LaurieAnnie's photos with the keyword: Ptolemaic

Statuette of a Woman (Primary Title) Unknown (Artist) Date: 664 - 525 BC Culture: Egyptian Category: Sculpture Medium: fine-grained diabase (dolerite) Dimensions: Overall: 22 1/2 × 9 × 10 1/4 in. (57.15 × 22.86 × 26.035 cm) Object Number: 55.8.13 Images of private women are rare in Egyptian art, and this statue may have been made to stand in a temple. Details of the carving, especially the plain, almost flat quality of the sculpture, suggest that it was made early in the Ptolemaic period that followed Alexander the Great’s conquest of Egypt. Although it was a convention of traditional Egyptian art to show women with their feet together, this woman stands with her left leg advanced, evidence of the melding of Greek and Egyptian influences. Text from: www.vmfa.museum/piction/6027262-135564591

Statuette of a Woman (Primary Title) Unknown (Artist) Date: 664 - 525 BC Culture: Egyptian Category: Sculpture Medium: fine-grained diabase (dolerite) Dimensions: Overall: 22 1/2 × 9 × 10 1/4 in. (57.15 × 22.86 × 26.035 cm) Object Number: 55.8.13 Images of private women are rare in Egyptian art, and this statue may have been made to stand in a temple. Details of the carving, especially the plain, almost flat quality of the sculpture, suggest that it was made early in the Ptolemaic period that followed Alexander the Great’s conquest of Egypt. Although it was a convention of traditional Egyptian art to show women with their feet together, this woman stands with her left leg advanced, evidence of the melding of Greek and Egyptian influences. Text from: www.vmfa.museum/piction/6027262-135564591

Portrait of Ptolemy III Euergetes From Alexandria (?) Ptolemaic Period, reign of Ptolemy III, 264-222 BC Inventory # 16783 Text from the Vatican Museum label.

Bronze portrait of Ptolemy of Mauretania Roman, early Julio-Claudian, ca. 5-20 AD On loan to the Metropolitan Museum from an anonymous donor, Accession # L.2007.16 Ptolemy of Mauretania had prestigious grandparents, for his mother, Cleopatra Selene, was the daughter of Mark Antony and Cleopatra VII of Egypt. His father, Juba II of Numidia, also had close ties with the Julio-Claudian family, having been brought up in the household of Octavian (later Augustus) in Rome. In 25 BC, Augustus made Juba King of Mauretania, which stretched for nearly eight hundred miles along the coast of North Africa as far as the Atlantic Ocean. Ptolemy succeeded to the throne on his father's death in AD 23, but the kingdom was subsequently annexed and made into two Roman provinces by the emperor Claudius in AD 44. The identification of the bust is based on similarities to Ptolemy's coin portraits. He is presented here as a youthful prince, and so the bust may have been made before he became king. In addition, the portrait owes much to Roman prototypes, drawing heavily on the imagery used for the imperial princes, especially Augustus' grandson Gaius Caesar, who died in AD 4. Text from the Metropolitan Museum of Art label.

Head of Ptolemaic queen, possibly Arsinoë II Greek, Ptolemaic, ca. 270–250 B.C. Marble; height: 15 in. (38.1 cm) The Metropolitan Museum of Art, New York, Purchase, Lila Acheson Wallace Gift, The Bothmer Purchase Fund, Malcolm Hewitt Wiener, The Concordia Foundation and Christos G. Bastis Gifts and Marguerite and Frank A. Cosgrove Jr. Fund, 2002 (2002.66) This monumental head gives an impression of sovereign calm and power, even though the veil that once covered the top and back of the head is now missing. Although the features are cast in a thoroughly classical style typical of the late 4th century BC, the face is stamped with enough individuality to identify it as a portrait. In all probability, it represents a member of the Ptolemaic dynasty, that succession of Macedonian Greeks who ruled Egypt from the death of Alexander the Great in 323 BC until the annexation of Egypt by Rome and the suicide of Cleopatra VII in 30 BC. Most recently, this head has been identified as Arsinoe II, who ruled together with her brother Ptolemy II, from 278 until her death in 270 BC. Not only was the queen part of a dynastic ruler cult during her life, she was also transformed into an independent deity by her brother after her death. She was worshiped as an Egyptian goddess in association with Isis and also separately as a Greek goddess, with her own sanctuaries and festivals. This strongly idealized head, which resembles classical images of Hera and Demeter was probably associated with the latter cult. Text from: www.metmuseum.org/special/greek_roman/viewone.asp?item=5 and the Metropolitan Museum of Art label.

