly hurt to have this charming creature
on our side.
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Sculpture of an Oxyrhynchus Fish God - FZ.166

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Egyptian Bronze Sculpture of a Mongoose - FZ.033

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By far the most important amulet in ancient Egypt was the scarab, symbolically as sacred to the
Egyptians as the cross is to Christians. Based upon the dung beetle, this sacred creature forms a
ball of dung around its semen and rolls it in a large ball over the sand dropping it into its burrow.
The female lays her eggs on the ground and covers them with the excrement ball that is consumed
by the larvae that emerge in the following days as if miraculously reborn.
In the life cycle of the beetle, the Ancient Egyptians envisioned a microcosm of the daily rebirth
of the sun. They imagined the ancient sun god Khepri was a great scarab beetle rolling the sun
across the heavens. The scarab also became a symbol of the enduring human soul as well, hence
its frequent appearance in funerary art. Scarabs of various materials form an important class of
Egyptian antiquities. Though they first appeared in the late Old Kingdom (roughly 2575–2130
B.C.), scarabs remained rare until Middle Kingdom times (circa 1938-1600 B.C.) While some
were used as ornaments, others were purely amuletic in purpose.
Green Jasper Scarab - FJ.0065
Origin: Israel
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In all its vitality and vigor this magnificent bronze canine now stands before us as if beckoned by
its ancient master. The artisan who sculpted this lean and athletic dog captured the swiftness in
his limbs and the pronounced agility throughout his body. With inlaid silver eyes, the artist depicts
the dog’s acute vision and cunning gaze. One can imagine that this charming sculpture belonged
to a proud and loving master who wished to memorialize his agile companion through the elegant
medium of bronze. Dog and master are an inseparable team; in antiquity, as in modern times, the
relationship between man and dog is one of inexplicable trust and camaraderie.
The master of this dog could very well have been a hunter, served faithfully by his hound in pursuit
of elusive game. With all its dexterity and enthusiasm, this dog would pounce on any threat to its
master, rewarded with the love and affection of a grateful owner. Having survived the ravages of
time, this wonderful animal stands alert and ready to serve a new master as a testament to loyalty
and friendship— eternal qualities that transcend the lacunae between ancient and modern.
Egypto-Roman Bronze Sculpture of a Male Dog - PF.5491
Origin: Egypt
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This pierced rectangular panel depicts a seated ibis with its sickle-shaped beak resting on the
head of a kneeling male figure. The figure wears a frontal uraeus, a stylised cobra that symbolised
royalty, divinity or authority in ancient Egypt. Naked to the waist, he wears a short tunic and holds
one arm out in supplication.
The ibis was considered a sacred bird and associated with wisdom and purity. Thoth, the god
of writing, wisdom and the moon, was often depicted with a human body and ibis head. In the
late period ibises were frequently embalmed and interred in tombs in earthenware jugs. It was
believed that they would provide instruction and protection during the last journey. This panel
may well have come from an item of furniture placed in a prestigious tomb, such as a funerary bed
or ceremonial chair. In its original state it would have been painted and gilded, but it continues to
impress us with its elegant design.
Egyptian Wooden Furniture Attachment - SK.023
Origin: Egypt
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CLASSICAL
ANTIQUITIES
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Fresco Depicting a Procession - LA.570
Origin: Southern Italy

