It’s been some time since Clio Ancient Art offered any antiquities from the Neolithic but the “Stone Age,” as well as the related subject areas of early technologies and experimental archaeology, are certainly of great interest to many of our followers. That’s why I’m recommending a video channel on YouTube called “Beyond2000BC.” The series is presented by Will Lord, who runs a commercial operation putting on workshops on everything from flint knapping to bronze casting and Medieval archery. There are other comparable channels by survival experts, etc. but I particularly like Will Lord’s sense of craftsmanship and appreciation for the process of making.
The “Beyond2000BC” channel currently hosts something over 60 videos. Here is a direct link to one of these, a recent video about a bronze casting workshop and the ancient and medieval objects the participants were trying to replicate Opens in a new tab or window):
and here is a link to the channel’s home page. Enjoy the videos.
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
Our featured object this week hearkens back to a time when the Middle East was quite different demographically than it is today. For more than 400 years, large parts of the Near and Middle East were governed by the expansionist Ottoman Empire. Under the Empire’s authoritarian rule, the many ethnic and religious minorities of the region, particularly in the border areas of modern Turkey, Syria, Iraq and Iran, coexisted though not always peacefully.
All of these groups, including Kurds, Turkomans, Armenians, Assyrians, Yazidis and others, were strongly influenced by Ottoman culture. This was certainly true of fashion. The satin and silk embroidered waist jacket for a girl or young woman featured here this week is a good example of this. Using a technique known as Sarma, which made extensive use of metallic thread for embroidering, this item was acquired around 1930 in Iraqi Kurdistan by a Christian Iraqi family that later emigrated to the United States in the 1960s. This style of embroidered clothing was adopted in the later part of the 19th Century by ethnic and religious minorities throughout the region described above. Even after the Ottoman Empire collapsed following the First World War, its cultural influence remained and this style of clothing remained popular for decades, only gradually fading as the European colonial powers that had stepped into the Ottoman power vacuum relinquished their grip in the face of rising local nationalism.
It is difficult for most modern viewers, without the benefit of learning the region’s complex history, to think of the Middle East as anything but a monolithic Islamic region. The horrors of the Armenian Genocide, the less well known Assyrian genocide, the huge population transfer of Greeks out of what is now Turkey following more than 2,500 years there, all unleashed by the emergence of post-Ottoman Turkish nationalism, were huge events that fundamentally transformed the region and made it much less diverse than it had ever been. Compounding those events of a hundred years ago are the population shifts seen since the rise of Islamic State, with many Kurds, Assyrians, Yazidis and others deciding to seek a better life in Europe, Canada, Australia or the US. Our little jacket is a reminder of a more diverse, complex and perhaps even happier side of life in the Middle East early in the previous Century.
Below are a few recommended works to help readers investigate further the diversity and complex relationships among different groups in the Near and Middle East during and just after the last decades of the Ottoman Empire.
- Aboona, Hirmis, Assyrians, Kurds, and Ottomans: Intercommunal Relations on the Periphery, 2008
- de Bellaigue, Christopher, Rebel Land: Unraveling the Riddle of History in a Turkish Town, 2010
- Braude, Benjamin, and Bernard Lewis, eds.Christians and Jews in the Ottoman Empire. 2 vols., 1982.
This item may be found in our Etsy shop here – https://www.etsy.com/listing/507209757/womens-or-girls-hand-made-embroidered?ref=shop_home_active_3
As an artist myself (yes, I have come to accept, to my own astonishment, that in addition to being an antiquities dealer / antiquarian / art historian, I am, at last, an artist) I often find myself influenced, even if sometimes subliminally, by the ancient and medieval art and artifacts I handle every day (see a few images related to this below). So when I saw a newly released YouTube video from The British Museum, in which they collaborated with both Turner Contemporary (one of the UK’s leading art galleries, situated on Margate seafront, on the same site as the boarding house where the great painter J. M. W. Turner stayed when visiting the town), I was ecstatic.
