Ancient Terracotta Reliefs

A collection of ancient terracotta molds and stele featuring intricate designs, including mythical creatures and human figures, showcasing historical craftsmanship.

Assyrian Stele From Tell Asmar Ancient Near East Aleppo Museum, Aleppo, Syria

Hearthstone, 'Antwerp', with narrow frame, with the history of David and Goliath, fireplace stone part ceramics brick, baked Hearth of the Antwerp type with narrow frame representing David who just beheaded Goliath with his own sword (1 Samuël 17: 48v) right two women who welcome David with violin and flute play some trees and shrubs in hilly landscape building history heat old testament bible religion David Goliath music

Fragment of an male limestone votary with an Egyptianizing kilt first half of the 6th century B.C. Cypriot Fragment of large statue, showing a zone of fantastic animals.. Fragment of an male limestone votary with an Egyptianizing kilt 242227

Plaque with Horse Carriage. Culture: China. Dimensions: H. 2 1/4 in. (5.7 cm); W. 4 3/8 in. (11.1 cm). Date: 2nd-1st century B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Viking stele showing Odin's horse Sleipnir. Artist: Unknown

Fragments of an Icon of the Hypapante 12th-13th century Byzantine The prophet Simeon and the prophetess Anna appear together in this fragmentary scene.. Fragments of an Icon of the Hypapante. Byzantine. 12th-13th century. Steatite. Steatites

Tombstone. Umar ibn Ali. Iran, 1101/495 A.H.. Stone. Marble, carved

Fragment sarkofagu z przedstawieniem Erosa i Psyche. warsztat rzymski, workshop

England, Sisley, Headstone depicting an armed knight

Fragment of a Balustrade. Iran, late 13th-early 14th century. Architecture; Architectural Elements. Limestone

Relief with man carrying papyrus bundle ca. 1353-1336 B.C. New Kingdom, Amarna Period. Relief with man carrying papyrus bundle. ca. 1353-1336 B.C.. Limestone, paint (mostly modern). New Kingdom, Amarna Period. From Egypt; Probably originally from Amarna (Akhetaten); Probably from Middle Egypt, Hermopolis (Ashmunein; Khemenu). Dynasty 18

Statue fragment ca. 2112-2004 B.C. Neo-Sumerian. Statue fragment 323753

Hearthstone, from Antwerp Belgium, with narrow frame, with lion in Dutch garden, fireplace stone part ceramics brick, baked Hearthstone of the Antwerp type with narrow frame depicting the Dutch lion with raised sword and shield standing in the Dutch garden with above the year 1608 two standing lions on either side. date 1608 heating building history history Holland

Cylinder seal ca. 15th-14th century B.C. Mitanni. Cylinder seal 324527

Brick decorated with a crocodile. The realism of this structure is often commented on due to the era in which it was created. The creature appears to be floating in the waters of creation, its back mimicking the surface of the earth while its open mouth is suggestive of a cave leading to the world of the dead. From 250-600 A.D.

Cylinder seal and modern impression: man spearing bull; griffin demon; deities above ca. 1820-1730 B.C.. Cylinder seal and modern impression: man spearing bull; griffin demon; deities above 327077

Relief plaque with ram, and on opposite side two feet 400-30 B.C. Late Period-Ptolemaic Period Small Late Period and Ptolemaic reliefs or sculptures that depict a subject in a partial or unfinished way but are themselves finished objects constitute a special class of object. Guidelines like those for artists are often prominently exhibited as part of the object, although, in fact, many instances can be noted where the object simply could not serve as a suitable model for a traditional formal Egyptian representation. Personifications of kingship, figures that may represent the now emerging demigods Imhotep and Amenhotep Son of Hapu, and popular gods like Harpokrates or Isis, are heavily represented within the corpus. Taken together, the figures represented and the other features indicate the reliefs and sculptures of this class, sometimes called by Egyptologists "sculptors models / votives," were the material of a donation practice, perhaps connected with the prolific temple building o

Scenes from the Life of Buddha, AD 100s. Pakistan, Gandhara, Kushan Period (1st century-320). Schist; overall: 68 x 41.3 cm (26 3/4 x 16 1/4 in.).