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With a profusion of bright colours and vivid architectural elements, this fresco from Paestum, the greatest
city of Magna Graecia stands as an enduring tribute to the detail, naturalism ad adaptability with which
the ancient Greeks approached their fine arts. This tall pentagonal composition features vivid pigments for
greatest effect, with clear bold fields of colour that intersect each other with clearly defined linear boundaries.
The use of these fields of colour makes for an instantly legible and appreciable vignette.
A luxuriantly leaved palmette fills the top half of the relief. Some of the leaves stretch up vertically, others
undulate to the sides, and two long vine-like extremities course out to the edge of the triangular top. Below the
palmette, a strong line of red pigment separates the leaves from a band of egg- and-dart moulding, which has
been painted in red and bright cerulean blue pigments. Below the moulding, a procession takes place: a dark-
skinned youth, sitting proudly astride a horse, rides across the scene from left to right. A faithful long-limbed
hunting dog follows behind him, and to his right, a fair-skinned goddess beckons the youth onwards. With her
fine features, elegant robes and patera cradled in her arm, she is Persephone, goddess of the bountiful harvest
and queen of the underworld realm, Hades.
Persephone, after being abducted by the king of the underworld Hades, was later released thanks to her
mother Demeter. On releasing her, Hades gave her a pomegranate. When she later ate it, it bound her to the
underworld, where she had to stay there one-third of the year, while she spent the rest with her mother. This
myth is a symbol of the budding and dying of nature.
These figures have been painted with passion, but also economy, so that their spare forms remain apprehensible
even from a distance. Both collected and exuberant, the youth, the horse, the dog, and the goddess are
outstanding examples of the artistic style of Magna Graecia and Paestum in particular.
The southern regions of Italy, well watered by rivers, fertile with pleasant terrain for cities and harbours,
attracted the wandering Greeks of the Aegean from the days of ancient Mycenae. The islands of the Aegean
archipelago were small, resource-poor and often crowded. For the able sea-faring Greeks, the plains of southern
Italy and Sicily offered pasture, resources and respite from their travels. By the middle of the first millennium
BC, Magna Graecia, as it became to be known, contained some of the most lavish cities in the ancient world.
Cities such as Sybaris were known for their wealth, and the Sicilian city of Agrigento built beautiful temples
in the Classical style. But for all of their wealth and graceful architecture, none of the cities of Magna Graecia
approached Paestum in its size, wealth or architecture.
By the early 5th century BC, the Italian peninsula was becoming Roman, as the last of the tyrannical kings
was expelled and the Republic founded. However, the south was still very much Greek and the economic and
political security of Magna Graecia and its kings remained secure. Paestum, originally founded under the
name ‘Poseidonia’, was still the jewel of these Greek cities, renowned for its monuments and for its distinctive
artistic style.
While its temples were clearly modelled on the temple of Zeus at Olympia, the decorative arts of Paestum are
distinctively local. The fresco is a prime example of its local style. Bright colours, clear forms and deliberate
registered compositions define the fresco style of Paestum. The inclusion of a pomegranate, a classical motif
of great durability, links the painting to the one from the Spina-Gaudo necropolis outside the ancient city.
Another relief featuring the Charon again from the same necropolis and now in the Museo Archeologico
Nazionale di Paestum, presents a similar triangular inclusion.
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Formerly in a Private Collection , Basel, Switzerland. The Greek fish plate was a circular dish for
serving seafood. Its broad open form supported on a stemmed foot allowed the fish to be placed
directly on the plate, while the juices would gather in the centre. This exceptionally large example
features three fish, striped and with spiky dorsal fins, swimming counterclockwise. Between them
three small scallops. a wave pattern is also applied to the overhanging rim and around the central
depression.
Apulian Fish Plate - LA.539
Origin: Mediterranean
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Apulian Red-Figure Fish Plate - PF.6108
Origin: Magna Graecia