The British Museum and Turner Contemporary commissioned UK 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, though it is worth noting that the Samian Ware bowls in question would not have been considered “art” in their own time, simply practical objects; that is, craft. This type of collaboration, when properly executed, can offer modern viewers a new level of insight into the art and artifacts of the ancient past. Some younger or more aesthetically extreme viewers might see the ancient objects as mere “dead people’s art,” while some more narrow minded viewers of any age might see the modern response to the artifacts as fluff or not even art at all. Well, where art is concerned one cannot please everyone. But collaborations of this sort are valuable and I wish they would become more common.
Here’s an image of a Roman Samian Ware bowl gifted by Clio Ancient Art to the Crocker Art Museum in Sacramento, CA a few years ago, similar to those involved in this project:
Here is a piece I created last year that responds to both Medieval English tiles (a favorite topic) and Islamic “calligrams”- figurative calligraphy.
This is an example of a group of 13th Century English floor tiles at Exeter Cathedral.
And here is a 17th Century Persian calligram, with the “Bismillah” phrase in the form of a bird.
Here is an enameled copper pendant I made, responding to an ancient Egyptian faience flat amulet of the god Hapy, one of the four sons of Horus and god of the inundation – the annual flooding of the Nile. Flat amulets of this sort were often sewn into the wrappings of mummies, particularly from the New Kingdom period onward.
And here is an original example of a flat faience amulet of Hapy, dating to the 22nd Dynasty.
Of course, I could go on with many more examples. But the key point here is that modern and ancient art share a great deal in common, at the most basic levels. If we stop to self-examine our response to one, we may gain valuable insights into the other. That is what made the British Museum’s collaborative project so important and, I think, groundbreaking. Here is the link to their YouTube video on this project:
Here is a link to artist Hannah Lees’ website, with examples of her work, including more detailed views of what she created for this project:
Lastly, here is a link to my own art, available on my personal (not Clio’s) Etsy shop:
This week’s featured object does not come from the Mediterranean, Classical or Near Eastern worlds but from Southeast Asia. It represents an important phase in Asian history in which China retreated from the world stage, leaving smaller kingdoms to fill the resulting gap in international trade.
In a Blog article earlier this month (https://clioantiquities.wordpress.com/2016/10/01/distant-connections-contact-and-object-exchange-between-mediterranean-and-far-east-asian-civilizations-in-the-first-few-centuries-ce/) we explored recently unearthed connections between the Mediterranean world and East Asia, focusing on portable objects found many thousands of miles away from their points of origin. This week’s antiquity ties in well with that theme.
To put this object in context, it is worth reviewing the early years of China’s Ming Dynasty. The Ming were of true Chinese ancestry, unlike the previous Yuan Dynasty of Mongol origin. The third Ming Emperor, Zhu Di, asserted Chinese authority, from the Mongol regions to the north, the Tibetan Plateau to the east, Korea and Japan to the west and Southeast Asia. He was also responsible for assembling the vast naval flotilla of ocean-going ships that would sail under the Imperial Eunuch Zheng He, reaching points as far away as India, Yemen and the Middle East and even the east coast of Africa. Zheng He, despite being raised in the Imperial Court, was born Muslim in China’s southwestern Yunnan Province, a background that made him uniquely qualified to lead the famed “Seven Voyages.”
Despite great interest aroused by overseas expeditions, the Ming were facing difficulties with their expansionist policies. Attempts to subdue Japan and Vietnam proved costly and unsuccessful, while extravagance at home, including construction of the new Capital at Beijing and its Forbidden City, drained the state coffers. Conservative Confucian elements succeeded in reversing Ming internationalist policies, even banning construction of seagoing ships. Zheng He’s travel chronicles were officially condemned and forgotten. Export of Chinese products, especially much valued porcelain, dried up.
