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.
Over the years we’ve sold countless ancient pottery oil lamps. As is typical of the market for this type of antiquity, most ancient lamps are the more common low-fired pottery lamps from the Levant (Palestine / Israel / Jordan / Syria). These have a special significance for many collectors and the general public because of their connection to the Holy Land, Judaism and early Christianity. Less common and more expensive are the finely made red ware lamps of the early Roman period. These are formed of a higher grade of clay fired to a higher temperature. These often feature molded designs on their discus, ranging from mythological imagery to scenes from the theater, and sometimes have clear maker’s marks on their base. We have several of these in stock. These are depicted here, in multiple views, with links to them in both our Etsy shop and eBay store.
ABOVE: A Roman pottery oil lamp from North Africa, 2nd Century AD, featuring an unusual scene of a dwarf or child slave with a wine amphora. Probably a theatrical image derived from Roman comedy. In our eBay store here – http://www.ebay.com/itm/Roman-Pottery-Oil-Lamp-with-Head-of-Jupiter-1st-2nd-Century-AD-/132219587757?hash=item1ec8e6ccad:g:hH4AAOSwgZ1Xsflm And in our Etsy shop here – https://www.etsy.com/listing/261629936/a-roman-pottery-oil-lamp-with-rare?ref=shop_home_active_11
ABOVE: A Roman pottery oil lamp, possibly North Africa, Circa 120-180 AD, featuring a Krater (large open top vase with handles) with vegetation growing from it. In our eBay shop here – http://www.ebay.com/itm/Superb-Roman-Redware-Pottery-Oil-Lamp-with-Vase-Decoration-and-Makers-Mark-/132190951787?hash=item1ec731d96b:g:Qm8AAOSw0fhXiVAl And in our Etsy store here – https://www.etsy.com/listing/265120673/roman-redware-pottery-oil-lamp-with-vase?ref=shop_home_active_2
ABOVE: A Roman pottery oil lamp with a wild haired head of Jupiter, from North Africa, 2nd Century AD. In our eBay store here – http://www.ebay.com/itm/Roman-Pottery-Oil-Lamp-with-Head-of-Jupiter-1st-2nd-Century-AD-/132219587757?hash=item1ec8e6ccad:g:hH4AAOSwgZ1Xsflm
And in our Etsy store here – https://www.etsy.com/listing/265121541/roman-redware-pottery-oil-lamp-with-head?ref=shop_home_active_1
ABOVE: We also have a selection of oil lamps from the Holy Land, Roman, Byzantine and Early Islamic. Above is a good example of a Late Roman type. In our eBay store here – http://www.ebay.com/itm/A-Late-Roman-Pottery-Holy-Land-Oil-Lamp-Circa-AD-400-/132190749536?hash=item1ec72ec360:g:zysAAOSwCGVX3tsy And in our Etsy store here – https://www.etsy.com/listing/280572988/a-late-roman-pottery-holy-land-oil-lamp?ref=shop_home_active_6
I have a new Blog on WordPress dealing with my own art and the
convergence of my work with my “day job” as owner of Clio Ancient Art
and Antiquities, which you all know from this Blog here on WordPress.
The first few articles have been published. Here’s the link –
Here are images, with links, to some recent additions to our Etsy and eBay online stores. Links will open in a new window or tab.
I attended a lovely reception last night (April 20) at the University of North Carolina Wilmington’s Randall Library for the opening of “Illumination,” a one month show focusing on research conducted by UNCW Art History students, under the guidance of Professor Nick Hudson, on a group of 100 ancient oil lamps and pottery vessels from the Levant. The lamps and vessels were a gift I arranged for one of my long term clients to make, and I worked closely with Prof. Hudson on completing this gift. The show continues through May 30 and is well worth a visit if you are in Wilmington. Here are a few images.
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
It’s always a thrill when a new customer contacts me out of the blue to examine a group of objects for purposes of authentication or valuation or for help with bringing the collection up for sale. Often these are objects that have been passed down from parents or grandparents, and just as often the current owner has no way of knowing if the objects are genuine antiquities, fakes or modern tourist pieces.
I do sometimes have to disappoint a customer, informing them that what they thought was a collection of Egyptian mummy masks, for example, is really cheap “airport art” made for sale to European or American tourists fifty years ago. But just as often I find myself privileged to examine their collections in their homes, sometimes from dusty boxes that haven’t been opened in many years or in the recesses of dark basements or garages. Very often the task can be completed simply by examining digital images.
