01 Paintings by the Orientalist Artists in the Nineteenth-Century, with footnotes, 15

Edmund Berninger, (1843 Arnstadt - 1910 Munich)
Bedouin rest in the desert
Watercolor
24 x 32 cm
Private collection

Partly unfinished desert view with a group of Bedouins resting near the mountains under blue sky in the sunshine.

Edmund Berninger (1843 Arnstadt - 1910 Munich) was a landscape painter and watercolourist. Berninger was born in Thüringia and abandoned an early career as a pharmacist in favour of training as an artist in Weimar under Theodor Hagen. Settling in Munich in 1874, he then spent several years travelling around Europe, North Africa and the Near East. He produced paintings, oil sketches and watercolours of sites in England, France, Italy, the Netherlands, Greece, Constantinople, Egypt (where he is thought to have lived for several years), Palestine, Algeria and Tunisia. He painted views of Jerusalem and Cairo, as well as richly coloured landscapes and scenes of Oriental markets and caravans. Berninger also worked as an illustrator, and painted a number of large-scale public works in the form of panoramas (including Egyptian landscapes and battle scenes) and dioramas. More on Edmund Berninger





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10 Ancient Egyptian Engravings & Carvings- With footnotes - 7

Egyptian Tomb Model of Bakery and Brewery
Middle Kingdom
 8.1" L x 11" W (20.6 cm x 27.9 cm)

Ancient Egypt, Middle Kingdom, late 11th Dynasty to early 12th Dynasty, ca. 2060 to 1900 BCE. A wooden and plaster model made for a tomb showing two men sealing and stoppering beer jars and a third kneading bread dough. The figures are wood and their components are a hard, white plaster, painted in shades of red. They are mounted on a piece of wood that likely came from an old box or chest recycled by the artist.

Egyptian Tomb Model of Bakery and Brewery
Detail

During the Sixth Dynasty, it became common to place wooden models of lifelike scenes in Egyptian tombs; by the Middle Kingdom, they were placed in the tomb chamber, around the coffin, although some very rich tombs had a separate chamber just for wooden models. 

Egyptian Tomb Model of Bakery and Brewery
Detail

Baking and brewing were frequent subjects of tomb models, symbolizing the range of food offerings that would have been described on the stelae and tomb reliefs that led to the main tomb chamber. These figures were also made to work throughout the afterlife, creating the bread and beer that the deceased would need. More

Egyptian Polychrome Temple Fragment of Woman
Middle Kingdom
2.3" W x 6.3" H (5.8 cm x 16 cm)

Egypt, Middle Kingdom, ca. 2050 to 1640 BCE. A pottery temple fragment showing a standing woman in relief with remains of orange and red pigment especially on its lower half that give us a clue to how brightly it would have originally been painted. 

The woman is depicted facing forward with her hands at her sides. Her torso and head are well proportioned and graceful, but her feet, arms, and hands in particular are too large for her body. Middle Kingdom sculpture often emphasized hands and feet; when originally painted, this statue probably had fingernails and toenails. During the Middle Kingdom, we see statues of women who are portrayed very similarly to this one - small breasts and the symmetrical face with the large wig, all beauty standards of the time. These idealized forms probably corresponded to a desire to depict people as they would like to be resurrected. More

Egyptian Painted Wood Sarcophagus Panel of Nut
Late Period, ca. 715 to 330 BCE
62" L x 16" H (157.5 cm x 40.6 cm), with case 66-3/4"H x 20-1/4"W (169.5 cm x 51.4 cm).

Egypt, Late Period, ca. 715 to 330 BCE. Painted wood panel from the back of a sarcophagus depicting the goddess Nut, with bright colors, especially the deep red. Professionally mounted in wood case with glass cover. Case includes brackets for wall mounting. 

