Showing posts with label Roman Empire. Show all posts
Showing posts with label Roman Empire. Show all posts

Sunday, April 13, 2014

The Roman Lighthouse at Dover: An Unlikely Survivor from Antiquity

Located on the grounds of Dover Castle in Kent, England, is a well preserved Roman lighthouse constructed from the orange-red tiles found throughout the Roman world, and from local flint and other stones. The original structure seems to have been erected about 50 AD with major reconstruction around130 AD, and was perfectly situated atop the high chalk cliffs of this area to help guide maritime traffic moving through the Channel between the ports of southeast Britain and what is now France, Belgium and the Netherlands. It was originally one of a pair, the other lighthouse having been situated on the cliffs about one thousand meters to the southwest. That structure did not survive the centuries and its foundation is now buried beneath 18th Century fortifications.

The lighthouse’s function is known with certainty due to its very close resemblance to other surviving lighthouses in Egypt and Spain and excavated examples in Italy, as well ancient depictions of the famous Pharos lighthouse at Alexandria, Egypt. In its original form it would have been square inside and octagonal outside, with four levels. It stands about 75 feet tall today, with the top 19 feet being Medieval reconstruction. It owes its survival mainly to having been used as a church tower in the Middle Ages and a variety of other uses over the centuries. Adjacent to it is the church of St Mary in Castro, the original fabric of which was partly constructed of material recycled from the lighthouse and other nearby Roman remains by the Saxons around 600 AD. Roman tile and worked flint are clearly visible throughout the structure. The Saxon church is a significant monument in itself, though it has seen much rebuilding. It is still in use today.

Trains from London to Dover take between one and two hours, depending on time of day. The lighthouse can be accessed today with an admission ticket to Dover Castle. The site is managed by English Heritage. Dover Museum offers excellent exhibits covering the Roman and Saxon periods and these strongly complement a visit to the lighthouse and church. Views from this location are spectacular, with the French coast visible on a clear day, the harbor of Dover directly below and the expanse of the Channel and the Dover cliffs stretching off for miles.

Links:
English Heritage page for Dover Castle – http://www.english-heritage.org.uk/daysout/properties/dover-castle/
Dover Museum – http://www.dovermuseum.co.uk/Home.aspx

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Dover Roman Lighthouse. To the right is the Saxon period Church of St Mary in Castro. Note the use of Roman building material in the church’s fabric. In the distance at left is Dover Castle.

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A close up view of Dover Roman lighthouse. The figure standing at bottom right between the lighthouse and church offers a sense of scale. Note the layers of Roman tile alternating with worked flint and stone.

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View from inside the lighthouse, showing clearly the square interior plan and four levels.

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Exterior detail, showing the use of Roman tile in the window arches.

Wednesday, March 5, 2014

Italian government releases funds for Pompeii amid new damage to site

http://www.bbc.com/news/world-europe-26443808

The Italian government - or more correctly, successive Italian governments - should be absolutely ashamed of themselves. When will they step up and do their own fair share, particularly in light of the amount of revenue cultural tourism generates in Italy annually? For so many years now the EU and mainly American and British philanthropic institutions have done all the heavy lifting.

Friday, February 7, 2014

Clio Ancient Art Valentine's Sale



Hello Customers, Friends and Fans of Clio Ancient Art:







In honor of Valentine’s Day, we are holding a sale on selected antiquities. This sale ends 7:00 PM Saturday, February 15.




ROMAN ANTIQUITIES (coins not included), 15% OFF




56 items to select from in stone, ceramic, bronze and glass. You can find these here –




http://www.clioancientart.com/catalog/c15_p1.html




http://www.clioancientart.com/catalog/c16_p1.html




http://www.clioancientart.com/catalog/c17_p1.html





ANCIENT JEWELRY AND PERSONAL ADORNMENT, 15% OFF




36 items, Egyptian, Roman, Byzantine, Medieval European and early Islamic, in silver, bronze, faience, enamel and glass. You can find these here –




http://www.clioancientart.com/catalog/c19_p1.html




http://www.clioancientart.com/catalog/c19_p2.html





BOOKS, CATALOGS AND OTHER PUBLICATIONS, FRAMED AND UNFRAMED ART, 15% OFF




24 items available. You can find these here –




http://www.clioancientart.com/catalog/c25_p1.html





As always, thanks for looking.