Cult Relief of Mithras Slaying the Bull(Tauroctony)

Painted limestone funerary slab with a soldier standing at ease 2nd half of 3rd century B.C. Greek A soldier wearing a long blue cloak stands alone, with a spear in his right hand and a tall ovoid shield at his left. Celtic groups from Europe migrated eastward in 279 B.C. and established independent kingdoms in Thrace and central Asia Minor. Known as Galatians, they were used extensively as mercenary soldiers. Inscriptions identifying at least three Galatian soldiers who must have served under the Ptolemies occur on loculus slabs in the rather simple tomb found in 1884.. Painted limestone funerary slab with a soldier standing at ease 247110

Reliefs from the tomb of Meketre ca. 1981-1975 B.C. Middle Kingdom. Reliefs from the tomb of Meketre 668663

Attic relief of Medea and the daughters of Pelion, 5th century BC. Artist: Unknown

Moon Plate'. 4th century AD. Marble plaque (60 x 50 cm) that depicts an aediculae, partly engraved and partly in bas-relief, framing the figure of a crescent moon that has been sunk (in the fourth quarter), and the corresponding title in a moon. The aediculae is raised on a low pedestal edged by a cable at the top. At both ends of the cable are columns with an attic base, with a plinth, a smooth shaft and a composite capital. The temple is crowned by a high triangular pediment, bordered on three sides by a cable. Two small rosettes with sunken four petals are placed in the spandrels. From Merida (Spain). National Museum of Roman Art. Merida, Badajoz province, Extremadura, Spain.

Goddess Bendis and a family group: bust of a child and feasting husband and wife. Inscription in Greek. Stele of Bithys, his wife Zaeka and his daughter Pyrousala. Erected by Bithys in June 229 of the Augustian era. 198 AD. From Vranya, Blagoevgrad region, Bulgaria. National Archaeological Museum. Sofia. Bulgaria.

SARCOFAGO. DEPOSITO: MUSEO EPISCOPAL DE VIC.

Furniture plaque: incised waterbirds. Culture: Old Assyrian Trading Colony. Dimensions: 2.62 x 0.93 in. (6.65 x 2.36 cm). Date: ca. 18th century B.C..This piece belongs to a group of five carved ivory plaques probably found at the site of a palace at Acemhöyük in central Anatolia. Originally, they formed the composition of a falcon with outstretched wings grasping antelopes in its extended talons. The central plaque forms the head and body of the bird, finely carved to indicate the swelling of the breast, the stylized peregrine falcon cheek markings, and the large eyes with holes for inlaid pupils, now missing. Traces of gilding survive on the eyes and beak. The plaque is discolored with a combination of reddish areas, where iron oxides are present on the surface, and a gray hue that indicates the object was exposed to considerable heat, perhaps during the destruction of the palace. Scans of the surface revealed traces of silver in the more intensely red areas, although it cannot be d

Abruzzo, Chieti, Chieti, Museo Nazionale di Antichita, Italy, 20th century, photo, photography, Europe

Unknown author "The leader" circa 1936, bas-relief on marble.

Ax head with design of deity Heh or Shu ca. 1981-1550 B.C. Middle Kingdom-Early New Kingdom. Ax head with design of deity Heh or Shu. ca. 1981-1550 B.C.. Bronze or copper alloy. Middle Kingdom-Early New Kingdom. From Egypt. Dynasty 12-18

Marble votive relief of a horseman 4th-3rd century B.C. Greek Fragment with youth riding to right; part of shield and spear visible in front.. Marble votive relief of a horseman 255419

Mayan stone door post in the form of a seated jaguar; from Chichen Itza, Yucatan, Mexico 900 - 1250 AD

Roman art: Sarcophagus relief representing the production, the ploughing, the sowing, the grinding and the cooking of bread

Relieve romano. Catedral de Santa Tecla de Tarragona.