Nut (also Nunut, Nuit) was the goddess and personification of the Sky and the celestial realm. She is regarded as the barrier separating the ordered cosmos of the world from the forces of chaos. In some depictions, Nut was portrayed as a woman arched on her toes and fingertips over the earth; her sacred body representing a star-filled sky. Nut's fingers and toes as such were believed to touch the four cardinal directions: north, south, east, and west. According to Egyptian mythology, Nut is a daughter of Shu ("he who rises up" or the personification of air) and Tefnut (goddess of moisture, dew, and rain); her husband and brother is Geb (god of the earth, father of snakes, whose laughter could bring about earthquakes and fertile crops), and she has four children: Osiris, Set, Isis, and Nephthys. Nut was also granddaughter of Ra or Atum, the creator god. The Coffin Texts describe Nut as "she of the braided hair who bore the gods". In one fascinating myth, Nut gives birth to the Sun-god each day, and he passes over her body during the day only to be swallowed at night and reborn the next morning. More

Egyptian Pottery Jarlet - Protective God Bes
Late Period, Dynasties 26 to 31, ca. 664 to 332 BCE
3.25" W x 3.75" H (8.3 cm x 9.5 cm)

Egypt, Late Period, Dynasties 26 to 31, ca. 664 to 332 BCE. A fine brownware pottery molded juglet depicting the head of Bes, a protector deity, with small perforated lug or handle to the left side of his head. Bes is depicted as a dwarf with a lion's mane, his tongue extended in an open 'bearded' mouth. 

Bes, the bandy-legged leonine dwarf god, was an apotropaic deity, the protector of the home, children, and women in pregnancy and childbirth. In his role as protector of the home he was thought to dispel bad dreams, and by increasing virility in men and fertility in women, he was seen as a symbol of fecundity.When depicted in full form, he is generally depicted nude, wearing a lion's mane, a plumed headdress, and a tail. He is also seen dancing, brandishing a sword, or frightening off evil spirits by playing music. Bes continued to be a popularly depicted protective deity well into the Graeco-Roman Period. More Bes

Ptolemaic Egyptian Terracotta - Probably Serapis
Greco-Roman/Ptolemaic period, from Alexandria, ca. 323 to 30 BCE
2.85" W x 5.2" H (7.2 cm x 13.2 cm)

Egypt, Greco-Roman/Ptolemaic period, from Alexandria, ca. 323 to 30 BCE. This is an interesting and fairly unique terracotta figure, depicting a bearded man's face in the body of what may be a knotted phallus. Atop the man's head is a modius, a flat-topped cylindrical headdress that probably represents a grain measure, symbolizing fertility. The figure is clearly mold-made from two pieces, with fine details.

Serapis or Sarapis is a Graeco-Egyptian god. The cult of Serapis was introduced during the 3rd century BC on the orders of Ptolemy I of Egypt as a means to unify the Greeks and Egyptians in his realm. The god was depicted as Greek in appearance, but with Egyptian trappings, and combined iconography from a great many cults, signifying both abundance and resurrection. A serapeum was any temple or religious precinct devoted to Serapis. The cultus of Serapis was spread as a matter of deliberate policy by the Ptolemaic kings, who also built an immense serapeum in Alexandria.


Bust of Serapis. Marble
Early 3rd century AD, found in Carthage, Tunisia.
H. 62 cm (2 ft. ¼ in.)
Louvre Museum

However, there is evidence which implies that cult of Serapis existed before the Ptolemies came to power in Alexandria. The common assertion that Ptolemy "created" the deity is derived from sources which describe him erecting a statue of Sarapis in Alexandria: this statue enriched the texture of the Sarapis conception by portraying him in both Egyptian and Greek style. Though Ptolemy I may have created the cult of Sarapis and endorsed him as a patron of the Ptolemaic dynasty and Alexandria, Sarapis was a syncretistic deity derived from the worship of the Egyptian Osiris and Apis and also gained attributes from other deities, such as chthonic powers linked to the Greek Hades and Demeter, and benevolence linked to Dionysus.

Serapis continued to increase in popularity during the Roman period, often replacing Osiris as the consort of Isis in temples outside Egypt. In 389, a Christian mob led by the Patriarch Theophilus of Alexandria destroyed the Alexandrian serapeum, but the cult survived until all forms of pagan religion were suppressed under Theodosius I in 391. More Serapis

Romano-Egyptian Plaster Mummy Bust
1st century BCE to 1st century CE
14" W x 15.75" H (35.6 cm x 40 cm)

Ancient Egypt, Romano-Egyptian Period, ca. 1st century BCE to 1st century CE. A large plaster bust of a young man, painted brightly; he wears a well-depicted chiton/tunica painted a dark red; above that, his face is sensitive, with the huge eyes so characteristic of Egyptian art, a long, straight nose, and a small mouth. His hair is black, with a low hairline, and pulled back in tight lines. 