Seated woman playing a kithara: From Room H of the Villa of P. Fannius Synistor at Boscoreale, ca. 40–30 B.C.; Late Republican Roman Wall painting; Fresco: 72 1/2 x 72 1/2 in. (186 x 186 cm) Rogers Fund, 1903 (03.14.5) This painting of a seated woman playing a kithara is from Room H, either a dining room (triclinium) or a room for social gatherings (oecus), in the villa at Boscoreale. Each of the paintings that originally adorned this room derives from the Greek tradition of megalographia, or large-scale painting, about which so much was written in antiquity; Apollinaris of Sidonius, Petronius in the Satyricon, and Vitruvius all shed light on the use of megalographia in Roman villas. In this fresco, the kithara player is depicted as a plump young woman clothed in a purple chiton and white himation. She is adorned with a bracelet, earrings, and headband with a central medallion, all of gold. A small figure of Atlas supports the arm of her elaborately carved chair that originally was lacquered a deep lustrous red. The instrument she plays is not a simple lyre, but a gilded kithara, a large concert instrument played by Apollo and professional musicians. Behind the seated woman stands a small girl wearing a sleeveless purple chiton. She, too, is adorned with a gold headband, bracelet, and loop earrings. Like portrait figures, the woman and the girl gaze directly at the spectator. Most recently it has been suggested that the pair may represent a Macedonian queen, or princess, and her daughter or younger sister. The gilded kithara and richly adorned, thronelike chair, as well as the carefully rendered gold jewelry and headbands, give the impression of royal personage. Whatever the exact subject, this painting and others in the villa were admired as excellent copies of Hellenistic art that emphasized the erudition and worldliness of the villa's owner. Text from: www.metmuseum.org/toah/hd/cubi/hod_03.14.5.htm

Bronze statuette of a boy in Eastern dress Greek, Ptolemaic or Roman, mid-late 1st century BC Accession # 49.11.3 Parallels for this boy's unusual and and unclassical costume, particularly his trousers and ornate pyramidal hat, can be found in the works from the eastern borders of the Hellenistic world in the kingdoms of Commagene and Armenia, north of Mesopotamia, beginning in the middle of the first century BC. This statuette was found in Egypt together with an identical figure that is now in the collection of the Walters Art Gallery, Baltimore. The subject's identity has been much debated and remains a mystery. He may represent Attis, a god of vegetation from Phrygia in central Anatolia. It also has been suggested that the existence of two copies of the same statuette may reflect a double geographical reference- that is, if set up together, the twin figures could be identified as the personifications of Armenia Major and Armenia Minor. However, the images are so similar that more likely they represent the same individual. More recently, the statuette has been identified as a portrait of Alexander Helios, son of Mark Antony and Cleopatra VII, as prince of Armenia after Mark Antony's conquest in 34 BC. On the other hand, the mannered style, the exotic dress, and moderate scale of this figure likely signal a decorative function for the statuette, possibly as a lamp or incense-burner stand. Text from the Metropolitan Museum of Art label.

Statuette of a horse or elephant rider, 3rd century b.c.; Hellenistic Greek; Said to be from ancient Athribis, Egypt Bronze H. 9 3/4 in. (24.8 cm) Edith Perry Chapman Fund, 1955 (55.11.11) This bronze statuette of a youth is depicted with the skin and scalp of an elephant drawn up over his head and tied in a knot across his chest. Originally, he held in his left hand the reins of a horse or elephant, now missing; in his right hand, he may have held a crop. The statuette may depict Demetrios I of Bactria, who is represented on coins wearing the scalp of an elephant in recognition of his conquests in India. Other possible identifications include Alexander the Great, who is similarly represented, and Ptolemy III Euergetes of Egypt. Text from: www.metmuseum.org/toah/hd/alex/ho_55.11.11.htm

Bust of Roman Nobleman This head, which was made for insertion into a bust carved in another stone, represents a highranking Roman official. Some scholars have suggested that the subject is Cleopatra's lover, Marc Anthony, but that identification is uncertain. However, the fine-grained green Egyptian stone, which was popular with the Romans, and the naturalistic style, which reflects classical Greek statuary, indicate that the man represented here was at least a contemporary of the Egyptian queen and her Roman lover. Culture: Ptolemaic Medium: Graywacke Reportedly From: Alexandria, Egypt Dates: ca. 30 B.C.E.– 50 C.E. Period: Late Ptolemaic–early Roman Period Dimensions: 9 x 4 1/4 x 5 in. (22.9 x 10.8 x 12.7 cm) Collections: Egyptian, Classical, Ancient Near Eastern Art Museum Location: This item is on view in Egypt Reborn: Art for Eternity, Egyptian Orientation Gallery, 3rd Floor Accession Number: 54.51 Credit Line: Charles Edwin Wilbour Fund Text from: www.brooklynmuseum.org/opencollection/objects/68003/Bust_...