Relief plaque with Vulture and Cobra on baskets; falcon on opposite. Dimensions: H. 15.2 cm (6 in.); W. 17.7 cm (6 15/16 in.); Th. 1.9 cm (3/4 in.). Date: 400-30 B.C..Small Late Period and Ptolemaic reliefs or sculptures that depict a subject in a partial or unfinished way but are themselves finished objects constitute a special class of object. Guidelines like those for artists are often prominently exhibited as part of the object, although, in fact, many instances can be noted where the object simply could not serve as a suitable model for a traditional formal Egyptian representation. Personifications of kingship, figures that may represent the now emerging demigods Imhotep and Amenhotep Son of Hapu, and popular gods like Harpokrates or Isis, are heavily represented within the corpus. Taken together, the figures represented and the other features indicate the reliefs and sculptures of this class, sometimes called by Egyptologists "sculptor's models / votives," were the material of

Kudurru (stele) of King Marduk-zakir-shumi (852-828 BC). An act of donation to a priest of the temple of Eana of Uruk. Mesopotamia. Limestone. Cuneiforme. Babylon exposore. Louvre. Paris.

Eagle Relief. Culture: Italian. Dimensions: Overall: 11 x 22 1/2 x 5 1/2in. (27.9 x 57.1 x 14cm). Date: 11th century. Museum: Metropolitan Museum of Art, New York, USA.

Cylinder seal and modern impression: lion and sphinx over an antelope ca. 14th century B.C. Cypriot Although engraved stones had been used as early as the seventh millennium B.C. to stamp impressions in clay, the invention in the fourth millennium B.C. of carved cylinders that could be rolled over clay allowed the development of more complex seal designs. These cylinder seals, first used in Mesopotamia, served as a mark of ownership or identification. Seals were either impressed on lumps of clay that were used to close jars, doors, and baskets, or they were rolled onto clay tablets that recorded information about commercial or legal transactions. The seals were often made of precious stones. Protective properties may have been ascribed to both the material itself and the carved designs. Seals are important to the study of ancient Near Eastern art because many examples survive from every period and can, therefore, help to define chronological phases. Often preserving imagery no longer e

Cylinder seal ca. 15th-14th century B.C. Mitanni. Cylinder seal 324510

Horses Harnessed to a Chariot. Dimensions: H. 22.9 (9 in); W. 52.1 (20 1/2 in); Th. 3.8 cm (1 1/2 in). Dynasty: Dynasty 18. Reign: reign of Akhenaten. Date: ca. 1353-1336 B.C..Numerous representations of horse-drawn chariots are included in the official scenes at Amarna. Both the king and queen are shown driving themselves in what appears to be a mad dash to the Great Temple, their attendants racing behind. In its way, the arrival by chariot, in the view of the populace, constitutes a kind of procession that replaces the processions of divine images in traditional Egyptian religion. Throughout Egyptian history, artists took great care in depicting animals, a tradition that was continued and expanded during the Amarna period. On this fragment, a pair of horses are at rest, probably waiting outside the entrance to the temple. The artist has depicted the instant one horse nibbles at its leg. This capturing of a moment in time, though not found exclusively in the art of Amarna, probably

Tombstone (lower section). Iran, probably Nishapur, second half of 10th century. Stone. Alabaster, carved

TAPA DE SARCOFAGO PALEOCRISTIANO DE CAMENO. DEPOSITO: MUSEO PROVINCIAL DE BURGOS.

COLGANTE CON LA CABEZA DEL DIOS BES GRABADA (AJUAR PUNICO). DEPOSITO: MUSEO PUIG DES MOLINS.

Fragment of base of coffin ". Marble. China, East Wei dynasty. Paris, Cernuschi museum. 72199-53 FRANTASTICAL Animal, Chinese art, coffin, Wie East dynasty, dragon, fragment, marble, base, archeological vestige

Plinth of kouros statue depicting players with sticks and ball, known as ""Hockey players"", Relief from Kerameikos necropolis in Athens, Greece

Umbria Terni Terni Palazzo Carrara5. Hutzel, Max 1960-1990 Post-medieval: Architecture (17th century); Frescoes (17th century); coffered wooden ceiling Antiquities: Roman sarcophagi, cinerary urn, gravestones, lions, and an inscribed plaque from Terni's amphitheater. (All located on the ground floor of the Palazzo Carrara). Object Notes: Unable to locate any negatives for these prints. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Columbarium Tomb Plaque with the Monogram of Christ, 400-800. Spain (Visigothic or Byzantine). Terracotta; overall: 32.4 x 20.8 cm (12 3/4 x 8 3/16 in.).