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In an overview of Ancient Greek pottery, perhaps no single type is as charming as the fish plates
of Apulia. The Greek colonies of southern Italy (known in antiquity as Magna Graecia) were
marked by their initial allegiance to the ceramic styles of the Attic mainland. However, over
the years, native traditions and innovations heavily influenced the works of Magna Grecian
potters. Unorthodox forms and painting-styles were seamlessly merged with the standard Greek
style, creating distinctive works of art unique to the Hellenistic world. The Apulian fish plate,
originating in the Eastern province of Apulia situated along the Adriatic Sea, is a perfect example
of this gorgeous hybrid style. Three large fish are depicted along the surface of the plate while
shells and other smaller aquatic creatures fill in the voids. While the red-figure painting technique
derives from the mainland, the subject matter is uniquely Apulian and reveals their nature as
a sea-based culture. As a colony of Greeks situated on a foreign peninsula, the sea was a link
to their homeland. The bountiful waters of the Mediterranean provided them with food and
sustenance. Most importantly, the sea provided access to foreign markets where their pottery could
be exported. Apulian works of art were widely collected throughout the Classical world, even
rivaling the popularity of Attic vessels. We gazing upon this fanciful work of art, it is easy to
understand why this distinctive style of work was so popular in antiquity and remains so with
collectors today.
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An askos is traditionally used for pouring oil. However, this vessel has taken
on the untraditional form of a bird. The elongated beak served as a spout
while the oil would have been loaded through the opening at the top of the
bird’s back. Next to the loading mouth, there is a strap handle decorated
with black painted lines. In fact, the entire vessel is elaborated with red and
black painted highlights. Radiating lines depict the texture of the tail feathers
protruding from the hind. The wings are elegantly painted with feathers and
rows of hash marks. The bulging red eyes with recessed centers are painted
in, as are sporadic spots along the neck. While pottery and functional vessels
often took the form of animals, few are quite so entirely successful. In the
end, this is not a pouring jar in the shape of a bird; but a bird in the form of
a pouring jar.
Corinthian Askos in the Form of a Bird - PF.5591
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This is an Apulian red-figured fish plate attributed to the Ricchioni Painter. The fish plate stands
on a tall stemmed foot with moulded edge, depicting a pair of bream and a skate. added white
pigment is used to highlight the eyes, underbeliies, fins, and gills on the bream and for the eyes and
outline of the skate. The central concave depression and rim bear wave patterns.
Apulian Fish Plate - LA.540
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Bronze bust of a ram - PH.0147
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This ‘phalera’ – a decorative plate worn on the cuirass of a soldier – is decorated with
a central roundel containing a low relief image of a horse head. The horse is open-
mouthed and wide-eyed, this possibly being a depiction of it in battle. His head takes
up the whole central space of the plate, and when light runs across the surface it really
comes to life. Around the circumference of the phalera are the remains of the heads
of the bolts that would have attached it to the armour.
Silver-Gilt Phalera with the Head of a Horse - OF.139
Dimensions: 5” (12.7cm) wide
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Extremely rare, only a few marble shells have survived from the ancient world. A form
taken from the shells that could be found along the shores of Greece, its hollowed out
interior is suggestive of its use as a libation vessel, used to pour liquids (usually wine)
into the ground as thanks to the gods, an invocation for divine help, or in honor of
the deceased. However, as so few survive and their find contexts are not coherent,
their original function is not known. This shell is finely carved, the natural qualities
of the marble giving it an incredibly natural appearance. The carving is smooth and
gently rendered with great attention to detail. It shows a clear interest and study of
the natural world by whoever created this magnificent piece. It is truly remarkable.
Hellenistic Marble Shell - DD.001
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Pegasus, famed winged horse of Greek mythology, sprang forth from Medusa’s
neck when she was killed by the hero Perseus. Shortly after its birth, the magic
steed struck the ground on Mount Helicon, and on the spot a spring, later
sacred to the Muses and believed to be a source for poetic inspiration, began
to flow. All longed in vain to catch and tame the creature, and this became the
obsession of Bellerophon, prince of Corinth, who captured the horse with the
aid of Athena. Pegasus thereafter proved to be a great help, aiding the hero
in his adventures against the Amazons. However, Bellerophon was overcome
by his own pride. When he attempted to fly to the top of Olympus to join the
gods, the wise horse threw him, leaving Bellerophon to wander disconsolately
about, hated by the gods. Pegasus found shelter in the Olympian stalls and
was entrusted by Zeus with bringing him his lightning and thunderbolts.
This bronze decorative fragment depicts the mythological stallion in flight,

