U.S. and Canada customers take 25% of everything in our Etsy and eBay shops through June 31. Antiquities, ancient coins, books, prints. Discount refunded immediately after checkout.
In January of this year I wrote a brief article for this Blog dealing with my own experiences as both a dealer in ancient Mediterranean art and an artist myself, and the influence one has upon the other. The article was inspired by an exhibition that was a collaboration between the British Museum and Turner Contemporary at Margate, England. Turner Contemporary has commissioned artist Hannah Lees to respond to a group of Roman Samian Ware bowls, part of the BM’s collections, that had been washed ashore from a Roman shipwreck quite near Margate. The result was a thoughtful collaboration between modern art and the art of antiquity, offering modern viewers a new level of insight into the art and artifacts of the ancient past, while also recontextualizing the modern work.
In that January article I compared some of own work to ancient and later works that had influenced my approach, even if I had not been fully aware when I was making it. In this article I’d like to continue exploring that theme. When I first began to make art of my own a few years ago, I made a very conscious effort to avoid copying or even allowing myself to be influenced by the types of art and artifacts I handled and sold every day as an antiquities dealer. Of course, one cannot entirely block out all influences. These will surface, as they did in my case, whether one likes it or not. So at some point I began to make, not copies but stylistically similar objects in some media, such as ceramics, to those I found appealing, not just from antiquity but the more recent past, as well. A good example is comparing the 13th Century French medieval tankard (top) with my own stoneware tankard with a pie crust foot (below), though mine was influenced perhaps more by medieval English types.
As I continued with this theme, I found great value in learning how ancient and other more recent works had been made from a technical standpoint. It is widely known that relatively few people in the field of art history have much practical experience in studio art. Having spent so much time the last few years working in various media in a studio setting, I can say with certainty that a more substantial studio art regimen should be a requirement for art historians. The insights gained from the practical side of “doing” art lend themselves well to finding answers to the many technical questions art historians must ask about individual works or whole classes of objects. Below is a series of images of English slipware, some marbled, some trail decorated, from the late 1600s to early 1800s. Below these, my own reinterpretations of these styles and techniques.
Medieval pottery of all sorts has long been an area of interest for me. So when I decided to make a “medieval” plate of my own, I added some personal touches. I simplified the central design so that it stood out against a cream to white plain background. I also set one of the fleur-des-lis in the surrounding “frame” off center, so as to eliminate any possibility of the piece being interpreted in a religious framework. Below are two examples of medieval to post-medieval plates of the sort I might have imagined when I was creating my own work, which is shown beneath them.
Still on the subject of pottery, closed form vessels have long been symbolic of many things to many cultures. One common thread is the notion of the female form as a vessel or of a vessel being analogous to female fertility. This last idea was widespread in popular – as opposed to official – religious thought in both classical antiquity and the Middle Ages. The transport amphora, the incredibly common pottery vessel used from at least the 7th Century BC through to the Byzantine period, and in some parts of the Mediterranean world right up into the modern era, certainly can be equated in many ways with the female form, in all its variety. Amphorae came in all shapes and sizes, depending on the products they carried, popular style preferences and by time period. Look at some of the examples below:
I have always had a strong personal response to this form. In 2015 I made the collage piece below. It involves simply colored paper and watercolors on a board backing. I found the act of repeating the small amphora shape over and over irresistible.
My favorite medium is glass, in all its forms. This includes glassblowing, flame or torch working, slumping, casting and enameling. Perhaps no other form of glass is so strikingly beautiful to my eye as the ancient glass inlays produced in Egypt during the Ptolemaic and early Roman periods. Expensive to produce and time consuming to make, the astonishingly precise, technically accomplished small scale works were used as furniture inlays, architectural components and enhancements to a variety of small objects. Having worked in glass myself – torch work, blowing and enamels – I can fully appreciate the extraordinary technical skills of the ancient craftspeople who made these objects, using relatively simple technology. In making enamel pendants, I’ve had the opportunity to use a clean white enamel background against which to set simple multi-colored canes of glass. The effects are quite pleasing, though they seem paltry compared with the extraordinary mosaic glass products of post-dynastic Egypt. Below are two examples of Egyptian glass inlays from the Ptolemaic (305-30 BC) Period and very early Roman Period (30 BC-100 AD). Below them, two examples of my own work using enamel on copper with glass canes.