Stepping into the resulting market void were newly resurgent states, including the Kingdom of Ayudhya (also spelled Ayutthaya) in what is now Thailand. Conveniently for the Kingdom, the neighboring Khmer Empire (centered in what is now Cambodia) collapsed just as the last of Zheng He’s Seven Voyages was underway. Ayudhya and its predecessor Kingdom of Sukhothai, which became its vassal, were fortunate to be located in a region with converging river systems that provided the clay needed for pottery production and the transport system for exporting finished ceramics. With the Ming Chinese largely out of the trade picture, Thai ceramic artists produced great quantities of high-end celadon wares, underglaze wares, including blue floral underglaze wares to imitate Ming porcelains, and simple stonewares with thick glazes of brown or green. This week’s featured object belongs to this last category. These wares were produced at hundreds of known kiln sites around Sawankalok in Thailand’s north-central region. This has resulted in some confusion, with the place names, pottery types and phases becoming interchangeable, to include Sawankalok, Sukhothai and Sri Satchanalai (another location with a concentration of kilns). All of these ceramic types were widely exported, with finds not only throughout Southeast Asia but as far away as the Philippines to the west, Indonesia to the south and even the Islamic world. Our example was found as a burial offering in the Philippines in the early 1960s.
To learn more about this antiquity or to acquire it, visit our online stores –
This large and impressive textile, our Object of the Week, is a fragment from a Coptic Egyptian garment and features complex geometric and foliate designs. Thanks to exceptionally dry conditions, many types of artifacts made from perishable materials that would not survive elsewhere are common finds on Egyptian archaeological sites. Between the late 18th and early 20th Century great numbers of ancient Egyptian textile fragments from all periods were retrieved by local Egyptian treasure hunters and artifacts dealers for sale to foreign visitors, by foreigners conducting their own ad-hoc “excavations” and by archaeologists, often excavating using methods that would by today’s standards be considered little more than treasure hunting.
While textiles of all types, from the most humble garments to the most elaborate, and from every period of Egypt’s long history have been preserved in the dry environment, Coptic textiles are a class unto themselves. In common parlance, use of the term “Coptic” here refers both to the time period from which these textiles date – corresponding to the roughly 300 year period of Byzantine rule in Egypt – and the Christian culture that created them, as the Coptic Church, still very much alive today in Egypt, gives its name to both the ancient and modern Coptic culture. This uniquely Coptic textile style continued on in Egypt long after the Islamic conquest of the 7th Century AD.
Many Coptic textile fragments, and in some cases entire garments, have since found their way into museum collections. This has somewhat reduced the number of high quality examples available on the legitimate art market. But many fine examples can be acquired from the major London and New York auction houses and reputable antiquities dealers in Europe and the North America.
This example is tapestry woven in black (now appearing purple) with red details on a cream ground, with two parallel strips of mostly foliate and geometric patterning, including remains of a few figural elements contained in lozenges. The fragment has been professionally mounted on a linen backing and very neatly framed and is suitable for hanging. It was acquired on the Swedish art market in December, 2009 and was formerly in a late 19th – early 20th Century Cairo collection. It dates from the 5th to 7th Century AD, and has the following dimensions: 27.9 x 17.8 cm (11 x 7 in.); 17 x 13.5 inches with the frame For related examples, see the Rietz Collection of Coptic textiles in the California Academy of Sciences, online catalog numbers CAS 0389-2421 and CAS 0389-2416.
For those interested in acquiring this object, you may do so on our Etsy site here – https://www.etsy.com/listing/262372123/framed-coptic-egyptian-textile-fragment
There are excellent print and online resources for the student or collector of ancient Coptic textiles. The Coptic Tapestry Albums & The Archaeologist of Antinoe, Albert Gayet by Nancy Arthur Hoskins, is a very accessible, lavishly color illustrated guide to the collection amassed by the controversial French psuedo-archaeologist Albert Gayet in the late 19th Century. It describes Coptic textile production techniques as well as offering insight into how collections of these objects were built in the 19th and early 20th Centuries. Online, in addition to the Rietz Collection mentioned above, we recommend the Indiana University Museum’s small but excellent online collections – http://www.iub.edu/~iuam/online_modules/coptic/cophome.html.
Our object of the week is an intact Roman glass toilet bottle, usually called an unguentarium. This name seems to be a 19th Century invention, based on the ancient Roman term “unguentarius,” a word used to describe sellers of perfumes. This type of glass vessel is believed to have been used for dispensing perfumed oils for both daily and ritual use. The actual Roman name for this type of vessel is unknown, despite the form being relatively common.