Lintel with Garuda, 875-925. Cambodia, Preah Ko, possibly from Kok Po, Prasat D, late 9th-early 10th Century. Sandstone; overall: 52.6 x 118.1 x 17.8 cm (20 11/16 x 46 1/2 x 7 in.). Garuda is half man, half eagle, and the mount of Vishnu. His nose is beaklike, and his wings are carved in an exuberant foliate manner, like the swirling leaves that grow from the stem that arches across the middle of the panel. The vegetation yields female figures and jewels before it resolves itself into the heads of a cobra. Garuda is the natural enemy of the serpents, so he holds their tails in check. This decorative lintel is carved in the style of those made for a temple dedicated to the past kings of the Khmer territories. Derived from Indias use of purifying life-affirming imagery around doorways, this Garuda lintel has been rendered in a distinctively Khmer style.

Fireplace with Daniel's representation, who subjects the two elders from the history of Suzanna separately to a hearing. Fireplace with Daniel's representation, who subjects the two elders from the history of Suzanna separately to a hearing.

Rock relief of local Hittite ruler paying homage to the god of fertility, dating from the 8th century BC, Ivriz, Anatolia, Turkey, Asia Minor, Eurasia

Magical Figure. Dimensions: H. 6.6 cm (2 5/8 in.); W. 3.5 cm (1 3/8 in.). Dynasty: Dynasty 13-SIP. Date: ca. 1802-1550 B.C..These tablets of unfired clay with attached crude faces were found as a group by the Museum's excavators at Lisht South in loose surface sand west of the mastaba of Senwosretankh, a high official and possibly the architect of the pyramid complex of Senwosret I (ca. 1961-1917 B. C.), east of which he erected his own very elaborate mastaba tomb (see acc. nos. 33.1.2 and other pieces). The mud figures and little coffin (acc. no. 33.1.66) that had contained some of them must have been buried, however, considerably later than the early twelfth dynasty tomb close to which they were found. In fact, during the thirteenth and following dynasties people deposited a number of objects in the by then sacred area around a legendary ruler's pyramid and its dependant monuments, believing conceivably that potent magical powers could thus be released. These flat mud figures, for i

Niche carved on a fragment of the shaft of a Roman column. Decorated with a large gadrooned scallop, under which is depicted a cross pattée. Marble. 7th century. From the Church of San Andrés (Church of St Andrew), Toledo, Spain. Museum of Visigoth Councils and Culture. Toledo, Castile-La Mancha, Spain.

Funerary Cone of the Steward of Amun Senenmut ca. 1479-1458 B.C. New Kingdom This cone has the impression of a stamp seal inscribed for the Steward of Amun Senenmut, owner of Theban tomb 71, who was also Steward of Hatshepsut's daughter, Princess Neferure, prophet of Amenuserhat (a boat), and overseeer of the cattle of Amun. For a drawing of this impression see http://www.funerarycones.com/, number 84.. Funerary Cone of the Steward of Amun Senenmut Funerary Cone of the Steward of Amun Senenmut ca. 1479-1458 B.C. New Kingdom This cone has the impression of a stamp seal inscribed for the Steward of Amun Senenmut, owner of Theban tomb 71, who was also Steward of Hatshepsut's daughter, Princess Neferure, prophet of Amenuserhat (a boat), and overseeer of the cattle of Amun. For a drawing of this impression see http://www.funerarycones.com/, number 84.. Funerary Cone of the Steward of Amun Senenmut. ca. 1479-1458 B.C.. Pottery. New Kingdom. From Egypt, Upper Egypt, Thebes. Dynasty 18

A quadriga (chariot drawn by four horses) made from fired clay, from the Punic city of Kerkouane, in the north-eastern region of Tunisia. Once a thriving Phoenician metropolis, Kerkouane became a ghost town when its inhabitants abandoned it while battling the invading Roman Empire. This Phoenician city was probably abandoned during the First Punic War (c. 250 BC) and, as a result, was not rebuilt by the Romans. It had existed for almost 400 years.