Egyptian mosaic glass griffin inlay. Ptolemaic Period, Circa 2ND-1ST Century BC
I could not review my personal relationship with and interpretation of the art of past without a brief visit to the shrine of Mark Rothko. In my opinion, Rothko was the greatest painter since Turner; certainly the greatest of the 20th Century. I can remember being quite young and visiting the Berkeley Art Museum, standing in front of several large Rothko canvases. I was stunned but didn’t know at that age how to articulate what I was seeing and experiencing. In fact, it was decades more before I really could. I have never tried to “copy” or in any way imitate Rothko. But his influence on my response to the visible world is always present and beyond my control. Perhaps it is no surprise that he was also a great lover of antiquity and also of Renaissance art. Below are two fine examples of his large canvases. Below them, two pieces of mine in very different media that I think are directly influenced by my reaction to Rothko’s work.
I am more convinced than ever that taking time to explore linkages in visual language and modes of expression in cultures separated by great distances in time and geography can help viewers appreciate more deeply both the ancient and modern.
This Blog has many links to Clio Ancient Art’s online stores. To access my personal artwork, go to (opens in a new tab or window): https://www.etsy.com/shop/PastPresentArtCraft
Hello Clio Customers, Friends and Fans:
We are offering a huge 25% off of everything in our eBay store, including antiquities, ancient coins and books, through January 31. It’s been years since we’ve offered such a large discount, so please take a look. Pay the listed price and your 25% will be promptly refunded to you via PayPal. This offer is for our eBay store only, not our other selling platforms. There are currently 82 items listed, ranging in price from $12 to $450.
Find us on eBay here – http://www.ebay.com/usr/clioantiquities
Thanks for looking and best wishes.
Christof M. Maupin
Clio Ancient Art and Antiquities
Wilmington, NC 28403
We’ve created a customer Coupon for use in our Etsy store. Receive 15% off every item over $25 between now and January, 2017.
Use coupon code JAN20172 at checkout to receive your discount!
And, if you make a purchase between now and January 31 you’ll also receive an email from Etsy with another discount coupon for use in our shop good for 15% off a future purchase, valid through June 30, 2017.
Visit our Etsy shop at: https://www.etsy.com/your/shops/ClioAncientArt
The images below represent a good sample of the many ancient Egyptian, Greek, Roman, Byzantine, early Islamic and other Mediterranean and related antiquities and ancient coins sold by Clio Ancient Art during 2016. Some of our regular customers reading this blog entry might recognize pieces they now own. As always we have many more items available in our online stores:
And don’t forget our Amazon book store, with many excellent and hard to find antiquities related titles: www.amazon.com/shops/ClioAncientArt
Our featured object this week is a fine example of a type of personal adornment that was popular in the Near East, particularly in Egypt, the Levantine coastal region (today’s Israel / Palestine and Lebanon), and greater Syria, including what is now southwestern Turkey, from the Hellenistic period right through the Roman, early Byzantine and Islamic periods. This glass bangle was made during the 13th to 15th Century, probably in what is now Syria or Israel / Palestine. This was an era in which Islamic glass artists dominated, with their products being highly sought after both in Europe and in the East. Their technical achievements would not be surpassed for a few centuries more, with the Venetian revival of glass making techniques from classical antiquity. This example is of rather more humble origins than the elaborate vessels and mosque lamps made in Medieval Islamic Syria and Egypt, but is still beautiful.
Simple monochrome glass bangles first became common in the region during the later part of the Hellenistic period. During the Roman era, particularly in Egypt, these came to be made from multiple colors of glass. With only minor interruption, these continued into the early Byzantine period. They became really widespread during the Islamic era and were still being made at the small glass workshops in Hebron right up through the end of Ottoman rule in 1918. Bangles were fast and easy to make: a few chips of different colors of glass could be melted into a thick cane that would form the background or base color. The cane would then be stretched and one end attached to the other, before polishing the surface in the flame and evening out any irregularities. In later examples, from the 17th Century through to the early modern era, an additional cane of one or more colors twisted together in a spiral would often be added to the outside of the bangle or to both the inside and outside edges. This additional component is a sure sign of a very late date for Islamic bangles.