The Brooklyn Black Head. Egypt, provenance unknown, reportedly from Memphis. Ptolemaic Period, first century B.C. Diorite 16 5/16 x 11 3/16 x 13 7/8 in. (41.4 x 28.5 x 35.2 cm). Brooklyn Museum, Charles Edwin Wilbour Fund, 58.30 During the Ptolemaic Period (332-30 B.C.), when Egypt was ruled by a family of Greek descent named Ptolemy, large numbers of Greeks moved to Egypt, where many served as government officials. We cannot know, therefore, whether this striking head, from an over-life-size statue, represented a Greek or a native Egyptian, especially since its striking features are a blend of Egyptian and Greek styles. The short curls, for example, are a simplified rendering of a Greek hairdo, and the large, deep-set eyes derive from images of Alexander the Great. But the facial modeling, with its folds and furrows, has many precedents in Egyptian art, as does the narrow, sharply outlined mouth. We may see here the beginning of a mixed Greco-Egyptian style, which was soon to disappear when the Romans conquered Egypt. Text from: www.brooklynmuseum.org/collections/egyptian_classical_mid...

Head of a Queen The facial features of this head recur on sculpture dating from the end of Dynasty XXX until well into the Ptolemaic Period (305–30 B.C.). The subject here is either a queen or a goddess, but which one is uncertain because the headdress, which might have provided a clue, is lost. Medium: Limestone Place Made: Egypt Dates: ca. 230 B.C.E. Period: Ptolemaic Period Dimensions: Height: 4 1/4in. (10.8cm) Collections: Egyptian, Classical, Ancient Near Eastern Art Museum Location: This item is on view in Egypt Reborn: Art for Eternity, 19th Dynasty to Roman Period, Martha A. and Robert S. Rubin Gallery, 3rd Floor Accession Number: 86.226.32 Credit Line: Gift of the Ernest Erickson Foundation, Inc. Text from: www.brooklynmuseum.org/opencollection/objects/4250/Head_o...

Head of a Ptolemaic Queen This fragment illustrates the cosmopolitan nature of society in the Ptolemaic Period. Although the full face and small lips are Egyptian stylistic elements, the curly locks and coiled tresses are Hellenistic. The uraeus cobra on the forehead identifies the woman as a queen. Culture: Ptolemaic Medium: Marble Possible Place Made: Egypt Dates: 305-30 B.C.E. Period: Ptolemaic Period Dimensions: 5 1/2 x 4 3/4 x 4 1/2in. (14 x 12 x 11.5cm) Collections: Egyptian, Classical, Ancient Near Eastern Art Museum Location: This item is on view in Egypt Reborn: Art for Eternity, 19th Dynasty to Roman Period, Martha A. and Robert S. Rubin Gallery, 3rd Floor Accession Number: 71.12 Credit Line: Charles Edwin Wilbour Fund Text from: www.brooklynmuseum.org/opencollection/objects/3799/Head_o...

Calf Bearer Images of men carrying animals slung over their shoulders are found in Egyptian tomb reliefs and paintings of people bearing offerings for the dead from as early as the Old Kingdom. The fourth and third centuries B.C. provide a number of such images, including one in this vitrine, at least some of which were made for tombs. The purpose of this plaque, however, remains unknown. A few contemporaneous reliefs, including a second in this vitrine, provide parallels for the figure's frontality and for its extremely bold carving. Since most of the objects offering stylistic parallels originated in Lower Egypt, this plaque probably did as well. Culture: Graeco-Egyptian Medium: Faience or glass Place Made: Egypt Dates: 4th-3rd century B.C.E. Dynasty: XXX Dynasty Period: Late Period-Ptolemaic Period Dimensions: 3 1/4 x 2 7/16 in. (8.2 x 6.2 cm) Collections: Egyptian, Classical, Ancient Near Eastern Art Museum Location: This item is on view in Egypt Reborn: Art for Eternity, 19th Dynasty to Roman Period, Martha A. and Robert S. Rubin Gallery, 3rd Floor Accession Number: 51.222 Credit Line: Charles Edwin Wilbour fund Text from: www.brooklynmuseum.org/opencollection/objects/3561/Calf_B...