This piece was created for a funerary monument, designed to be placed up against a surface. Made of plaster, this type of monument, similar to a mummy mask, was reserved for elites. They also represented a dramatic change, departing from centuries of tradition. For the first time in the Roman period, Egyptian mummies were buried with lifelike representations rather than the mummiform masks seen in previous periods. To the Roman viewer, this piece may also have had similarities to gods like Apollo - an idealized image of the young man in death, created at great expense to memorialize him and for those who mourned him. More

Egyptian Alexandrian Terracotta Figure of Nude Isis
1st century BCE to 1st century CE
7.875" H (20 cm); 8.875" H (22.5 cm)

Egypt, Alexandria, 1st century BCE to 1st century CE. An alluring terracotta figure depicting the goddess Isis, standing in the nude with arms at her sides, presenting a beautiful visage with naturalistic features and long tresses cascading past her shoulders, topped with an Isis crown comprised of a solar disk framed by cow horns, her chief attribute. Nice remains of red, white, and blue pigments. 

Isis is oftentimes depicted in a sheath dress, but in this example the artist elected to depict her in the nude, revealing the ideal of Egyptian womanhood with all her feminine grace. Isis was daughter to Geb, god of the Earth, and Nut, goddess of the Sky, and wife of Osiris. Oftentimes shown as the mother of Horus, she is also known as a protector of children. In addition to being revered as the ideal mother and wife, Isis was revered as the patroness of magic and nature, a supporter of sinners, slaves, and artisans as well as a friend to rulers and the wealthy. More Isis

Romano-Egyptian Terracotta Votive - Jupiter w/ Eagle
 30 BCE to 2nd century CE
3.6" W x 5" H (9.1 cm x 12.7 cm) 

Egypt, Romano-Egyptian period, ca. 30 BCE to 2nd century CE. This hollow terracotta figural shows Jupiter (Zeus) seated with an eagle. This is the Aetos Dios, a giant golden eagle that served as the king of the gods' personal messenger and companion. These two together were a powerful symbol in Romanized Egypt, and indeed had been since the Ptolemies (Ptolemy III used this symbol on coinage). A plaque like this was made for votive purposes, to be given as an offering in a temple. More







Acknowledgement: Artemis Gallery,  Invaluable

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13 Ancient Egyptian Artefacts - With footnotes - 5 - With footnotes


Romano-Egyptian, ca. 1st century BCE to 1st century CE. Heavy gold foil formed into the likeness of a Nile crocodile. Incredibly detailed with open mouth exposing rows of deadly teeth, almond-shaped eyes and rows and rows of scaley scutes with pronounced central dorsal ridge. Size: 6.875" L (17.5 cm), 37.1 grams of 97% pure gold.

Sobek was a Crocodile god venerated at Crocodilopolis in the Faiyum, which was an important oracular centre during the Graeco-Roman Period, and, together with Haroeris (Horus the Elder), in the twin-temple at Kom Ombo where a crocodile necropolis was discovered. Seti I referred to him as Lord of Silsileh where he had a temple during the 19th dynasty. As god of the water he created the Nile from his sweat and caused plants to be lush and green, one of the traditional roles of Osiris. More

Egyptian blue composition head of a man, Roman Period

An Egyptian blue composition head of a man, Roman Period, c. 1st Century AD, perhaps a pharaoh or emperor, wearing tight-fitting headdress with uraeus, his face quite handsome, his ears outside the headdress. H: 2 ½ in (6.4 cm).