wings open, legs prancing forward. The details of the horse are outstanding,
from the incised eyes and mouth to the finely detailed hair and mane. The
base stand has also been decorated by a pattern of diagonal hashes, imitating
foliage. The base terminates in a loop, presumably used to hang something.
However, what this extraordinary work of sculpture was once attached to
remains a mystery. The artistry of this fragment is evident. Clearly this was
treasured in antiquity as it is treasures today.
Bronze Fragment Depicting Pegasus - FZ.390
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Of elegant proportions and with a pleasing dark green patina, this ewer,
once used for the pouring of water, makes for a very beautiful addition to
any collection. Stood upon a delicate foot, the bulbous body curves gently
upwards until its form subtly merges into the tall neck and flaring spout that
is so characteristic of ewers. What sets this particular vessel apart from others
are the two rather large bird finials, one acting as a handle, and the other
more intricate bird, possibly an eagle, acting as a way of steading the angle
at which the ewer is held to control the pouring of the water. Their size and
intricacy are rare, and are suggestive of this vessel having come from the
Eastern Mediterranean.
Bronze Ewer with Bird Finial and Handle - BF.010
Circa: 300 BC to 300 AD
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The lion we see here is not the lion of Heracles, or of a Roman hunt. The
dramatic strength of its composition, the sweeping, bold curves of its majestic
paw, its regal mane- give away its Biblical origin. It was not the dainty hands of
one trained in the Imperial school that tempered and expressed this bronze, but
the large and powerful hands of a Jewish artist, which yielded from the metal the
rich and valiant figure we see here. Above it towers an imposing torch, each pyre
of flame substantial enough to merit a subject within it self, and wrought finely
enough to merit an artist of its own.
This piece, a torch rising from behind the lion calls to mind the biblical passage
from Zechariah, in which God claims that in the day he makes Jerusalem the
capital of the world, he “will make the clans of Judah like a firepot among
pieces of wood and a flaming torch among sheaves, so they will consume on the
right hand and on the left all the surrounding peoples, while the inhabitants of
Jerusalem again dwell on their own sites in Jerusalem.” Judah, the largest and
most powerful of the Jewish clans was traditionally represented as the lion. This
lion and torch may very well have been mounted on the door of an opulent
synagogue, a reminder to the Jewish people that the world was, and again will
be theirs. To a frustrated and down-trodden Jewish artist, whose worship made
his life so very difficult within the pagan-dominated world, this piece acted as
an emblem of hope and a symbol of strength. Out of the handful of pieces of
art that remain from Classical antiquity, only the tiniest portions of them are
Jewish. Out of the pieces of Jewish art that remain, the vast majority are small
utilitarian items like clay pots. A glorious bronze work such as this is one of the
most absolutely final links to the true art and spirit of the Jewish people of the
Classical era. This piece stands as a testament to the resilience and capability of a
people, and that even in a state of oppression, the art and creativity of humanity
can flourish. That we can be lions, light, with the torch of our pride and faith, the
darkest of straights, and the most hopeless of circumstances.
Graeco Roman Bronze Sculpture Of a Lion - SP.589
Origin: Israel
Circa: 200 BC to 200 AD
95
96
The dolphin is rendered in great detail with long upraised tail, large incised
eyes, carefully depicted flippers and dorsal fin and two rows of teeth. The
remains of an iron pin on the proper right of the sculpture indicate that it
was probably designed as a support for a life-size statue of Venus, the goddess
of love.
Roman Marble Dolphin - AM.0426
Circa: 1st Century AD
97
This well-modelled head of a ram captures the essence of the animal with
the articulated ridge running across the top of its snout. This feature gives
prominence to its nostrils and mouth. Its eyes are carefully modelled as are its
horns and ears.
One may suggest that our head originally came from a statue because it
is both executed in the round and exhibits a clean break along the lower,
horizontal edge of the neck. As such, the original may have served either
a decorative function adorning a garden of a Roman villa on analogy with