Lid of the Sarcophagus of Padiinpu Limestone Ptolemaic Period, 305-30 BC From Hardai (Kynopolis) Accession # 34.1222 Although anthropoid, or mummiform, coffins made of stone instead of wood first appeared during the New Kingdom (circa 1539-1070 BC), they did not become common until the Late Period (circa 664-332 BC). The change from wood to stone reflects a step toward permanent protection in the afterlife. Padiinpu, the owner of this limestone sarcophagus, served as a scribe attached to the cult of the god Inpu (called Anubis by the Greeks) who was lord of the city of Hardai. He also served as a royal scribe and as a priest in a cult of the goddess Hathor. Padiinpu, who was named for the god Inpu, was the father of the owner of a similar lid displayed on the opposite side of the doorway. Text from the Brooklyn Museum label.

Tile with Winged Crowned Female Sphinx Medium: Faience, glazed Reportedly From: Qantir, Egypt Dates: 3rd century B.C.E. Period: Ptolemaic Period Dimensions: 2 3/8 x 2 3/8 x 5/8 in. (6.1 x 6.1 x 1.6 cm) Collections: Egyptian, Classical, Ancient Near Eastern Art Museum Location: This item is on view in Egypt Reborn: Art for Eternity, 19th Dynasty to Roman Period, Martha A. and Robert S. Rubin Gallery, 3rd Floor Accession Number: 68.19 Credit Line: Charles Edwin Wilbour Fund Text from: www.brooklynmuseum.org/opencollection/objects/3769/Tile_w...

Tile with Winged, Crowned Sphinx Medium: Faience, glazed Reportedly From: Qantir, Egypt Dates: 3rd century B.C.E. Dynasty: Ptolemaic Dynasty Period: Ptolemaic Period Dimensions: 2 5/8 x 2 5/8 in. (6.7 x 6.7 cm) Collections: Egyptian, Classical, Ancient Near Eastern Art Museum Location: This item is on view in Egypt Reborn: Art for Eternity, 19th Dynasty to Roman Period, Martha A. and Robert S. Rubin Gallery, 3rd Floor Accession Number: 59.33.1 Credit Line: Charles Edwin Wilbour Fund Text from: www.brooklynmuseum.org/opencollection/objects/3672/Tile_w...

Stela Although this winged god resembles Bes, in actuality it is a composite of several powers, beneficial and/or harmful, that seldom manifest themselves. Here it apparently offers protection under or near its feet are a scorpion, a turtle, bound captives, and, apparently, a lion, all symbolizing forces of chaos. The baboon and Ibis at the upper sides are images of Thoth. Their significance here is unclear. Through the half circle at the bottom flowed water that cured various ailments or prevented harm. Medium: Limestone Place Made: Egypt Dates: 305-30 B.C.E. Period: Ptolemaic Period Dimensions: 31 1/4 x 23 13/16 x 4 15/16 in. (79.3 x 60.5 x 12.5 cm) Collections: Egyptian, Classical, Ancient Near Eastern Art Museum Location: This item is not on view Accession Number: 37.229 Credit Line: Charles Edwin Wilbour Fund Text from: www.brooklynmuseum.org/opencollection/objects/47426/Stela...

King with Sistra (Rattles) before Hathor Music could appease deities, including goddesses. Here, in a setting of the world bounded by hieroglyphs for earth and heaven, a king as dutiful son stands with sistra before one form of "his mother," the goddess Hathor. As is characteristic of Egyptian goddesses, she holds a papyrus scepter, a symbol of vigor and renewal, and grants the king the "lifetime of Re" and "the years of Atum," meaning eternal life. Medium: Basalt Dates: 3rd century B.C.E. Period: Ptolemaic Period Dimensions: 7 3/4 x 8 11/16 in. (19.7 x 22 cm) Collections: Egyptian, Classical, Ancient Near Eastern Art Museum Location: This item is on view in Egypt Reborn: Art for Eternity, Old Kingdom to 18th Dynasty, Egyptian Galleries, 3rd Floor Accession Number: 62.46 Credit Line: Charles Edwin Wilbour Fund Text from: www.brooklynmuseum.org/opencollection/objects/3721/King_w...