Best wishes,

Chris M. Maupin
Clio Ancient Art and Antiquities
Chris Maupin Trust for Ancient Art
PO Box 7714
Wilmington, NC 28406
Phone: 704-293-3411
Web: http://www.clioancientart.com/

Thursday, January 9, 2014

New Items, A Sale and Much More for January

http://www.clioancientart.com/catalog/i516.html

 Hello Clio Customers, Friends and Fans,

Thank you for helping make 2013 another successful year for Clio Ancient Art and the Trust for Ancient Art. I hope 2014 proves to be a happy, peaceful and prosperous New Year for you.

I'd like to start off by sharing a few new offerings on our website:

* A 3rd Century Roman mold-blown glass jar - http://www.clioancientart.com/catalog/i516.html

* A 1st-2nd Century Roman glass bottle - http://www.clioancientart.com/catalog/i518.html

* A Roman Bronze Claw Foot - http://www.clioancientart.com/catalog/i517.html

We're having a SALE, ending January 20, on the following specific categories of items --

* Cypriot Antiquities Section: http://www.clioancientart.com/catalog/c1_p1.html 15% OFF

* Byzantine, European, Medieval and Islamic Antiquities Section: http://www.clioancientart.com/catalog/c26_p1.html AND http://www.clioancientart.com/catalog/c21_p1.html 15% OFF

Please note coins are not included in this sale.

Clio added many very affordable antiquities and ancient coins leading up to the holidays and despite the holiday sales rush many are still available. Didn't get what you really wanted for Christmas? Treat yourself to something from the website; prices range from $25 to $2,500 - http://www.clioancientart.com/.

Now for a very important invitation: Clio has a simple ONLINE SURVEY WAITING FOR YOU. It's just 9 questions, anonymous, mostly point and click, and only takes 2 or 3 minutes to complete. To help Clio better serve you, please click here to participate in our survey -- http://fluidsurveys.com/surveys/chris-CB3/clio-2014-new-year-survey/

Clio received some positive press in the Wilmington, NC Business Journal recently. A copy of that article is attached. Here a link to the article - http://www.wilmingtonbiz.com/retail/2014/01/03/clio_debuts_in_wilmington/11225

Our Trust for Ancient Art ended the year by facilitating transfer of a fine collection of Roman glass from a donor in Atlanta to the Mint Museum of Art in Charlotte, NC. Here's an article from our Wordpress Blog about this - http://clioantiquities.wordpress.com/2013/12/26/clios-trust-for-ancient-art-facilitates-gift-of-ancient-glass-to-mint-museum-of-art/

As always, thanks for viewing our website.

Best wishes,

Chris M. Maupin
Clio Ancient Art and Antiquities
Chris Maupin Trust for Ancient Art
PO Box 7714
Wilmington, NC 28406
Phone: 704-293-3411
Web: http://www.clioancientart.com/

Tuesday, January 7, 2014

Roman Bronze Brooches Revisited: Zoomorphic Types

Roman brooch fibula
 
In a blog post dated August 20 of last year we reviewed some examples of Roman bronze fibulae (brooches), a ubiquitous find both in controlled excavations and by metal detectorists. In this post we’d like to elaborate on the topic, focusing on zoomorphic brooch types.

