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

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Antiquities authentication and valuation: the thrill of examining long forgotten collections

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.

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Egyptian scarabs, amulets and beads forming part of a large California collection formed in the 1940s and 50s

 

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From the same old California collection, a group of fine Roman intaglio gemstones.

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.

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A large and exceptional Etruscan terracotta head, probably depicting Mercury. Northern California collection formed in the 1960s.

 

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Egyptian Middle Kingdom amethyst necklace. Southern California private collection, 1950s.

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Superb 2nd Century AD Roman bronze Isis.

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Well preserved Greek South Italian terracotta antifex. 4th Century BC.

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.

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Late Dynastic Egyptian stone head of a Pharaoh.

 

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Part of a very large Colorado private collection of Holy Land oil lamps formed in Israel / Palestine / Jordan in the 1960s.

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Roman marble head of a Putti or Cherub, detached from a larger sculpture.

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A small Roman bronze figure of Eros.

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A small pottery pyxis, Athens, 4th Century BC.

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Freshly cleaned of dust in a basement where they’d lain for 40 years, a group of 3 well preserved Roman glass vessels.

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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.

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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