As a cautionary note to readers, there are many “low end” antiquities dealers, particularly online, who occasionally offer objects of this type and invariably refer to them as Roman, rather than Islamic. This is simple intellectual laziness and indifference to the objects themselves. There is a considerable body of published work available to assist anyone with an interest in ancient or medieval glass with distinguishing glass bangles and other objects from one time period to another. But lazy or dishonest sellers will simply label glass bangles as Roman, when the great majority of those on the market are in fact Islamic.
One printed resource that we highly recommend is the following:
Maud Spaer, Ancient Glass in the Israel Museum, Beads and Other Small Objects, The Israel Museum, Jerusalem, 2001.
Within this work, see catalog number 471 for a very similar example (also illustrated in color on Plate 35), and Figure 85 for a group of similar examples of the 14th-15th
Century from the Islamic cemetery at Tel Dan.
This outstanding volume not only addresses ancient, medieval and post-medieval glass bangles in detail but is also an invaluable reference for dealing with items such as coin weights, amulets and beads. Beads can be especially difficult to date and Spaer’s work provides valuable technical data, particularly with regard to visible evidence of manufacturing techniques, to help the reader distinguish very similar types from one another.
This object is available on our eBay store here – http://www.ebay.com/itm/Medieval-Islamic-Multi-Colored-Glass-Bangle-/132036706096?hash=item1ebe003f30:g:CMoAAOSwBLlVYku~
and on our Etsy store here – https://www.etsy.com/listing/261524237/medieval-islamic-multi-colored-glass?ref=shop_home_active_18
Clio Ancient Art sells books on Amazon, including antiquities sale catalogs, research publications and popular works. Many excellent and hard to find titles have been added for the new year.
Find us on Amazon at: www.amazon.com/shops/ClioAncientArt
Clio Ancient Art is now on Instagram! We’ll be posting featured antiquities, artifacts, ancient coins and related items, along with images from our photo archive that help place those objects in context. Follow us here – https://www.instagram.com/clioancientantiquities/
Clio Ancient Art and Antiquities has much to offer as we enter the holiday season. With up to 100 antiquities, artifacts, ancient coins, books about antiquities and related art now available from ancient Rome, Greece, Egypt, Cyprus and the Holy Land, you are sure to find a unique gift for that collector, history buff or other special someone on your list.
This week’s featured antiquity is a remarkable late Roman glass pendant in the shape of a vase or juglet. It belongs to a class of decorative pendants and related objects that first appear in the Eastern Mediterranean in the mid-Third Century AD and evolve into a variety of types and forms into the Fifth Century AD.
Dating to the Fourth Century AD, this example measures just over one inch in height. It is an especially uncommon form of glass pendant featuring two handles. One handle is broken away in this example but the connection points are visible. In addition, this piece is shaped like a slender glass vessel rather than the more typically jug form. The body of this object is formed of a very dark brown or purple glass, appearing black, with a fine applied rim trail of light brown. The surviving handle appears to be formed of the same color glass as the body. A disc base has been separately applied. Incorporated into the body are slices from at least four glass beads or canes, including two eye beads in red and yellow and two composite slices featuring canes of alternating colors.
Objects of this type were made not be glass blowers but by bead makers. In fact, if one were to remove the small handle and open the foot of this object it would become a bead. The strong dark colors are typical of the revival of that palette among Roman glass makers beginning in the mid to late Third Century, as seen on both glass beads and glass vessels in the late Roman world.
While it has been suggested that this type of glass pendant may have had a Christian religious significance, there is no real evidence one way or the other. Another theory is that these were miniature scent bottles worn on the body. While finds of these objects seem to be concentrated in the Levantine region, with another substantial grouping in Egypt, suggesting they may have been manufactured in both locations, examples have been found in Southern and Central Europe and in Rome itself.
An excellent reference on this class of objects is Maud Spaer, “Ancient Glass in the Israel Museum, Beads and Other Small Objects” catalog #s 343-354 for several similar examples, and pages 170-173 for a detailed description of the general type.
Readers interested in acquiring this item may find it in our Etsy store here – https://www.etsy.com/listing/479831410/late-roman-glass-juglet-pendant-4th?ref=shop_home_active_1