Ancient Egyptian Wooden Boatman with Articulated Arms

Ancient Egypt, Middle Kingdom, ca. 2040 to 1802 BCE. A hand-carved, three-dimensional wooden boatman, with classic Egyptian face (large, dark-outlined eyes), a cropped haircut, and a white loincloth. He is in a seated position, with long, articulated arms, which probably would have been raised to hold oars in his original placement. During the Sixth Dynasty, it became common to place wooden models of lifelike scenes in Egyptian tombs; by the Middle Kingdom, they were placed in the tomb chamber, around the coffin, although some very rich tombs had a separate chamber just for wooden models. Two ships are found in almost all tombs that have models from this time period, and those ships are, during the Middle Kingdom, staffed by boatmen like this one. This boatman was made to be a servant in the afterlife, ready to row the deceased upon the eternal Nile, as real boatmen would have done in life. Size: 2.6" W x 6.6" H (6.6 cm x 16.8 cm) 

Egyptian Wooden Boatman with Articulated Arms

Ancient Egypt, Middle Kingdom, ca. 2040 to 1802 BCE. A hand-carved, three-dimensional wooden boatman, with a painted face, a cropped haircut, painted reddish skin, and a white loincloth. Size: 2.3" W x 7.8" H (5.8 cm x 19.8 cm) 

Large Egyptian Pottery Astarte Figure

Egypt, New Kingdom or earlier, ca. 1543 to 1292 BCE. A large hollow pottery figure of a female goddess with a voluptuous body and a large headdress. She wears jewelry and very little clothing. Her hair is long, straight, and painted black; atop her head is a massive headdress topped by what appears to be four ostrich feathers. Although the figure is painted, it also has the look of being a mold for a bronze statue; it may have served a dual purpose. Astarte is the goddess who is also known as Ishtar in some parts of Mesopotamia. During the 18th Dynasty, she arrived in Egypt, brought by contact with Semitic people. She was worshipped in Egypt as a warrior goddess and often paired with the violent war goddess Anat. Size: 5.25" W x 18.3" H (13.3 cm x 46.5 cm) 

Egyptian Deep Blue Faience Amulet of Sekhmet

Egypt, New Kingdom, 18th Dynasty, Amarna Period, ca. 1353 BCE. A small faience amulet in the shape of a bust of Sekhmet. The goddess, a fierce hunter, is depicted as a lioness wearing a traditional Egyptian crown (the uraeus has broken off). She was prayed to as a protector of pharaohs and led them in warfare. Size: 0.55" W x 0.95" H (1.4 cm x 2.4 cm) 

Egyptian Faience Thoth Baboon Amulet

Egypt, Third Intermediate Period to Late Dynastic Period, ca. 1070 to 332 BCE. A highly-detailed faience amulet of the god Thoth in his baboon form. Thoth was the god of writing, accounting, and other intellectual pursuits, associated with the ibis and the baboon. 0.75" W x 1.6" H (1.9 cm x 4.1 cm) 

Egyptian White Faience Ushabti

Egypt, probably Memphis, New Kingdom, Ramesside period, Dynasty XIX, ca. 1279 to 1193 BCE. Mummiform votive ushabti, white faience with transparent glaze, details in black, wearing a short wig with sidelock (wick of youth) and a small goatee, adorned with a broad usekh collar, holding agricultural implements in each hand, seed sack on the back and a column of hieroglyphic inscriptions on front naming “Rema” as the owner. Translation is "The iIluminated one, the Osiris, Sem Priest of Ptah, r m a."   Size: 5.625" H (14.3 cm)

Egyptian terracotta figure of Harpokrates on horseback

A large Egyptian terracotta figure of Harpokrates on horseback, Roman, c. 1st - 2nd Century AD, dressed in a short tunic and wears a large bound wreath and a Double Crown, his left hand on the horse’s head, right hand on its flank. H: 9 in (23cm), W: 6 4/5 in (17.3cm). 

Silver statuette representing Harpocrates
Greco-Roman, Dynasty Ptolemaic , 350-30 BC

Harpokrates. In late Greek mythology as developed in Ptolemaic Alexandria, Harpocrates is the god of silence, secrets and confidentiality. Harpocrates was adapted by the Greeks from the Egyptian child god Horus. To the ancient Egyptians, Horus represented the newborn Sun, rising each day at dawn. When the Greeks conquered Egypt under Alexander the Great, they transformed the Egyptian Horus into their Hellenistic god known as Harpocrates. More

 Isis (on the left, holding a sistrum), Sarapis (wearing a modius), the child Harpocrates (holding a cornucopia) and Dionysos (holding the thyrsus). Marble relief, last quarter of the 2nd century CE, found at Henchir el-Attermine, Tunisia.
H. 1.92 m (6 ft. 3 ½ in.), W. 83 cm (32 ½ in.)
Louvre Museum

Nefertoum
Louvre Museum

Nefertem was, in Egyptian mythology, originally a lotus flower at the creation of the world, who had arisen from the primal waters. Nefertem represented both the first sunlight and the delightful smell of the Egyptian blue lotus flower, having arisen from the primal waters within an Egyptian blue water-lily, Nymphaea caerulea. 