other animal sculptures serving that purpose from Pompeii or as an adjunct
for a statue depicting a deity, as seen in a selected number of examples in
Italian museums.
Roman Sculpture of a Ram’s Head - PF.5275
Circa: 100 AD to 300 AD
98
99
100
Hollow-cast bronze protome of a bull, naturalistically modelled with upward-
curving horns, with traces of ridged bands at their base. The animal is
presented with small projecting ears, heavy-lidded eyes, whereas the muzzle,
nostrils and mouth are all well defined. Presence of a dewlap indicated by a
ridge running from the underside of the muzzle down between the animal’s
prancing forelegs. The figurine must have been appliqué on a larger artefact,
most possibly paired with a similar zoomorphic protome.
Roman bronze protome of a bull - MS.942
Circa: 1st Century AD to 3rd Century AD
Dimensions: 9” (22.9cm) high
101
102
103
A charming representation of a household animal, this small bronze statuette of a dog may
be a representation of someone’s pet, for a collar has been added to the animal showing
its domestication, so too suggested by the lines on his nose representing a muzzle. He may
once have had a long tail (now unfortunately lost) but the dog is full of character, for his
tongue is shown hanging out, possibly suggesting that he was meant to be depicted as
panting. Such a statuette may have been a simple ornament, furniture applique, or it could
have been an image of a loved, deceased pet, and placed among similar statuettes of family
members in the household shrine to pray for their protection and honour their memory.
In ancient Rome the dog was seen as the loyal, devoted figure to his master, whether that
master returns the devotion or not. The well-known mosaic, Cave Canem (Beware of Dog)
shows how dogs were appreciated in Rome as guardians of homes just as they had been
in earlier cultures and are still today. The great Latin poet Virgil, wrote, “Never, with dogs
on guard, need you fear for your stalls a midnight thief ”(Georgics III, 404ff) and the writer
Varro, in his work on how to live in the countryside, writes that every family should have
two types of dog, a hunting dog and a watchdog (De Re Rustica I.21).
The Romans had many pets, from cats to apes, but favored the dog above all others. Dogs
feature in many mosaics, wall frescoes, in poetry and prose. There is a large series of Roman
reliefs showing men and women with their canine companions. Dogs are mentioned in the
Roman law code as guardians of the home and flocks. In one case which was recorded, a
farmer brings a suit against his favored because the neighbour dogs rescued the farmer’s
hogs from wolves and the neighbor’s then claimed ownership of the hogs. Varro claimed
that no farm should be without two dogs and they should be kept indoors during the day
and let free to roam at night in order to prevent just such a possibility as the one discussed
above. He also suggested that a white dog should be chosen over a black one so that one
could distinguish between one’s dog and a wolf in the darkness or the twilight of early
morning.
Roman Bronze Dog - SF.015
Dimensions: 2.75” (7.0cm) high x 4” (10.2cm) wide
104
105
Roman Bronze Oil Lamp - LO.1269
106
This pear-shape oil lamp dates to the Roman era. The arched handle
terminates in a horse- head finial emerging from a leafy wreath. The
horse’s features are naturalistically rendered with flaring nostrils and
the mouth slightly ajar. The facial muscles are well-defined and a thick
curly mane runs back along the neck. The body of the lamp is set on
a low foot ring with a circular filling hole and an extended nozzle. The
majority of oil lamps in the ancient world were made from clay, and
only the wealthy could have afforded such a luxurious bronze example.
The beauty of the lamp lies in the simplicity of its form, particularly
the curve of the handle, and the sensitive treatment of the horse.
107
108
Bronze Eagle Finial - LO.1170
Origin: Israel
109
110
Exhibiting a rather handsome and charming faces, these lion-headed appliqués would
have been used as doorknockers to the home of a Roman aristocrat. Indeed, some can still
be seen in situ at the site of Herculaneum, the town fossilized by Vesuvius in 79 A.D. along
with neighbouring Pompeii. His features are gentle and welcoming, but as they are those
of a lion, it marks the high class of the inhabitants of whose doorway he sits; lion hunting
was the legendary pastime of the Homeric heroes and other elite warriors, thus associating
with them garnered a feeling of wealth and class.
Pair of Roman Bronze Lion Roundels with Handles - SF.010
Origin: Ein Gedi, Israel

