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

Clio Ancient Art is now on Instagram!

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/

This Week’s Featured Object: A Framed Coptic Egyptian Textile 5th – 7th Century AD

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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.

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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

Or our eBay store here – http://www.ebay.com/itm/Framed-Coptic-Egyptian-Textile-Fragment-5th-7th-Century-AD-/131828190208?hash=item1eb1928c00:g:jSEAAOSwnDZT83cC

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.

Introducing a New Feature: Clio’s Object of the Week

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.

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Cypriot Black on Red Ware Large Pottery Bowl 7th Century BC

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.

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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 —

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/

 

Hellenistic Art at The Met

Here is a review in “The Art Newspaper” of the remarkable show now at the Metropolitan Museum in New York, exploring Hellenistic Art – http://theartnewspaper.com/shows/hellenistic-greece-emerges-from-the-shadows-of-classicism/

Many Antiquities Book Titles Added to Our Website

Regular customers of Clio Ancient Art and Antiquities know that in addition to antiquities, ancient artifacts and ancient coins, we also offer a wide range of books, catalogs and journals dealing with ancient art. We’ve just updated that section of our website with some excellent titles, some out of print and hard to find, dealing with such diverse topics as the artistic and architectural heritage of Constantinople / Istanbul, Parthian and Sassanian Mesopotamia and Iran, Cypriot antiquities, the Etruscans, Greek and Etruscan pottery, and much more. Most titles are in the $10 – $15 or less price range. Our Books section may be accessed here (opens in a new tab or window): http://clioancientart.com/framedandun-framedartbooksandpublications.aspx

Royal Gold Cup, British Museum, Duc de Berry

Medieval Antiquities in London: The British Museum and Museum of London

In dealing with antiquities, one tends to focus on objects truly “ancient” in that they belong to cultures such as Mesopotamia, Egypt, Greece, Rome. Defining precisely what is ancient or an antiquity is itself something of a puzzle, with scholars, dealers, curators and collectors all having varying opinions. Clio Ancient Art has defined any object made prior to the year 1500 AD as an antiquity. This allows art and artifacts from the later Byzantine Empire, Medieval Europe (or at least Europe prior to the full flowering of the Renaissance) and Medieval Islam to be included.

Great Britain is fortunate to be among those societies that live every day with the physical evidence of a continuum of culture all around them. Most English museums, even in small communities, have excellent collections of the art and artifacts of every day life, ranging from the stone age to the industrial era, including the loosely defined “Middle Ages” – In England, the period beginning with the Roman departure from Britain and ending with the rise of the Tudor Dynasty. Those living in London are especially fortunate in having two spectacular collections of Medieval antiquities to visit: The British Museum and the Museum of London. This photo essay examines a few personal favorites from among countless marvelous objects dating to this broad period of time. All photos should be credited to Clio Ancient Art and Antiquities.

Saxon, Anglo-Saxon, Post-Roman, early Medieval, Saxon Brooch, Saxon shield boss, Museum of London

A Saxon silver gilt brooch and gold shield bosses, all dated to around 600 AD and found in the greater London area. Behind them, an early hand made Saxon pottery vessel. Museum of London.

Saxon art, Saxon England, Saxon brooch, Museum of London

A brooch made of copper decorated with gold plates, gold wire and polished garnets. Dated to about 650 AD, it belonged to a wealthy Saxon woman who was buried in what is now Covent Garden with beads, rings and other personal items. Museum of London.

Viking spearheads, Viking weapons, Museum of London, Viking London

Viking bronze spearheads found in the Thames and dating to the 700s and 800s AD. Museum of London.

Anglo-Norse, Anglo-Saxon art, Museum of London

A grave marker dated to shortly after 1000 AD, found near St Paul Cathedral in 1852. The style is Anglo-Norse and was popular in both Scandinavia and late Saxon England. It depicts a stylized lion in combat with a serpent. Museum of London.

Constantinople, Byzantine Art, Byzantine Empire, Byzantine triptych, Borradaile tryptych

Known as the Borradaile Triptych, this magnificent work of ivory was created between 900 and 1000 AD in Constantinople (today known as Istanbul), capital of the Byzantine Empire, and made its way to a convent in France at some time in the Middle Ages. The British Museum.

Ivory comb, British Museum, Medieval Art

An otherwise indecipherable Latin inscription on this comb of elephant ivory, an exotic material, contains the word “God” suggesting it was made for religious ceremonies. It dates to between 1080 and 1100 AD. At this time in England, combs were used to groom the priest prior to consecration of the bread and wine to avoid their being contaminated. The British Museum.

Medieval glass, Venetian glass, Islamic glass, Museum of London

Fine glass imported from distant lands was no doubt an expensive commodity in Medieval London. The green Islamic glass vessel at left dates to around the 10th Century. The two finely enameled Islamic glass shards at bottom center were made in Egypt or Syria in the 13th or 14th Century. The enameled glass at far right was made in Venice around 1300 AD. Museum of London.

Royal Gold Cup, British Museum, Duc de Berry

This remarkable enameled gold cup was commissioned by Jean Duc de Berry for his nephew Charles VI of France in 1391. The wars between England and France saw it pass to the English royal household in 1435. During Henry VIII’s reign Tudor roses were added to the stem. James I gave it to the Spanish ambassador in 1604 to mark a peace treaty and it was gifted to a Spanish convent in 1610, where it remained until appearing on the Paris art market in 1883.

Tristram and Isolde, Medieval tiles, British Museum

Wealthy private homes, churches and key public buildings often had floors covered in decorated ceramic tiles. The tile making industry flourished during the 13th, 14th and early 15th Century. This group of tiles tells the beginning of the popular story of the adulterous love affair between Tristram and Isolde. The full story sequence would have included over 30 of these groups of tiles. They were probably commissioned for an important private residence. Late 13th Century. The British Museum.

Medieval art, Medieval enamel brooch, British Museum

This brooch was made in either England or France around 1400 AD. It features white enamel with a pink tourmaline, a stone that would have been rare at the time and probably came from Sri Lanka. Henry of Lancaster, later King Henry IV of England, is known to have given this type of white enamel jewelery to his friends. The British Museum, on loan from All Souls College, Oxford University.

Fishpool Hoard, Medieval art, Medieval coins, Medieval jewelery, British Museum

Above and Below: The Fishpool Hoard of gold coins and jewelery, buried around 1464, based on the latest coins in the hoard. It consists of nearly 1,300 gold coins and many pieces of fine jewelery. It seems to have been buried by a Lancastrian sympathizer fleeing the Battle of Hexham (during the Wars of the Roses), as the Lancastrians were defeated by the Yorkists there.

13 WPMed hoard 1 BM

To see Clio’s selection of medieval antiquities, especially Saxon, Visigoth, Frankish, Norman, Byzantine and Islamic objects, visit these pages: http://www.clioancientart.com/catalog/c26_p1.htmland http://www.clioancientart.com/catalog/c26_p2.html