Our example is structurally intact. The vessel consists of a long bag shaped body, wider and rounded towards the bottom, with a tall narrow neck that widens to a rim that has been thickened by folding it back over itself. Around the body is a thin trail of glass, applied while molten, making seven full revolutions around the vessel, starting from just above the base and ending at the rim. A pair of chunky handles are attached very thickly to the midpoint of the vessel, are pulled outward and meet it just below the rim. Much of this decorative trailing is still intact. There is some encrusted reddish soil inside the vessel and in recessed areas of the exterior, obscuring the vessel’s original color. The original glass color, which is a transparent green-blue, may be seen clearly at the top of the vessel in the first image above. The vessel sits on a thick, round pad base. When the glass worker was attaching the completed vessel to this base he did so slightly off-center, which may also be seen most clearly in the first of two photographs above.
Unguentaria were first made popular in the Hellenistic period but these were mainly of pottery. Many of these have survived, making them rather inexpensive today, and a few are available on our eBay and Etsy stores. While the pottery types continued into the Roman period, it was the development of glass blowing, making glass a common and affordable commodity rather then the preserve of the wealthy, that made our vessel possible. Blown glass unguentaria have survived in countless forms. The Corning Museum of Glass’ printed and online catalogs of unguentaria list dozens of distinct variations, though few have the twin handles of our example until the middle and late Roman period. Our example was made in the Eastern Mediterranean, probably in the coastal region of what is now Israel/Palestine and Lebanon This form continued on and developed in new directions during the early Byzantine period in the Near East and changed again with the advent of Islamic rule in the region.
This vessel was part of a large collection of antiquities formed by a Welsh collector between the 1970s and 2008, drawn from the UK and European art markets. The collection was dispersed at auction by Bonhams, London, Sale #16777, 29 April, 2009. this object was part of Lot # 302.
For those interested in purchasing this item, you may find it here —
Our Etsy store (opens in a new tab or window) – https://www.etsy.com/listing/261567267/roman-glass-unguentarium-late-3rd-4th?ref=shop_home_active_8
Our eBay store (opens in a new tab or window) – http://www.ebay.com/itm/Roman-Glass-Tubular-Vessel-with-Trailing-4th-5th-Century-AD-/131818636485?hash=item1eb100c4c5:g:SdoAAOSw6BtVU2zy
To learn more about unguentaria and ancient Roman glass in general, we recommend the following printed and web resources —
- E. Marianne Stern, “Roman, Byzantine and Early Medieval Glass, 10 BCE-700 CE” Ernesto Wolf Collection, 2001.
- Roman Glass in the Corning Museum of Glass, Volumes I and II, Corning Museum of Glass, 1997 and 2001, respectively
Because these printed resources are quite expensive, we also recommend online research. The Corning Museum of Glass has a tremendous online collection of ancient glass, especially Roman. A simple search for the word “Ancient” with an image brought up 4,644 results (new tab or window) – http://www.cmog.org/collection/search?f=bs_has_image%3A1&f=im_field_object_work_type%3A299021&solrsort=
Also useful is this exploration of Roman glass from the University of Pennsylvania Museum (new tab or window) – http://www.penn.museum/sites/Roman%20Glass/index.html
Today we are launching a new feature, entitled “Clio’s Object of the Week.” In this feature we plan to highlight a single antiquity or ancient coin from our stock and explore the object in more detail than is normally permitted in our commercial listings. A link will be included for those interested in purchasing the item.
Our choice for the first object in this weekly feature is a superb Cypriot Black on Red Ware pottery bowl. This deep bowl dates to the 7th Century BC, which on the Island of Cyprus would correspond the Iron Age and specifically what is referred to in archaeological terms as the Cypro-Archaic Period. This last term is intended to suggest a linkage to the Archaic Period of the Greek mainland and islands, a time when Greek civilization was beginning to fully emerge from the so-called “dark age” that followed the collapse of earlier Bronze Age civilizations in Greece and many parts of the eastern Mediterranean. By the Cypro-Archaic Period, most of Cyprus was Greek speaking. The Island’s small city states had recently freed themselves from a period of Assyrian rule, though they would later be controlled briefly by Egypt and Persia, before becoming fully integrated into the Hellenistic world.
