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Neckale, restrung on modern thread, suitable for contemporary wear, Glass and stone beads, Roman, 1st - 3rd Century A.D, 400 mm
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Berlin, Germany, July 24 2009, The Ishtar Gate stands majestically as visitors admire its intricate blue mosaics and rich history at the Pergamon Museum in Berlin.
Bowl, Pottery, Iron Age, Cycladic, 1st Millenium B.C, 145 mm diameter
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Plate with vegetal decoration, Terra Sigillata, Roman, 4th Century A.D, 200 mm diameter
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Rome, Italy, July 22 2017, The ornate golden armor carving showcases a knight, adorned with weapons, at Vatican Museums in Rome.
Unguentarium, Pottery, Greek, Hellenistic, 3rd - 1st Century B.C, 93 mm x 70 mm
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Relief with togate, Limestone, Roman, 1st - 3rd Century A.D, 355 mm x 350 mm x 125 mm
Roman reliefs with togate figures often depict scenes from Roman life, showcasing individuals dressed in the distinctive Roman toga, a garment worn exclusively by Roman citizens. The toga was a symbol of Roman citizenship and was typically worn on formal occasions. In reliefs, togate figures are commonly portrayed in various social, political, or ceremonial settings, providing a glimpse into the cultural and societal norms of ancient Rome.
These reliefs serve as valuable historical and artistic artifacts, offering insights into the clothing styles, social hierarchies, and daily life of the Roman people. The toga itself was a draped garment made from a large piece of cloth and was worn in a specific manner, with variations in style and color indicating the wearer’s social status and the nature of the event.
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Etruscan antefix of Potnia Theron, Terracotta, Etruscan, 3rd – 2nd Century B.C, 375 mm x 200 mm x 65 mm, Good condition, repaired
Antefixes were vertical, decorative blocks placed at the end of roof tiles on temples and other structures, often richly adorned to ward off evil and celebrate divine figures. In this case, the Potnia Theron, a goddess archetype inherited from the wider Mediterranean iconographic tradition, is portrayed in dynamic symmetry, flanked by wild animals—usually lions, panthers, or birds—symbolizing her dominion over the natural world.
The representation of the Potnia Theron in Etruscan art reflects both local religious beliefs and Near Eastern or Greek influences. Her iconography—arms outstretched, grasping animals by their necks or wings—is not merely decorative but conveys her role as a protector and controller of the liminal space between civilization and the wild. Etruscans may have associated this figure with deities like Artumes (related to Artemis) or Uni, reflecting how imported motifs were recontextualized within their own pantheon. The antefix, therefore, functioned both as an apotropaic device and a statement of divine order overseeing the temple and its surroundings.
Crafted in terracotta, such antefixes also illustrate the Etruscans’ technical skill and aesthetic sophistication. The vivid polychromy (now often faded), expressive modeling, and formalized composition would have made a vivid impression on worshippers approaching the temple.
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Unguentarium, Glass, Roman, 1st - 3rd Century A.D, 123 mm x 30 mm
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This brightly colored dart point is almost 2 inches in length (50 mm) and is beveled on both sides. The base looks like it may have been broken and re-worked.
Anatomical votive model of a stomach, Terracotta, Etruscan, 5th – 4th Century B.C, 197 mm x 115 mm, Good condition.
Etruscan votive models, particularly anatomical offerings and effigies, are fascinating artifacts that reveal much about the religious practices and medical concerns of ancient Etruria, especially between the 4th and 2nd centuries BCE. These votives were typically deposited in sanctuaries and sacred springs as acts of devotion or supplication to the gods, often in the hope of healing a specific ailment or in thanks for divine intervention. Crafted from terracotta, bronze, or occasionally stone, these models replicate human body parts—eyes, limbs, internal organs, breasts, genitalia—and are often found in large numbers at healing sanctuaries associated with deities like Menrva (Minerva) or Aplu (Apollo).
The anatomical votives represent a symbolic language of health and bodily integrity. For example, a votive eye might be offered in hopes of curing blindness or infection, while a model uterus could be linked to fertility concerns. Their realism varies: some are stylized and schematic, while others are surprisingly naturalistic, possibly even individualized. These offerings served a dual role: they were both ritual acts and communicative gestures, voicing the suppliant’s needs in a tangible, visible way. Some scholars have proposed that these votives may also reflect early understandings of anatomy and pathology in the Etruscan world, hinting at empirical observation rooted in experience, if not systematic medical science.
In addition to anatomical models, votive heads and full-figure statues were also common, often life-sized or larger. These heads, usually depicting serene or pious expressions, might represent the donor themselves or serve as idealized images of the human devotee in relation to the divine.