GLIFO DE BLOCKS PROCEDENTE DE PALENQUE -19,7 x 20,8 x 15,3 - CARTUCHO GLIFICO DE EST. Location: MUSEO DE AMERICA-COLECCION. MADRID. SPAIN.

LUCHA DE DOS CABALLEROS Y PERSONAJE DESQUIJANDO UN LEON - CARA OPUESTA DEL SARCOFAGO DE DOÑA SANCHA - SIGLO XII - ROMANICO ARAGONES. Author: MAESTRO DE DOÑA SANCHA. Location: REAL MONASTERIO DE BENEDICTINAS. Jaca. SPAIN.

Warrior from Osuna. Relief made of limestone. Iberian art. 3th century B.C.. Madrid, National Museum of Archeology. Location: MUSEO ARQUEOLOGICO NACIONAL-COLECCION. MADRID. SPAIN.

Cylinder seal ca. 14th-12th century B.C. Cypriot. Cylinder seal 321393

Horse blinker carved in relief with a seated sphinx ca. 8th century B.C. Assyrian The craftsmen who carved ivories in the Phoenician style were strongly influenced by Egyptian art. Many of these ivories illustrate Egyptian themes and motifs, but in entirely original compositions. Phoenician-style ivories were used primarily as furniture decoration. Some are solid plaques; others are carved on one or both sides in a delicate openwork technique. Many were originally covered with gold leaf and inlaid with semiprecious stones or colored glass.Elaborate horse trappings, including frontlets and blinkers such as this one, were sometimes crafted from ivory and are represented on Assyrian reliefs. This spade-shaped horse blinker is decorated in low relief with a seated sphinx wearing the Egyptian cobra, or uraeus, and sun disk on its head. Another winged uraeus and sun disk faces the sphinx to its left. Behind the sphinx is a cartouche attached to a lotus plant. The hieroglyphic inscription ins

Facade stone The Three Herrings, facing brick sculpture sculpture building stone hard stone stone 86.5, sculpted Stone stone with top leaf motifs around frame and ribbon with text. In the middle of each other: three crocheted herrings On the ribbon: THE THREE HARINGEN Leuvehaven Rotterdam City Triangle war World War II bombardment Leuvehaven Rotterdam from rubble after the bombing of May 1940.

Relief Panel with Two Griffins Drinking from a Cup. Culture: South Italian. Dimensions: Overall: 29 3/8 x 51 3/4 x 2 1/4 in. (74.6 x 131.4 x 5.7 cm). Date: late 9th-early 10th century.The mythical griffin, a creature with the head and wings of an eagle and the body of a lion, often appeared in Christian contexts. The representation of two confronted griffins is derived from ancient Near Eastern art, and the composition of this relief was probably based on imported textile designs. Another panel in Sorrento depicts griffins in a similar style, suggesting both came from the Old Cathedral there. They probably were part of the choir screen, the partition separating the altar area from the rest of the church. Museum: Metropolitan Museum of Art, New York, USA.

Votive altar dedicated to the god Mars (depicted figure) by Marcus Coelius Celsus, most certainly a Roman legionary. 2nd century AD. Torre de Palma, Vaiamonte (ancient province of Lusitania). National Archaeology Museum. Lisbon. Portugal.

Terracotta plaque with King Oinomaos and his charioteer. Culture: Roman. Dimensions: H. 14 1/2 in. (36.8 cm.). Date: 27 B.C.-A.D. 68.Relief with King Oinomaos and his charioteer Myrtilos. Museum: Metropolitan Museum of Art, New York, USA.

Bandbox Cover Fragment (USA); block-printed on handmade paper, pasteboard support; 38.5 x 39.5 cm (15 3/16 x 15 9/16 in.)

Base of a column with a sacrifice scene. From the Temple of Artemis. Greek art. Relief on rock. TURKEY. MARMARA. IZMIR. Seluk. Ephesus Archaeology Museum. Proc: TURKEY. MARMARA. IZMIR. Seluk. Ephesus.

roman lion, Archeological Museum. Úbeda, Jaén province, Andalusia, Spain.

fragment of a sarcophagus of pharaoh Merenptah, calcareous stone, dynasty, XIX, 1213-1203 a. C., Tomb of Merenptah, Valley of the Kings, Thebes, Egypt, collection of the British Museum.