The example pictured above, a horse brooch dating to the 1st to 3rd Centuries AD, while not unknown, is a very uncommon type. It has been modeled in the round rather than as a flat plate with pin on the reverse. For more details, it may be viewed here: http://www.clioancientart.com/catalog/i475.html

Roman brooch fibula

 Far more typical of Roman brooches depicting mammals is the example above of a so-called “horse and rider” brooch. As is frequently the case, the schematically rendered rider has broken away but the Celtic style horse is well defined and shows a strong sense of movement. This type, dating to the 3rd or 4th Century, may have been closely associated with the Roman army. The bronze has been tinned to resemble silver. For more details on this example, go here: http://www.clioancientart.com/catalog/i474.html

Roman brooch fibula

In addition to mammals (rabbits or hares, dogs, horses, etc.), birds were a popular source of inspiration for Roman craftsmen involved in making brooches. The superb example above, depicting a duck in resting posture with wings folded back, illustrates the use of enamel decoration on Roman brooches. In this case, the wings have a piriform cell containing blue enamel surrounded by red with another stretch of blue enamel around that. In addition, the animal itself is depicted in a highly naturalistic way; even the duck’s eye has been indicated with a tiny point of incision. For more on this example, go here: http://www.clioancientart.com/catalog/i489.html

Roman bird brooch


An uncommon type of bird brooch, dating to the 2nd or 3rd Century AD, is illustrated above. This example appears to depict a dove or small water bird. Unusually for zoomorphic brooches, it’s original pin and coil are intact. Unlike many zoomorphic types that were also popular on the European continent, this specific type appears to be unique to Roman Britain. More about this example here: http://www.clioancientart.com/catalog/i476.html

For many more examples of brooches, mainly Roman, of many different types, visit the “Ancient Jewelry and Personal Adornment” section of our website at: http://www.clioancientart.com/catalog/c19_p1.html

All the brooches presented above are individual UK metal detector finds, declared not treasure and legally exported.

For further study, we recommend the following sources:

Roman Brooches in Britain, a Technological and Typological Study Based on the Richborough Collection, The Society of Antiquaries of London, 2004

AND

A Visual Catalogue of Richard Hattat’s Ancient Brooches, Oxbow Books, Oxford, 2007

Thursday, December 26, 2013

Trust for Ancient Art Facilitates Gift of Ancient Glass to Mint Museum of Art

We are pleased to announce that our Trust for Ancient Art has rounded out the year by facilitating the donation of a collection of ancient Roman glass from an anonymous Atlanta collector, acquired many years ago in Israel, to the Mint Museum of Art in Charlotte, North Carolina. The Mint had previously benefited from the Trust’s donation of a superb Medieval English encaustic glazed floor tile. A few images of the Roman glass vessels now at the Mint Museum are included here.





Sunday, December 22, 2013

Christian (and Pagan) Symbolism on Some Late Roman and Byzantine Coins

Although not all Christians celebrate Christmas Day on December 25 (some still use the Julian Calendar date corresponding to January 7), as we are, in  either case, a few days away from Christmas this seemed an appropriate time to examine a few ancient coins on our website that carry early Christian symbols, all created after the Roman Empire had adopted Christianity as the state religion.

We begin with a bronze Centenionalis of Aelia Flacilla (died AD 386), wife of the Emperor Theodosius I. The reverse of this fairly large medium value coin bears an image of the formerly Pagan personification of Victory seated and inscribing a shield with the “Chi-Rho” symbol that had been used by Constantine I, the first Emperor to adopt Christianity some 50 years earlier, as his standard at the Battle of the Milvian Bridge.

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Despite popular belief the Chi-Rho, formed by combining the Greek capital letters chi and rho to form the sound of the first two letters of Christ’s name,  has its roots in Paganism, having been used by much earlier Greek scribes as a means of indicating in the margins of a scroll or manuscript a key passage, abbreviating the Greek word “chreston” (good). This scarce coin is shown in its entirety below, with a link to it on our website.

Next is the reverse of a tiny bronze coin of Theodosius II, Emperor from AD 408-450, struck at Constantinople, which had long since replaced Rome itself as hub of the Empire. This is a very early instance of the cross or christogram appearing as the sole decorative device on the reverse of a coin.

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There is no text to accompany the image, simply a laurel wreath surrounding it (the wreath again conveying much pre-Christian symbolism). The issuer of this coin, Theodosius II, is perhaps best known for 2 achievements: the Theodosian Code, a compilation of laws issued in the Empire since the time of Constantine I, and building the great land walls of Constantinople, which survived all siege attempts until the final Ottoman assault in 1453. Here is the coin again, showing both obverse and reverse, with a link.