Nefertem the child comes from his earth father Nun's black primordial waters, and his sky mother is Nut. When he matures, he is Ra.

Nefertem was eventually seen as the son of the Creator god Ptah, and the goddesses Sekhmet and Bast were sometimes called his mother. In art, Nefertem is usually depicted as a beautiful young man having blue water-lily flowers around his head. As the son of Bastet, he also sometimes has the head of a lion or is a lion or cat reclining. The ancient Egyptians often carried small statuettes of him as good-luck charms. More

God Shu holding the sky above his head
Cairo Museum

Shu (Egyptian for "emptiness" and "he who rises up") was one of the primordial Egyptian gods, a personification of air, one of the Ennead of Heliopolis. Shu was the father of Nut and Geb and grandfather of Osiris, Isis, Set and Nephthys. His great-grandsons are Anubis and Horus. More






Acknowledgement: Artemis GalleryAncient Resource

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16 Etching by REMBRANDT HARMENSZ. VAN RIJN,

1606 - 1669
SELF-PORTRAIT IN A CLOAK WITH A FALLING COLLAR: BUST 
(BARTSCH, HOLLSTEIN 15; NEW HOLLSTEIN 98W; HIND 63)
Etching with engraving and drypoint, circa 1631, a good impression of this scarce print, the rare second state (of five), a previously unrecorded state between New Hollstein's fourth and fifth state (of ten), before the lengthening of the hair sheet: 63 by 56mm 2½ by 2¼in

1606 - 1669
SELF-PORTRAIT IN A CAP AND SCARF WITH THE FACE DARK: BUST 
(B., HOLL. 17; NEW HOLL. 120; H. 108)
Etching, 1633, a very good impression of the second (final) state, New Hollstein's second state (of five), before the wear usually seen in this print, framed plate: 132 by 103mm 5¼ by 4 1/8 in sheet: 136 by 108mm 5 3/8 by 4¼in

1606 - 1669
SELF-PORTRAIT WITH RAISED SABRE
(B., HOLL. 18; NEW HOLL. 134; H. 109)
Etching with engraving, 1634, a good though slightly later impression of the second (final) state, with only slight wear in the right cheek, framed, plate: 124 by 102mm 5 by 4in, sheet: 140 by 116mm 5½ by 4½in

1606 - 1669
 A SHEPHERD AND HIS FAMILY ('HET HARDERTJE') 
(B., HOLL. 220; NEW HOLL. 218; H. 206)
Etching, 1644, a good, early impression of this rare print, the only state, with scratches in the sky and sulphur-tinting in the sky, printing with burr in the foliage at right plate: 95 by 68mm 3¾ by 2 5/8 in

1606 - 1669
THE DESCENT FROM THE CROSS: SECOND PLATE 
(B., HOLL. 81 II); NEW HOLL. 119; H. 103)
Etching with engraving, 1633, a good impression of the third state (of five), New Hollstein's fourth state (of eight), on paper with a Heraldic watermark, possibly Arms of Bern, sheet: 525 by 407mm 20 5/8 by 16in

1606 - 1669
THE ANGEL APPEARING TO THE SHEPHERDS
 (B., HOLL. 44; NEW HOLL. 125; H. 120)
Etching with engraving and drypoint, 1634, a good impression of the third (final) state, New Hollstein's third state (of six), with touches of burr on the angel's face, sheep and elsewhere, on paper with a Foolscap watermark
sheet: 256 by 218mm 10 1/8 by 8 5/8 in.

