Thursday, September 12, 2013

Clear vs Iridescent: Ancient Glass Collector Preferences

There are many varieties of ancient glass, spanning over 2,500 years of production and successive cultures, available both on the legitimate antiquities market and in museum collections on view to the public. The vast majority of ancient glass is relatively colorless Roman blown glass (as opposed to core formed, rod formed, mold made, slumped, cast or other techniques), dating between the 1st and 4th Centuries AD, a time when blown glass was produced on a truly industrial scale.

Today, serious collectors of Roman blown glass seem to fall into 2 categories:

1. Those who prefer their glass clear, with minimal iridescence or encrustation from burial in the ground. Here is an example –
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2. Those who prefer their glass brightly iridescent, with colorful rainbow effects caused by extended burial in highly acidic or highly alkaline soils. Here is an example –
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These are quite understandable reasons behind these choices. Those who prefer clear, relatively unaltered glass do so mainly because they wish to view the artifacts in something as close as possible to their original condition when in use. Many collectors who prefer highly iridescent glass do so because they simply enjoy the sometimes dazzling effects created by nature’s alteration of a man made surface.

The trend even extends to some older museum collections, where curators have selected only the most iridescent examples of Roman glass, hoping for an “Ohhh” and “Ahhh” effect from visitors, while neglecting the importance of displaying Roman glass in a condition as near as possible to the original “working” condition.

It is worth noting that some examples of ancient Roman blown glass were once highly iridescent but were “cleaned” of their iridescent surfaces. This destructive practice, which essentially removes much of the mass of the artifact, was common in the 19th and early 20th centuries. Experienced collectors will often shy away from such pieces, as the stripping away of their iridescence has left them with a clear surface but paper thin and fragile.

Here are some examples on our website of both highly iridescent Roman glass:
http://www.clioancientart.com/catalog/i98.html
http://www.clioancientart.com/catalog/i92.html
http://www.clioancientart.com/catalog/i62.html

and of relatively clear and unaltered Roman glass:
http://www.clioancientart.com/catalog/i144.html
http://www.clioancientart.com/catalog/i59.html

Friday, September 6, 2013

Latest News from the Trust for Ancient Art

19 days remaining in the Trust for Ancient Art's crowd funding campaign on Indiegogo. We.ve so far raised $417 of our $2,000 goal (about 21%).

We have some exciting developments to tell you about.

* We are in discussions with the Mint Museum of Art in Charlotte, NC about initiating a temporary gallery of ancient Mediterranean art sometime next year. This would utilize the Mint's existing collection of antiquities (long hidden in storage and never shared with the public), gifts from our own Clio Ancient Art, and from private owners. As the Trust has now gifted all its holdings and is working to acquire more (part of the idea behind this campaign), Clio will offer several high quality items for display in this exhibit, part of a 1-year loan.

* We have completed the process of working with the Mint Museum to properly classify and catalog the 120 or so antiquities so long hidden in their basement, allowing us to assist them in possibly purging the collection of less display-worthy items.

* We have identified a source for several quality Trust acquisitions for next year. Once this campaign has ended we will share more details on this point.

* Finally, curatorial staff at the Mint Museum continue to share their enthusiasm for the 14th Century Medieval English floor tile gifted to them by the Trust last month. They recognize it as an important addition, filling a major gap in their extensive holdings of English ceramic materials.

Thanks again to everyone who has made a gift so far. Your perks will mail out the last week of September. And please continue to share information information about our campaign to all who might be interested, at http://igg.me/at/Ancient-Art-Education-for-All/x/4074220

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.