Finally, we have a medieval coin of the Byzantine Empire (even at this stage, the Byzantines certainly thought of themselves as Romans), dating to AD 1185-1195, the reign of the Emperor Issac II Angelus, There is little to say about Issac II, other than he was the first of 3 consecutive incompetent rulers whose mismanagement resulted, just 20 years later, in Constantinople falling into the hands of western armies for 50 years, before liberation under dynamic new rulers who helped inspire the final flowering of Byzantine art and culture.
There is much to say about the coin. It is made from about 2.5% silver with the rest copper. These poor quality coins, usually very badly struck, were made in great numbers and are today quite affordable. Our example is fairly well struck with relatively clear images. The obverse depicts the Virgin seated and supporting the head of the infant Christ.

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Unlike Roman coins of the Christian era, Byzantine coins carry the Emperor’s image on the reverse, with purely Christian images or symbols on the obverse. In this case, the emperor is depicted facing, holding an elaborate ceremonial cross and ceremonial clothing rich in Christian symbolism. Here is the coin in its entirety with link.

All of these small objects are heavy with symbolism, both Christian and Pagan, and should remind us of how the images and ideas of so long ago have shaped our world today.

Wednesday, December 4, 2013

Friday, November 15, 2013

Latest Clio News: Our Move is Complete, Website Uodated and More!

Hello Customers, Friends & Fans of Clio Ancient Art:

Most of you know that in early October we were planning our move from Charlotte, NC to the coastal City of Wilmington, NC. That move has been completed and we are happily settled in our wonderful new home. Wilmington is a modest sized city of just 110,000 people but thriving, with a lively performing arts scene, major film industry, sophisticated restaurant and food community, a strong academic base with a campus of the University of North Carolina, a large Historic District featuring remarkable homes and public buildings dating from our nation's Colonial Era, the Antebellum period and later, and, of course, magnificent beaches, offshore islands, inland waterways and other natural wonders.

Now that we've settled in, we've updated our website - http://www.clioancientart.com/ - with many fine antiquities. These include -

* An Egyptian writing tablet amulet in moss agate - http://www.clioancientart.com/catalog/i462.html

* 2 small Egyptian Late Period faience ushabtis - http://www.clioancientart.com/catalog/i472.html

and - http://www.clioancientart.com/catalog/i473.html

* A superb Roman bronze zoomorphic brooch in the shape of a duck - http://www.clioancientart.com/catalog/i476.html

* A small Roman bronze zoomorphic brooch in the shape of a stylized Celtic horse - http://www.clioancientart.com/catalog/i474.html

* A Roman bronze zoomorphic brooch in the shape of a standing horse - http://www.clioancientart.com/catalog/i475.html

* Many examples of Romano-British and Pre-Roman Celtic bronze fibulae, too numerous to list individually here but these may be viewed in our "Ancient Jewelry and Personal Adornment" section here - http://www.clioancientart.com/catalog/c19_p1.html

* A great selection of Roman coins in bronze and silver. Far too numerous to list individually here, these are listed in both our Roman Antiquities pages and in our Ancient Coins section - http://www.clioancientart.com/catalog/c18_p1.html

Please note our new mailing address below.

Thank you and best wishes,

Chris M. Maupin
Clio Ancient Art and Antiquities
Chris Maupin Trust for Ancient Art
PO Box 7714
Wilmington, NC 28406
Phone (704) 293-3411
http://www.clioancientart.com/

Friday, October 25, 2013

ANTIQUITY OF THE WEEK

OUR OFFERING FOR “ANTIQUITY OF THE WEEK” THIS WEEK IS A SUPERB AND RARE ROMAN GLASS MARBLED UNGUENTARIUM.