I can’t begin to count the number of objects or large groups of objects I’ve examined in person or online or actually handled. Enjoy these images of just a handful of the exceptional antiquities and groups of objects I’ve had the good fortune to work with over the past eight years. Please feel free to contact me if you need my antiquities consulting services, for authentication, valuation or help with bringing the objects to sale. Our standard rate is $50 per hour or fraction thereof. We also offer consignment of your objects for sale with a 25% commission.
Our object of the week is an unusual type of pottery oil lamp dating from the later years of the Roman Empire, not long before the full transition of the Empire’s eastern half to what we now call the Byzantine Empire. This general type of pottery lamp seems to have been manufactured at workshops in northern Syria, and possibly further south into what is now Lebanon, over a period of nearly 200 years. Our example seems to date to the earliest phase of production and features some quite unusual characteristics, outlined below.
The most obvious and uncommon aspect of this lamp is the long, pointed handle. Most late Roman and early Byzantine period lamps manufactured in the Near East feature short handles of spike or thumb shape. The long, rather delicate form of this lamp’s handle is both aesthetically pleasing and uncommon.
The other interesting aspect of this lamp is its combination of decorative elements. The raised pellets around the central fill hole were a common theme on this broad category of lamps over a long period. But the cross-like image in low relief at the rear of the lamp, and continuing upward onto the handle, is puzzling. At first glance, this appears to be a Patriarchal cross, a type featuring two cross bars over the central vertical bar. But this type of cross did not appear in any numbers until the 9th and 10th Centuries in the Byzantine Empire. An alternative explanation might be that this was an attempt to depict the so-called “Tau” cross, the simple T-shaped crosses on which criminals were sometimes executed in the Roman Empire. But the image is still vague. In our opinion, any attempt to assign this cross-like relief image to a specific type of Christian iconography is no more than guess work.
Just as baffling is the maker’s mark or decorative element on the lamp’s flat base, shown below. Connected to a stylized palm frond that runs the length of the nozzle’s underside is a radiating sixteen pointed element set inside concentric raised circles with simple hatching between them. At first glance, this starburst design looks for all the world like the Union Jack on flags from Great Britain. But closer inspection shows another set of eight spokes in much lower relief between the eight main spokes. Is this a maker’s mark or is it simply a pleasant design? And in either case, does it carry any early Christian symbolism, as it resembles both a cross and a Chi-Rho symbol or Christogram?
In view of the date at which this piece was made, around 400 AD, and the combination of decorative elements (a possible cross on the upper surface, a palm frond – an image re-purposed from Pagan antiquity – and the cross-like design on the base,) it seems most likely that this lamp was made for sale to Christian customers. However, it is worth noting that at least in the Levantine region, pottery lamp makers did not seem to favor a specific category of client. Whether Christian, Jewish, Samaritan or Pagan, lamp makers seem to have created products for all types of customers and with all types of imagery.
This lamp is available in our eBay store here – http://www.ebay.com/itm/Late-Roman-Pottery-Oil-Lamp-AD-400-Holy-Land-/132102302002?hash=item1ec1e92932:g:BMoAAOSwCGVX8ENH
and in our Etsy store here – https://www.etsy.com/listing/292086487/late-roman-pottery-oil-lamp-ad-400-holy?ref=shop_home_active_11
We’ve added a few nice Roman Imperial and Roman Provincial coins to our Etsy store. Here are images and links (links open in a new window or tab):
Roman Empire, Bronze Follis of Diocletian, AD 284-305, Treveri Mint, 29 mm. Link: https://www.etsy.com/listing/500901108/roman-empire-bronze-follis-of-diocletian?ref=shop_home_active_4
Roman Provincial Coinage, Pisidia, Antioch, Phillip the Arab, AD 244-249, Bronze 25 mm. Link: https://www.etsy.com/listing/514393637/roman-provincial-coinage-pisidia-antioch?ref=shop_home_active_3
Roman Empire, Silvered Antoninianus of Probus, AD 276-282, Kyzikos Mint. Link: https://www.etsy.com/listing/501122128/roman-empire-silvered-antoninianus-of?ref=shop_home_active_2
Roman Empire, Silvered Bronze Follis of Licinius II, AD 316-324, Nicomedia Mint. Link: https://www.etsy.com/listing/514617937/roman-empire-silvered-bronze-follis-of?ref=shop_home_active_1
Of course, we currently have many more ancient Roman, Greek and Byzantine coins available in our Etsy shop. Thanks for looking.