Circa: 1st Century AD to 3rd Century AD
111
112
113
114
Cast bronze alloy bird figurine, probably of votive nature, dating to the late
Roman period. This unidentified bird –presumably an eaglet- is depicted
with short curved beak and a rounded vivid eye visible on either sides of
the head. All over the body, as well as the head, curved incisions represent
the feathers whereas particular attention has been given to the wings. The
fledgling is obviously shown, with great naturalism, in one of its first attempts
of trying to awkwardly spread its wings. On the lower part two protruding
lugs are a possible indication that the figurine was mounted on to another
object. Roman Sculpture, with artists from across a huge empire and changing
public tastes over centuries, is above all else, remarkable for its sheer variety
and eclectic mix.
The art form blended the idealised perfection of earlier Classical Greek
sculpture with a greater aspiration for realism and absorbed artistic preferences
and styles from the East but also from the local Etruscan art. As with Greek
sculpture, the Romans worked stone, precious metals, glass and terracotta
but favoured bronze and marble above all else for their finest work. However,
as metal has always been in high demand for re-use, most of the surviving
examples of Roman sculpture are in marble. Roman sculpture did, however,
begin to search for new avenues of artistic expression, moving away from its
Etruscan and Greek roots, with artists seeking to capture and create optical
effects of light and shade for greater realism.
Roman period bronze figurine of a bird - FF.092
115
116
117
118
Standing amidst luxuriant foliage are two birds, a dove at left and a stork
at right. The stork, (or possibly an egret), has bold white feathers, a small
head tilted slightly upwards, and very large feet standing firmly on a branch.
With very delicate coloration of alternating black and white on the wings
and touches of blue and pink the dove appears about to move from its perch;
watching with a keen eye its surroundings of swirling branches, leaves and
flowers.
Roman-Byzantine Mosaic Depicting Two Birds - PF.5314
119
A beautiful Roman bronze figurine of a bird. The animal is portrayed in an
elegantly plastic pose, with the head slightly turned. The plumage is rendered
with delicacy. The beauty of the artefact is enhanced by the presence of the
green patination typical of ancient bronzes.
It is possible that this figurine had a decorative function. Alternatively, a use
as a votive in a sanctuary or another sacral context is an appealing possibility.
Birds were often used as sacrificial animals in Roman temples, and the use
of a bronze figurine to permanently commemorate a sacrifice would be
meaningful.
Roman Bronze figure of a bird (quail?) - CB.2997
120
121
This magnificent bronze sculpture of a panther and her young offspring is a masterpiece
of Roman naturalism. Her ferocious head has been rendered in a fashion characteristic
of Roman felines. Her brows are clenched together as she snarls, head held high in the air
with fangs exposed. We can almost hear her mighty roar. Judging from this intimidating
posture, we can assume she is attempting to defend herself and her offspring who stands at
her side in a similar posture, as if mimicking the mother. Her body has been rendered with
meticulous attention to detail such as her swollen teats, a sign that she has been recently
feeding her young.
In addition, the texture of her fur has been replicated by a series of wavy engraved lines.
The panther was considered sacred to the god of wine, Bacchus. The fact that this panther
wears a harness with an attachment loop behind the neck indicates that she was meant to
draw the chariot of Bacchus during his triumphant return from Asia, a popular scene that
was often depicted on sarcophagi during the Roman era.
Roman Bronze Sculpture of a Panther - X.0284
122
123
124
125
Roman Terra Sigillata Vessel in the Form of a Standing Bull - X.0063
Circa: 2nd Century AD
Dimensions: 4.5” (11.4cm) high x 1.75” (4.4cm) wide x 5.125” (13.0cm) depth
126
Terra sigillata wares were the classic fine wares of the Roman period. The roots
of the industry go back to Italy during the 1st Century B.C. Building on the
foundations of a pre-existing industry dedicated to black-slipped ware, the glossy
red-slipped terra sigillata wares were first produced at Arezzo, in northern Tuscany.
The industry expanded, and factories producing Italian-type sigillata were founded
across the Mediterranean world, notably southern France and northern Spain.
Characterized by a red- orange to red-brown colored clay, these glossy household
vessels were decorated by relief figures and incised designs.
This gorgeous vessel takes the form of a standing bull with his horned head raised
upwards. There is a suspension loop directly behind the filling spout rising from the
middle of the animal’s back and a hole in the mouth serves as the pouring spout.
In Classical Antiquity, the bull was a symbol of strength and fertility. Jupiter was told
to have transformed himself into a bull and the creature was the central animal in the
cult of Mithras, an ancient religion imported from the east that gained popularity
during the Roman Empire and influenced many of the legends of Christianity.
Might this vessel have once played a central role in an ancient Mithraic ritual now
lost to us? The sacrifice of a bull was the highest libation that could honor Mithras,
and the blood was believed to provide fertility to the earth? Did bull’s blood once
fill this vessel, so that this costly sacrifice could be reenacted later in private? As the
rites of Mithras remain a mystery, it might be safer to assume that more mundane
libations like oil were once contained within this bull-shaped vessel.
127
Terra sigillata wares were the classic fine wares of the Roman period. The
roots of the industry go back to Italy during the 1st Century B.C. Building on
the foundations of a pre- existing industry dedicated to black-slipped ware,
the glossy red-slipped terra sigillata wares were first produced at Arezzo, in
northern Tuscany. The industry expanded, and factories producing Italian-
type sigillata were founded across the Mediterranean world, notably southern
France and northern Spain. By the 3rd-4th Century A.D., the center of terra
sigillata production had shifted south, to the shores of Roman North Africa.
From the great port of Carthage, these wares were exported throughout the
Mediterranean world and representative examples have been found from
Israel to England.
North African Terra Sigillata Flask Decorated with Lions - X.0052
Origin: North Africa

