collage art, Christof Maupin art, amphora

Articles of interest from our sister blog

As many of our regular readers know, I started a “sister blog” a few months ago, dealing with my exploration of the intersection of art from the past and art from the present, and specifically how this impacts my own work as an artist. As so much of my work is impacted by art from the distant past, I thought it worth sharing some of my posts from the other blog site. Comments welcome:

Some Thoughts on the Persistence of Classical Imagery

https://pastpresentartsandcrafts.wordpress.com/2017/07/21/some-thoughts-on-the-persistence-of-classical-imagery/

A few thoughts on the art of printmaking, views of antiquity and modern prints

https://pastpresentartsandcrafts.wordpress.com/2017/07/04/a-few-thoughts-on-the-art-of-printmaking-views-of-antiquity-and-modern-prints/

The art of enameling, ancient and modern

https://pastpresentartsandcrafts.wordpress.com/2017/06/21/the-art-of-enameling-ancient-and-modern/

A case study in reinterpreting an old technique: English slip decorated earthenwares and modern counterparts (including my own)

https://pastpresentartsandcrafts.wordpress.com/2017/06/09/a-case-study-in-reinterpreting-an-old-technique-english-slip-decorated-earthenwares-and-modern-counterparts-including-my-own/

Broken Things

https://pastpresentartsandcrafts.wordpress.com/2017/05/30/broken-things/

 

Roman oil lamps, Roman antiquities, Roman artifacts, Roman art, Roman pottery

A Sample of our finer Roman oil lamps

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.

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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

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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

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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

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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

A new blog to further explore ancient and modern art connections

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 –

https://pastpresentartsandcrafts.wordpress.com/

ceramic wall art, ceramic wall hanging, non-traditional ceramics, Christof Maupin, modern ceramic art

A Confluence of Art, Ancient and Modern

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.

BM photo French Tankard 13th Century

13th Century French earthenware tankard, now in The British Museum

Ceramic historic reproduction late Medieval tankard

Stoneware Medieval English-style tankard with “pie crust” foot. Christof Maupin. Made early 2016

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.

Christof Maupin artist, Wilmington NC artists, North Carolina pottery, modern pottery influenced by the past

Stoneware plate with multiple layers of thickly applied underglazes and clear glaze on top. Christof Maupin. Made early 2016.

modern trailed slip decoration, trailed slip pottery, Christof Maupin artist, North Carolina pottery, modern pottery with slip trailed decoration

Small stoneware tray with my own interpretation of 18th Century English trailed slipware. Christof Maupin. Made 2016. Sold.

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.

North Carolina pottery, Christof Maupin artist, Wilmington NC artists, modern pottery with medieval images

Ceramic plate, original design incised and enhanced with white, orange and green underglaze slips and clear glaze. Christof Maupin. Made 2015.

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:

Clio Ancient Art, Clio Antiquities, Roman amphora, Greek amphora, pottery amphora, British Museum

A selection of Roman (mostly foreground) and Greek (mostly background) transport amphorae, 4th Century BC-4th Century AD. The British Museum. Image: Clio Ancient Art

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Small Romano-Egyptian pottery amphora. 1st-4th Century AD. Clio Ancient Art. Sold

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.

collage art, Christof Maupin art, amphora

Collage, Untitled – colored paper and watercolor mounted on black board. Christof Maupin. Made 2015.

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.

AN EGYPTIAN MOSAIC GLASS GRIFFIN INLAY PTOLEMAIC PERIOD, CIRCA 2ND-1ST CENTURY B.C.

Egyptian mosaic glass griffin inlay. Ptolemaic Period, Circa 2ND-1ST Century BC

An Assemblage of Romano-Egyptian Mosaic Glass Inlays with Trefoil Garland Patterns and a Festoon

Romano-Egyptian glass inlay fragments with trefoil garlands and festoons.

glass cane, glass rod, white enamel, enamel pendant, enamel on copper, Christof Maupin artist

Enameled copper pendant with melted glass cane on white enamel background. Christof Maupin. Made late 2016.

glass cane, twisted glass rod, white enamel, enamel on copper, enamel pendant, Christof Maupin artist

Enameled copper pendant with melted glass cane on white enamel background. Christof Maupin. Made late 2016.

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.