Link to this object on our website: http://www.clioancientart.com/catalog/i84.html

CULTURE / REGION OF ORIGIN: Roman Empire; Italy or Eastern Mediterranean.
DATE: First half of the 1st Century CE
DIMENSIONS: 10.2 cm (4 in.) tall


DESCRIPTION: Roman unguentarium of amber-yellow glass with opaque milk-white trailing that has been marvered flush with the vessel’s surface. The vessel’s body is spherical with a slightly concave flattened base without a pontil mark, a tubular neck tapering towards the top, and a rim that folds outward and has been rounded and thickened at the edge. From the base to the rim runs a white spiral trail that makes multiple revolutions and has been dragged up and down six or seven times to create a broad festoon pattern. The vessel has been expertly reassembled from a few large fragments; very stable and otherwise intact.

PROVENANCE: Formerly in a Welsh private collection formed between the 1970s and 2008.

PUBLISHED: Bonhams, London, ANTIQUITIES, 29 April, 2009, Lot #302, listed and illustrated on Page 174.

SPECIAL NOTES: Most early Roman blown glass vessels, such as this example, have pear shaped bodies and continue to use the strong color contrasts of earlier core formed glass. As blown glass became more common and cheaper these strong colors were replaced by simple clear glass, of which many examples are available on our website.

COMPARISONS: E. Marianne Stern, Roman, Byzantine and Early Medieval Glass, 10 BCE-700 CE, Ernesto Wolf Collection, 2001, Cat. Numbers 2, 3 & 4 for closely related examples. Also, Yael Israeli, Wonders of Ancient Glass at the Israel Museum, Jerusalem, 1998, page 26 for several related examples.

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Thursday, October 3, 2013

Antiquity of the Week: Roman Marble Fragmentary Eros Sculpture

Beginning this week we will post detailed information once each week about one particular antiquity from our inventory.

We begin with a Roman marble fragmentary Eros sculpture.
 
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Here are the basic facts on this piece -

CULTURE / REGION OF ORIGIN: Roman Empire, possibly western Asia Minor
DATE:1st or 2nd Century CE
DIMENSIONS: 17.2 cm. (6.7 in.) long, 10.8 cm (4.2 in.) wide, 8 cm (3.1 in.) deep


DESCRIPTION:A Roman marble relief fragment of Eros, probably from an architectural relief or sarcophagus panel. the figure’s posture is such that it may be reclining, hovering in a larger scene or stepping downward or forward with the left leg. The figure is preserved from just above the navel to the ankles, with the legs parted, one leg bent at the knee more than the other. The figure has the rounded belly and chubby legs typical of Roman Erotes. The preserved surfaces are smooth, with only a few chips. The marble is medium grained with a faintly tan or beige patina, with a few small areas of darker brown and gray discoloration. The bottom section has received two drill holes in the modern period for mounting on a display stand. The flat back side, possibly the interior wall of the sarcophagus panel, has slight remains of a modern adhesive material.

PROVENANCE: Ex UK Private collection

PUBLISHED: Bonhams, ANTIQUITIES, 1 May, 2008, London, Page 206, illustrated in color on Page 207

The posture and general style of this partially preserved figure of Eros suggest it was once part of a much larger sculpted panel composition on a marble sarcophagus. The particular crystalline characteristics of the marble suggest either an Italian origin or stone from western Asia Minor. From the lateFirst Century BCE onward Roman sarcophagai were frequently adorned all around with deep relief figural sculpture. Some examples are noted in the COMPARISONS below.


COMPARISONS: For related examples of Erotes from sarcophagai, Museum of Fine Arts, Boston website (www.mfa.org/collections/search), Accession Number 76.719 for a fragment of a sarcophagus with Erotes playing with a Silenos mask, one of them having fallen on his back. Also, Museum of Fine Arts, Boston website (www.mfa.org/collections/search, Accession Number 1973.480, with 2 Erotes or Amorini in very high relief, dated 200-225 CE.

 Note that this item will likely be consigned to a one year exhibit of Mediterranean antiquities at the Mint Museum of Art in Charlotte, NC, beginning Spring of 2014.