Circa: 3rd Century AD
128
129
130
Characterized by a red-orange to red- brown clay and a slip of a more refined
version of the same clay, these glossy household vessels were decorated by
relief figures and stamped designs. Frequently, separately applied clay figures
were cast in molds and added to the vessels as decoration. This vessel is a fine
example of the very wares that were produced in North Africa. Immediately
obvious is the glossy red slip that made these wares extremely durable and
gave them their name. This particular work features two handles and a small
round foot. The body has been divided into two sections framed by four
applied palm leaves. Each section is decorated by a molded reclining lion.
Hundreds of years ago, this vessel was created in Roman North Africa,
shipped out of Carthage, and landed on the table of a household somewhere
across the vast empire. The history of this work is truly fascinating and is
surmounted only by its beauty.
131
Roman/Byzantine Bronze Oil Lamp - Z.0047
Origin: Bethany, Israel

132
The handle grip of this splendid lamp terminates in a stylized horse
head, while the oil hole cover is in the form of a shell. Both these motifs
look back to the Classical world that was then in its dusk. To hold this
lamp in our hands is to feel the touch of some ancient hand upon it, to
imagine forgotten corridors that spring to life with its passing glow and
then fade once more into darkness.
133
All items are offered for sale.
For Enquiries: info@barakatgallery.eu
134
Roman bronze protome of a bull - MS.942
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All our artefacts are guaranteed to be genuine and a certificate of authenticity is included with each item.
135
London
58 Brook St, Mayfair London, W1K 5DT +44 (0) 20 7493 7778 info@barakatgallery.eu
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136

Animals in Antiquity - Vol 2

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Animals in Antiquity - Vol 2

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ANIMALS IN

CURATED BY: MARIA SERENA PADRICELLI

PAINTINGS: FAYEZ BARAKAT

COPYRIGHT © BARAKAT GALLERY TEXTS © THE AUTHORS

PUBLISHED BY: HANNA BELLA PUBLISHING

Middle Kingdom Faience Sculpture of a Recumbent Hippopotamus - X.0180

The symbolism of the hippopotamus in ancient Egypt was ambiguous. Known

Alabaster Reptilian Vessel - OF.127

New Kingdom Steatite Scarab - S.076

Origin: Lower Egypt

New Kingdom Steatite Scarab - S.013

New Kingdom Steatite Scarab - S.011

New Kingdom Steatite Scarab Seal - fj.2429dc

New Kingdom Faience Amulet of a Hare - PF.2950

Egyptian Stone Head of the Goddess Hathor - LO.610 (LSO)

Sculpture of the God Amun in the Form of a Ram - Z.0038

Origin: Sinai, Egypt

Stone Sculpture of Sobek in the Form of a Crocodile - X.0189

26th Dynasty Bronze Sculpture of the Apis Bull - X.0347

Stone Falcon Horus Figure - LK.009

26th Dynasty Faience Sculpture of a Recumbent Lion - X.0689

26th Dynasty Terracotta Sculpture of a Ram Head - X.0690

26th Dynasty Faience Amulet of a Jackal - X.0330

26th Dynasty Faience Amulet of a Recumbent Lion - X.0325

Bronze Sculpture of the God Khnum - PF.5777

Origin: Sinai, Egypt

Origin: Sinai, Egypt

Origin: Sinai, Egypt

Green Jasper Scarab - FJ.0065

Egypto-Roman Bronze Sculpture of a Male Dog - PF.5491

Egyptian Wooden Furniture Attachment - SK.023

Origin: Southern Italy

Apulian Fish Plate - LA.539

Origin: Magna Graecia

Corinthian Askos in the Form of a Bird - PF.5591

Apulian Fish Plate - LA.540

Silver-Gilt Phalera with the Head of a Horse - OF.139

Hellenistic Marble Shell - DD.001

This bronze decorative fragment depicts the mythological stallion in flight,

Bronze Fragment Depicting Pegasus - FZ.390

Bronze Ewer with Bird Finial and Handle - BF.010

Graeco Roman Bronze Sculpture Of a Lion - SP.589

Roman Marble Dolphin - AM.0426

Roman Sculpture of a Ram’s Head - PF.5275

Roman bronze protome of a bull - MS.942

Roman Bronze Dog - SF.015

Pair of Roman Bronze Lion Roundels with Handles - SF.010

Origin: Ein Gedi, Israel

Roman period bronze figurine of a bird - FF.092

Roman-Byzantine Mosaic Depicting Two Birds - PF.5314

Roman Bronze figure of a bird (quail?) - CB.2997

Roman Bronze Sculpture of a Panther - X.0284

North African Terra Sigillata Flask Decorated with Lions - X.0052

Origin: North Africa

Origin: Bethany, Israel

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