1606 - 1669
CHRIST PREACHING ('LA PETITE TOMBE') 
(B., HOLL. 67; NEW HOLL. 298; H. 256)
Etching with drypoint, circa 1657, a very fine 'black sleeve' impression of the only state, New Hollstein's first state (of two), printing with rich, velvety burr on Christ's robe, the beard of the man at upper left and on the sleeve of the man at lower left, on Japan paper, sheet: 155 by 206mm 6 1/8 by 8 1/8 in

1606 - 1669
PETER AND JOHN HEALING THE CRIPPLE AT THE GATE OF THE TEMPLE 
(B., HOLL. 94; NEW HOLL. 312; H. 301)
Etching with drypoint, 1659, a very fine, rich impression of the second state (of four), New Hollstein's second state (of six), printing with rich burr and vertical wiping scratches in the sky, on laminated Japan paper
plate: 180 by 214mm 7 by 8 3/8 in,. sheet: 186 by 221mm 7 3/8 by 8¾in

1606 - 1669
CANAL WITH A LARGE BOAT AND A BRIDGE ('HET SCHUYTJE OP DE VOORGROND') 
(B., HOLL. 236; NEW HOLL. 252; H. 239)
Etching with drypoint, 1650, a fine impression of the second (final) state, with rich burr, framed, sheet: 83 by 107mm 3¼ by 4¼in

1606 - 1669
RAGGED PEASANT WITH HIS HANDS BEHIND HIM, HOLDING A STICK 
(B., HOLL. 172; NEW HOLL. 47; H. 16)
Etching, circa 1630, a very good impression of this scarce subject, fifth state (of six), New Hollstein's eighth state (of nine), printing with delicate plate tone, plate: 92 by 66mm 3 5/8 by 2 5/8 in, sheet: 98 by 75mm 3 7/8 by 3in

1606 - 1669
OLD MAN WITH BEARD, FUR CAP, AND VELVET CLOAK 
(B., HOLL. 262; NEW HOLL. 92; H. 92)
Etching, circa 1631, the third (final) state, a strong, later impression on smooth wove paper; B. 262: sheet: 155 by 134mm 6 1/8 by 5¼in

1606 - 1669
THE ARTIST'S MOTHER IN A CLOTH HEADDRESS, LOOKING DOWN: HEAD ONLY 
(B., HOLL. 351; NEW HOLL. 121; H. 107)
Etching, 1633, a very good impression of this scarce portrait, printing with plate tone, the second (final) state, New Hollstein's second state (of three), sheet: 42 by 41mm 1¾ by 1 5/8 in

1606 - 1669
THE ARTIST'S MOTHER, HEAD AND BUST: THREE QUARTERS RIGHT 
(B., HOLL. 354; NEW HOLL. 5; H. 1)
Etching, 1628, a fine, early impression of this rare subject, an intermediary state between the first and second state (before the reduction of the plate but with the bust completed), New Hollstein's second state (of four), printing with plate tone, with inky plate edges and the burr clearly visible, sheet: 67 by 64mm 2¾ by 2½in

1606 - 1669
THE ARTIST'S MOTHER SEATED AT A TABLE, LOOKING RIGHT: THREE QUARTER LENGTH 
(B., HOLL. 343; NEW HOLL. 91; H. 52)
Etching, circa 1631, a very good impression of the second state (of three), before the straightening of the outline of the nose, with touches of burr on the mouth, the nose and the hands, on paper with an indistinct countermark (possibly PDB), framed, plate: 148 by 130mm 5¾ by 5 1/8 in, sheet: 150 by 132mm 5 7/8 by 5¼in

1606 - 1669
OLD MAN SHADING HIS EYES WITH HIS HAND 
(B., HOLL. 259; NEW HOLL. 175; H. 169)
Etching, circa 1639, a fairly good impression of the only state, New Hollstein's first state (of three), on paper with part of a Heraldic watermark, plate: 137 by 114mm 5 3/8 by 4½in, sheet: 142 by 119mm 5 5/8 by 4¾in

1606 - 1669
ABRAHAM FRANCEN, APOTHECARY 
(B., HOLL. 273; NEW HOLL. 301; H. 291)
Etching, circa 1657, a Basan impression, tenth (final) state, New Hollstein's eleventh state (of twelve), on paper with part of a Proprietary watermark, sheet: 158 by 208mm 6¼ by 8¼in

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.


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