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Oenochoe, Bronze, Greek, 4th - 2nd Century B.C, 210 mm x 150 mm
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Bust of a young man, Pottery, Roman, 1st - 3rd Century A.D, 77 mm x 60 mm
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Oil lamp with a Myrtle wreath, Terracotta, Roman, 1st Century A.D
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Unguentarium, Glass, Roman, 3rd - 4th Century A.D, 106 mm x 65 mm
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Statuette of a horse, Pottery, Chinese, Tang Dynasty, 618 - 907 A.D, 560 mm x 530 mm x 200 mm
The Tang Dynasty, which ruled China from 618 to 907 AD, is often regarded as one of the most glorious periods in Chinese history, characterized by political stability, economic prosperity, and remarkable cultural achievements. Established by the Li family, the dynasty saw significant advancements in various fields, including poetry, painting, calligraphy, and technology. The Tang Dynasty was renowned for its cosmopolitanism, with influences from Central Asia, India, and the Middle East contributing to its vibrant cultural landscape. Under Tang rule, China experienced a golden age of literature and art, with figures like Li Bai and Du Fu flourishing in poetry and artists such as Wu Daozi making significant contributions to painting.
During the Tang Dynasty, the tradition of producing horse statuettes continued, reflecting the enduring significance of horses in Chinese society. These horse statuettes, often referred to as Minqi horse sculptures, maintained the artistic excellence established in earlier periods and further developed under Tang patronage. Crafted from various materials such as ceramic, metal, and stone, these sculptures depicted horses in various poses, showcasing their strength, elegance, and vitality. Some statuettes also featured intricate details such as ornamental trappings and saddlery, highlighting the craftsmanship of Tang artisans.
The Tang Dynasty’s Minqi horse statuettes not only served as decorative items but also held symbolic and cultural significance. Horses were not only essential for transportation and warfare but also symbolized wealth, power, and prestige. Therefore, these sculptures often adorned the tombs of the elite as burial goods, reflecting beliefs in the afterlife and serving as expressions of social status.
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Statuette of an eagle on pedestal, Bronze, Roman, 1st - 3rd Century A.D, 60 mm x 20 mm x 20 mm
In the Roman period, bronze statuettes of eagles held significant cultural and symbolic importance. The eagle was a powerful and revered symbol in Roman society, representing strength, courage, and military prowess. As the national emblem of Rome, the eagle was associated with the Roman legions and the divine authority of the Roman state. Consequently, bronze statuettes of eagles were commonly used as military standards, known as “aquilae,” carried by Roman legions as symbols of honor and allegiance to the empire.
These bronze eagle statuettes were meticulously crafted, showcasing the artistic skill and attention to detail characteristic of Roman artistry. Typically small in size, these statuettes featured finely rendered feathers, outstretched wings, and sharp talons, capturing the majestic and imposing nature of the bird of prey. The craftsmanship of these statuettes reflected the Romans’ appreciation for realism and their ability to infuse lifelike qualities into their art.
Beyond their military significance, bronze eagle statuettes also found a place in various aspects of Roman life, including as decorative elements in homes, public spaces, and temples. The eagle’s association with Jupiter, the king of the gods in Roman mythology, further elevated its status as a symbol of divine protection and authority.
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A bakery opposite my hotel in Ipoh had an interesting collection of old brand names and posters, as well as tins of Milo and other popular beverages. In fact, this seems to be an in thing in Ipoh and Melacca (which I visited a couple of days later), where several bakeries and eateries had set up similar displays of tins and posters of historic brand names and food products. I was actually headed to a local night market which was just being set up down the street, hoping to pick up some dinner. I got caught in a terrible tropical downpour, just steps from my hotel and dived into this bakery instead. (Ipoh, Perak, Malaysia, Sept. 2023)
Rome, Italy, July 22 2017, A statue of Emperor Claudius as Iuppiter stands proudly in the Vatican Museums, showcasing ancient artistry and Roman culture.
Architectural element with vegetal decoration, Marble, Roman, 2nd - 3rd Century A.D, 70 mm x 95 mm
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Berlin, Germany, July 24 2009, Visitors admire the vibrant colors and intricate designs of the Ishtar Gate, a remarkable ancient artifact in Berlin\'s Pergamon Museum.
Bread stamp, Bronze, Roman, 1st - 3rd Century A.D, 35 mm x 90 mm
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Jar, Pottery, Bronze Age, Urnfield, 1300 - 750 B.C, 113 mm x 125 mm
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Oil lamp mold, Limestone, Roman, 5th Century A.D, 195 mm x 135 mm
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The Pergamon Museum, a prominent Berlin landmark, stands majestically by the water, showcasing its stunning architecture against a blue sky.
Statuette of a ram, Bronze, Roman, 1st - 3rd Century A.D, 29 mm x 30 mm
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