Thursday, September 19, 2013

Megarian Ware: Transition and Continuity from the Hellenistic to Roman Worlds

Two closely related pottery bowls on our website typify a type of pottery marking the all important transition from the later Hellenistic period to the time of Roman dominance, even before the formal establishment of Rome’s empire, of the broader Mediterranean world. Both bowls are examples of what is generally termed Megarian Ware, a type of pottery produced mainly in Greece and Asia Minor but also with imitative production centers in Italy. Megarian Ware, the name of which comes from 19th Century finds of this pottery near Megara in Greece, offers important insights into the transition from the ubiquitous red figure “painted” pottery of the classical era to the red slip pottery that would come to dominate the Mediterranean world for centuries to come.

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Both are thin walled bowls and made from fine hard pink clay. One is covered in a deep orange-red slip, the other in a chocolate brown slip. But the most important distinguishing characteristic of both, and of most Megarian Ware, is that they are mold-made, resulting in an all-over pattern of rosettes, laurel leaves and repeating geometric shapes in high relief.

Megarian Wares were distributed over a very wide swath of the Mediterranean and beyond. An example in the British Museum was probably made in Cyprus but was found at Salamanca in Spain: http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=392743&partId=1&searchText=Megarian+Ware+Bowl&images=true&page=1

The different color slips used on these bowls is an important factor in understanding the role of pottery in the Hellenistic to Roman Imperial transition. Establishment of a relatively uniform Hellenistic material culture across a great geographic expanse, from South Italy and Sicily in the west to Syria and Mesopotamia in the east, led to the decline of the classical red figure pottery tradition. Potters turned to the mass production technique of stamping out vessels in molds. Some of these featured complex mythological scenes, such as this example in the Metropolitan Museum of Art in New York: http://metmuseum.org/collections/search-the-collections/254263. Dark brown and black slips on Megarian vessels offered a smooth transition from the attractive black slip wares of the later Classical era. A great deal of black to dark brown slip Megarian Ware pottery has been found in Republic level excavations in Rome and its colonies. The orange-red slip examples eventually came to dominate the market and provided the immediate inspiration, at least in color and fabric, for the fine, hard Roman red wares developed in Gaul and Northern Italy in the late Republic. These would “spin off” countless imitations at workshops all over the Mediterranean world, finally concluding with the red ware of Roman North Africa in the 3rd, 4th and 5th Centuries.

Here is an example formerly with our Trust for Ancient Art, gifted in 2010 to the Crocker Art Museum in Sacramento, CA, produced in Asia Minor in the 2nd half of the 1st Century AD:

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And here is a 3rd Century example currently on our website of later North African red ware:

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                                       LINK:http://www.clioancientart.com/catalog/i204.html

Friday, August 30, 2013

Labor Day Sale!

 Hello Clio Customers, Friends & Fans:

Weekend Only Flash Sale -- Beginning this Friday, August 30, 12:00 Noon Eastern Standard Time, ending Monday, September 2, 12:00 Noon Eastern Standard Time.

15% OFF ALL ANTIQUITIES
10% OFF ALL ANCIENT COINS
10% OFF EVERYTHING IN OUR BOOKS, CATALOGS, FRAMED & UNFRAMED ART SECTION

Website: http://www.clioancientart.com/

We've also added several nice ancient coins to our ancient coins section (21 lots to choose from: http://www.clioancientart.com/catalog/c18_p1.html), as well as several nice Roman and Viking small bronze objects (fibulae and rings). Here are some links -
http://www.clioancientart.com/catalog/i449.html
http://www.clioancientart.com/catalog/i445.html
http://www.clioancientart.com/catalog/i452.html
http://www.clioancientart.com/catalog/i454.html
http://www.clioancientart.com/catalog/i453.html

Finally, we have just 26 days left in our crowd funding campaign for the Ancient Art Trust and we've raised only $417 of our $2,000 target. If you can, please consider a gift of any amount to help us continue our important work with museums and universities: http://igg.me/at/Ancient-Art-Education-for-All/x/4074220

Thanks again for looking and best wishes,

Chris M. Maupin
Clio Ancient Art and Antiquities
Chris Maupin Trust for Ancient Art

Thursday, August 29, 2013

A Few More Additions To Our Website...

