Showing Results 1 - 10 of 15
This and the next several ivories come from the approximately twelve thousand ivory pieces and fragments that were found in the royal compound in the city of Samaria, capital of the Northern Kingdom…
The lotus image on this ivory from Samaria was originally an Egyptian symbol of the life-giving power of the god Ra—experienced through the fragrance of the flower—and of the afterlife.
Engraved tridacna (clam) shells like this one from Arad seem to have been used as cosmetic containers in the Near East and Mediterranean worlds in the late seventh and early sixth centuries BCE. This…
This pastoral painting is typical of the work of Charles Towne. His landscapes were not realistic depictions of actual places, but instead romantic views of idealized scenes. He cited seventeenth…
This spoon from Hazor has a wide handle intricately incised on its front with a sequence of palmettes curving upward instead of the more common downward-turning volutes. The spoon’s use is unclear. It…
This piece from Samaria shows lotus shoots sprouting from the base of each palmette, with alternating open and closed blossoms. The repetition of the images is characteristic of the art of this period…
Rosettes like the one on this piece from Samaria were common floral decorative motifs in ancient Near Eastern art.
This sepia watercolor-over-pencil picture is representative of the romantic landscapes and cityscapes for which Salomon Leonardus Verveer was best known. His work bridges the romantic tradition in…
This leaf-shaped ivory relief from Samaria depicts Horus as a child sitting on a lotus flower. The lotus was a symbol of regeneration, and because, in Egyptian belief, each pharaoh was considered an…
This small sculpture of a pomegranate with a bird (most likely a dove) sitting on top is from the City of David in Jerusalem. The sculpture was probably mounted on a piece of furniture (fragments of…