Cypriot Black on Red Ware, also sometimes known as Cypro-Phoenician Ware, typically has a burnished red slip with added decoration in thin black lines. The motifs used are typically “bulls eye” designs and parallel lines forming concentric circles in varying thicknesses. Evidence suggests that it was produced only on the Island of Cyprus at multiple production centers beginning around 850 BC, and had a long life, continuing into the 5th Century BC. Although a great deal of Cypriot pottery of all periods was legally exported from the Island during the period of Ottoman rule, especially in the 19th Century, and during the British colonial period from 1914 through 1960, deep bowls of this type are much less common than the juglets and other closed form containers available on the antiquities market today.
Of special interest on this example are the fingerprints of the potter who made it – two smudged finger marks in black slip. These are visible in the first image at the top of this article, inside the bowl at upper left, and again in the image above, directly alongside the handle but inside the bowl. These marks are a remarkable survival from antiquity. They remind us that pottery such as this was intended primarily as utilitarian ware, not as art, and that modern collectors and art historians have redefined such objects as art based on rarity and beauty.
To view this object on our Etsy store, go here (opens in a new tab or window): https://www.etsy.com/listing/280649766/cypriot-black-on-red-ware-large-pottery?ref=shop_home_active_8
To view this object on our eBay store, go here (opens in a new tab or window): http://www.ebay.com/itm/Cypriot-Black-on-Red-Ware-Large-Pottery-Bowl-7th-Century-BC-/131793379127?hash=item1eaf7f5f37:g:yP8AAOSw8d9UsZhX
To learn more about ancient Cyprus, we recommend the following books —
Ancient Art from Cyprus: The Cesnola Collection in the Metropolitan Museum of Art, Metropolitan Museum of Art (New York, N.Y.), 2000
The Art of Ancient Cyprus by Desmond Morris, Phaidon, 1985
For online resources we recommend –
- The ancient Cyprus page on the Ashmolean Museum’s website (opens in a new tab or window) – http://www.ashmolean.org/ash/amps/cyprus/
- The ancient Cyprus page on the British Museum’s website (opens in a new tab or window) – http://www.britishmuseum.org/research/publications/online_research_catalogues/ancient_cyprus_british_museum.aspx
As dealers in the antiquities trade go, we’ve never been very conventional here at Clio. In keeping with that reputation, we’re making a dramatic move away from our long established website and offering customers access to our stock of antiquities, ancient coins, books and more through a range of e-commerce platforms.
E-commerce changed dramatically the last few years. We noted the move away from conventional transactions over a relatively static website and towards selling platforms like eBay, Etsy and Shopify. Many merchants in all sorts of industries noticed it, too. Our own sales reports made it clear that to keep up with the changing nature of online sales we needed to offer antiquities and ancient coins through a range of sites.
Now you and other customers worldwide may find Clio Ancient Art at the following locations –
Find us on eBay: http://www.ebay.com/usr/clioantiquities
Find us on Etsy: https://www.etsy.com/shop/ClioAncientArt
Find us on WordPress: https://clioantiquities.wordpress.com/
Find us on Shopify / Facebook: https://www.facebook.com/ClioAntiquities/
Each of these platforms serves a slightly different type of clientele but collectively they reach countless millions of customers, including most of our established clients. Released of the burden of a time consuming and costly website with cookie cutter service, we can focus on targeted and expanding sales through a variety of platforms offering increasingly sophisticated analytics. This can only mean better greater flexibility for our clients
Our old website will quietly vanish over the next few days. Over the next couple of months we’ll be upgrading and monetizing our long established blog on WordPress. Our shops on eBay, Etsy and Facebook / Shopify will be regularly offering specials and a rotating mix of quality antiquities, ancient coins and print resources. We hope you’ll take the time to visit them all and find the one you like best.
Thank you again for your time and your support over the past 7 years. We look forward to hearing from you again soon.
With best wishes,
Chris M. Maupin
Clio Ancient Art and Antiquities
PO Box 7714
Wilmington, NC 28406
Find us on eBay: http://www.ebay.com/usr/clioantiquities
Find us on Etsy: https://www.etsy.com/shop/ClioAncientArt
Find us on WordPress: https://clioantiquities.wordpress.com/
Find us on Facebook: https://www.facebook.com/ClioAntiquities/