All very simple and affordable. Links directly to the detail pages for these items are included here.
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Roman Empire, Aurelian, AD 317-326. Silvered Antoninianus
http://www.clioancientart.com/catalog/i451.html
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Roman Knee Fibula (Brooch)
http://www.clioancientart.com/catalog/i452.html
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Viking Bronze Penannular Brooch
http://www.clioancientart.com/catalog/i449.html
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Roman "Kraftig Profilierte" Fibula (Brooch)
http://www.clioancientart.com/catalog/i454.html

Tuesday, August 27, 2013

Antiquities Added to Our Website

We've added several items to our online stock of antiquities, many of them quite affordable. Here's a sample (with links):


Roman Enameled Bronze Finger Ring
CULTURE / REGION OF ORIGIN: Roman Empire (England)
DATE: 2nd-early 4th Century CE
http://www.clioancientart.com/catalog/i445.html 

 
Crispus, Son of Constantine the Great
 Caesar, AD 317-326. Bronze AE-3
http://www.clioancientart.com/catalog/i446.html





Postumus, British Usurper Emperor 
AD 260-269. Silver Antoninianus
http://www.clioancientart.com/catalog/i448.html 

More items being added next week (1st week of September). Check back frequently at:
http://www.clioancientart.com/index.html 

 

Tuesday, August 20, 2013

Roman Bronze Fibulae (Brooches)

In the previous article we offered a brief review of small Roman bronze antiquities. One group of objects making up a large proportion of small bronze antiquities available on the market is the fibula or brooch, an ornate pin, usually made of copper alloy but sometimes of precious metals, used to fasten clothing prior to buttons coming into common use. Because this is such a diverse and widely collected type we thought it best to review fibulae separately in this article.

Fibulae had a long pre Roman history throughout what would become the Roman Empire. Many Roman fibulae reflect earlier local traditions and styles. The example pictured below, from the Iberian Peninsula, dates to the transitional period when what is now Spain and Portugal were gradually falling under Roman control. The acorn shaped knob at the “foot” end is typical of pre Roman Iberian and Iberian-Celtic style. Otherwise, its form is typical of most Roman brooches in the western parts of the Empire: A coiled spring, at the end of which is a pin that rests in a catch plate, just like a modern safety pin. The bow of the brooch offers the manufacturer the opportunity to enhance the otherwise plain surface with gilding, silvering, tinning, enameling, punch marking, chip carving or any number of other decorative devices.
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                                                                                                                                                                                        Link to this object: http://www.clioancientart.com/catalog/i44.html

While the great majority of Roman brooches are simple and undecorated bronze (see  1st Century European example directly below) some examples utilize the decorative schemes mentioned above.

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                                         Link to this object: http://www.clioancientart.com/catalog/i32.html

The brooch’s owner might have a “fancier” piece custom made by a local craftsman or have an ordinary example enhanced to look “upmarket” with a layer of tin (to make it look like silver) or of silver or even gold. The example pictured here, dating to the early 1st Century, is a case in point: a fairly straightforward brooch has been enhanced with a layer of gilding, much of it still remaining.

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                                Link to this object: http://www.clioancientart.com/catalog/i155.html

Not all fibulae were sprung pin types based on a bow shape. Others were based on a round plate, sometimes with a central boss, while others were flat plates cast in a wide variety of forms, including animals and mythological creatures.

This group of six is on display in the Roman galleries of The British Museum, London, and illustrates the variety of decorative schemes used on circular brooches, including colored enamel, gilding, and the use of glass “gems” in the center.

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 The group below is on display at the Verulamium Museum, at the site of Roman Verulamium, today’s St Albans, England. It includes typical bow brooches, most enhanced with cast or punched decoration, silvering and other techniques, as well as penannular types.

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 Fibula types evolved over time, of course, and during the late Roman period, between the end of the 3rd Century and end of the 5th, the most common type was the “crossbow” brooch, so named on account of its shape. Very elaborate examples in solid gold, solid silver, gilt or silvered bronze, often including decorative enhancements of niello (black silver sulfide) were given by Imperial officials to loyal officers and others worthy of honors. Many of these have been found in burials of the period. Still, most crossbow fibulae were of simple bronze with cast or punched decoration. The example below, one of several we’ve sold over the years, is typical.