Mark Rothko, abstraction, expressionism

Mark Rothko Sketch for Mural No.4 1958

Mark Rothko, Rothko paintings, abstraction, expressionism

Mark Rothko. Number 61. 1953

Christof Maupin artist, PastPresent Art Craft, enamel on copper, enamel pendants, transparent enamels

Pendant, Transparent and opaque enamels on copper. Christof Maupin. Made early 2016.

encaustic on ceramic, ceramic tiles, non-traditional ceramics, Christof Maupin artist

“Tiwanaku Revisited” – Stoneware and terracotta tiles inset into stoneware frame. Tiles decorated with vitrified underglazes and (bottom) melted copper strips. Frame colored with encaustic paint (purified bee’s wax with pigments). Christof Maupin, made early 2017.

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

This Week’s Featured Object: Echoes of a Very Different Middle East – Clothing from Iraqi Kurdistan

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.

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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.

Clio Ancient Art, Clio Antiquities

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

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A breakthrough moment in the modern interpretation of antiquities

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:

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Here is a piece I created last year that responds to both Medieval English tiles (a favorite topic) and Islamic “calligrams”- figurative calligraphy.

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This is an example of a group of 13th Century English floor tiles at Exeter Cathedral.

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And here is a 17th Century Persian calligram, with the “Bismillah” phrase in the form of a bird.

calligram

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.

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And here is an original example of a flat faience amulet of Hapy, dating to the 22nd Dynasty.

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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:

Shipwrecks and samian ware: commissioning art with Turner Contemporary

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:

http://www.hannahlees.com/p/a-mysterious-principle-which-is-in.html

Lastly, here is a link to my own art, available on my personal (not Clio’s) Etsy shop:

https://www.etsy.com/shop/PastPresentArtCraft

 

 

Many new titles added to our Amazon book shop

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’s Object of the Week: A Rare Roman Glass Marbled Unguentarium, Early 1st Century AD

This week’s featured object is a lovely marbled glass bottle sometimes referred to as an unguentarium, from “unguent” meaning a salve or ointment, though in the Roman world this would most commonly have been a scented oil either for personal use or for funerary rites. Reassembled from a few large fragments, like most of its kind, it is complete, measuring 10.2 cm (4 inches) in height, and dates to the early 1st Century AD.

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The development of glass blowing made glass a common and affordable commodity rather then the preserve of the wealthy. As a result, 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 the great majority of these appear in plain, transparent, uncolored or naturally pale blue-green colored glass. What sets this glass vessel apart from others is its distinctive marbled glass. In this case, the semi-opaque glass is yellow and white, the white having been derived from antimony and the yellow from antimony and lead.

Throughout the Roman Republic and into the Augustan era Roman glass was still dominated by Hellenistic glass making techniques, focusing on opaque colored glass and utilizing time consuming and expensive techniques such as core forming, casting and slumping. The object featured in this article marks a moment of transition, with the introduction of glass blowing and a new preference for colorless transparent glass, and away from the older Hellenistic approach. It combines the new glass blowing technique with a lingering preference for colored glass. This combination allows the object to be dated to a narrow range of a few decades, from about AD 20-60.

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To acquire this fine ancient Roman marbled glass vessel, visit it on Clio’s Etsy shop here –

https://www.etsy.com/listing/265344324/rare-roman-glass-marbled-unguentarium?ref=shop_home_feat_4

or Clio’s eBay store here –

http://www.ebay.com/itm/Rare-Roman-Glass-Marbled-Unguentarium-Roman-Empire-1st-Century-AD-/131966282422?hash=item1eb9cdaab6:g:w2kAAOSw65FXsfiP

Ancient Oil Lamps for Holiday Gifting

If you are thinking ahead to gift giving for the holidays, why not consider a unique ancient oil lamp from our selection. We currently have 25 ancient lamps available, ranging from the Greek Hellenistic period through the Roman Empire, Byzantine Empire and early Islamic periods. Many of our ancient lamps come from the Holy Land, sacred to all three ancient western faiths, with many dating to the early years of Christianity. Others, with their fine ceramic bodies, decorated discus and red slip, date to the high point of the Roman Empire and evoke images of the splendor of ancient Rome. Prices range from as little as $60 up to about $400. You may find them here on our Etsy page – Clio Ancient Art: Ancient Oil Lamps

We currently have 108 items on our Etsy site, including ancient glass, pottery, metalwork and other materials, spanning many centuries, from ancient Egypt, Greece, Rome, Byzantium, the Near East and more. Find them all here – Clio Ancient Art on Etsy

Clio Ancient Art Makes a Bold Move

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

Phone: 704-293-3411

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/