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 The late Roman crossbow type evolved into still more forms and with the arrival in both western and eastern Europe of many migrants from the east and north (the so-called Barbarians) new tastes in personal adornment were introduced. In some regions, Scotland for example, the use brooches continued well past the Medieval period, at least for decorative purposes. But new clothing styles suitable for a changed climate demanded the use of buttons and clasps, gradually phasing out the use of brooches.

There are many excellent resources for this specific area of antiquities collecting available both in print and online. Here a few we recommend:

Justine Bayley & Sarnia Butcher, Roman Brooches in Britain: A Technological and Typological Study Based on the Richborough Collection, The Society of Antiquaries of London, 2004.

Richard Hattatt, Ancient and Romano-British Brooches, Oxford, 1982.

http://finds.org.uk/   The UK’s Portable Antiquities Scheme finds database. One can do an advanced search, including only those objects with images, by date, type, find location, etc. While this only reflects UK finds, many “foreign” types of fibulae appear in the database, having arrived in Britain with army units, merchants, etc. A simple search for the term “brooch” with images brought back a staggering 24,679 records.

Monday, August 19, 2013

Small Roman Bronze Art and Artifacts




Among the most common Roman antiquities available on the legitimate market are small Roman
bronzes. Apart from bronze coins, these take a great diversity of forms:

* Utilitarian objects such as knife handles, simple brooches, keys and cosmetic applicators.
* Decorative items such as furniture attachments and jewelery.
* Religious items, including statuettes and votive objects.

Small bronzes are relatively common detector and field walking finds. The range of small Roman bronzes available on the Clio Ancient Art website offers a good sample. All these come from either UK metal detector finds that were declared to be “not treasure” under UK law and legally exported or from very old private collections predating the imposition of current laws governing antiquities export from some source countries.

The bronze handle pictured below, with its decoration and partially preserved iron folding blade, is somewhat atypical in that it is quite well preserved. Such objects would have been carried by soldiers, farmers and farm hands.

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                   Link to this object: http://www.clioancientart.com/catalog/i158.html

Pictured below is a Roman key ring. Keys were often made integral parts of rings to avoid their being lost. This example has been combined with part of a late Roman lock mechanism. Many examples of both types of object frequently appear on the market.

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A surprising range of highly decorative small Roman bronzes are available on the market. Pictured below is a heavy, well preserved, though somewhat incomplete, dolphin. This served as either a handle or a hasp (part of the closure mechanism) from a chest or cabinet most likely made of wood.

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A surprising amount of Roman jewelery was made from bronze, not precious metals. Pictured below is an assembled group of 3 Roman bronze jewelery items. In this context, the term “assembled” means the objects do not come from the same context. They are all Roman but vary in date and place of origin. This mix of copper alloy bead, inscribed finger ring and child’s bracelet with simplified snake head terminals offers a desirable cross section of Roman bronze jewelery.


Among the most popular types of small Roman bronzes with serious collectors are statuettes of deities, both female and male. In addition to the “household god” or Lar, usually kept in a shrine and the center of the extended family cult, other specific deities were portrayed. The choice of deity was usually dictated by personal preference or a perceived need on the part of the devotee. Always popular was Eros, the god of love (sometimes called Cupid). The fine example shown below was found at Silchester, England.

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Throughout the Roman world it was customary to follow older spiritual traditions, including the deposition of small votive objects at open air shrines, in springs or sources of running water and other sacred sites. These often represented body parts, in the hope of a cure or speedy recovery or as thanks for the same. The bronze foot wearing a sandal pictures below might at first appear to be broken away from a larger statuette, as is often the case but a small casting mark at its top shows that this was created as a complete object for votive purposes.

Link to this object: http://www.clioancientart.com/catalog/i440.html

Many more examples of small Roman bronzes may be viewed on our website, along with dozens of Roman antiquities in glass, stone and other materials, at these pages:

http://www.clioancientart.com/catalog/c15_p1.html
http://www.clioancientart.com/catalog/c16_p1.html
http://www.clioancientart.com/catalog/c17_p1.html