Cornice Relief 4th-7th century Coptic. Cornice Relief 475134

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Stone capital with scenes from the life of St Peter, one of the patron saints of the Cluniac order. Dated 1125 AD

Magical Figure ca. 1802-1550 B.C. Late Middle Kingdom-Second Intermediate Period These tablets of unfired clay with attached crude faces were found as a group by the Museum's excavators at Lisht South in loose surface sand west of the mastaba of Senwosretankh, a high official and possibly the architect of the pyramid complex of Senwosret I (ca. 1961-1917 B. C.), east of which he erected his own very elaborate mastaba tomb (see acc. nos. 33.1.2 and other pieces). The mud figures and little coffin (acc. no. 33.1.66) that had contained some of them must have been buried, however, considerably later than the early twelfth dynasty tomb close to which they were found. In fact, during the thirteenth and following dynasties people deposited a number of objects in the by then sacred area around a legendary ruler's pyramid and its dependant monuments, believing conceivably that potent magical powers could thus be released. These flat mud figures, for instance, are inscribed in now much-faded red

Capital with Acanthus Leaves 6th-7th century In the 500s Apa (Father) Jeremias founded a Coptic monastery at Saqqara, the ancient Egyptian necropolis (cemetery) of the city of Memphis, near the oldest pyramids. He and the earliest monks lived in tombs at the site. As the monastery grew, several grand churches with lavish decoration were built, as well as many chapels, public buildings, and complexes of cells (rooms) for each monk. The monastery continued to grow after the Arab conquest with materials from early Byzantine tomb structures being reused for additional monastic structures. Inscriptions record prayers to numerous holy figures. Sculptural elements from Saqqara are often carved with deeply undercut patterns to intensify the play of light and shadow and to mask the solidity of the architecture. This sculptural style was popular throughout the Byzantine world in the 500s.. Capital with Acanthus Leaves 446120

Monster Caryatid, late 500s. China, from Xiangtangshan, Six Dynasties period (317-581), Northern Qi dynasty (550-577). Stone; overall: 28 x 40 cm (11 x 15 3/4 in.).

Lintel with Anthropomorphic Dragon in Foliage mid-7th century Central Cambodia This lintel once graced the east entrance to an early Khmer brick sanctuary. Its uniqueness lies in its decoration, given to a single motif: a glaring, fearsome monster face with anthropomorphic arms and hands, emerging from luxuriant foliage. Where did such a creature originate The protective kirttimukha (face of glory) is an ancient motif in Indian art. This mask also hints at Chinese dragons, such as the monster-faced anthropomorph in funerary sculpture of the Northern Qi and Sui dynasties (6th-7th century). This rare Khmer rendering of a monster mask is among the earliest known in a Southeast Asian context.cat. no. 18. Lintel with Anthropomorphic Dragon in Foliage 38315

Estela 9 de Yaxchilán (600-800d.c), procedente de Chiapas. Museo Nacional de antropologia. Estado de Mexico D.F. Mexico.

Grave Stele of Antonina. Unknown

Painted limestone funerary slab with a soldier and two girls. Culture: Greek. Dimensions: Other: 16 1/2 × 9 5/8 × 3 7/8 in. (41.9 × 24.4 × 9.8 cm)Other (Panel): 7 1/4 × 6 3/4 in. (18.4 × 17.1 cm). Date: 2nd half of 3rd century B.C..The soldier, in a long blue cloak, stands at the right and clasps the hand of a small girl. Behind her another girl raises her hand in a gesture of farewell. These may well represent the soldier's children, indicating that the mercenaries settled in Alexandria and raised families. Museum: Metropolitan Museum of Art, New York, USA.

White marble slab with relief depicting a dromedary, 2nd-3rd century

Chavín nailed head Chavín culture 900 BC-200 BC Perú.

Panel fragment with winged sphinxes and rosettes. Culture: Iran. Dimensions: 1.06 x 4.17 in. (2.69 x 10.59 cm). Date: ca. 8th-7th century B.C.. Museum: Metropolitan Museum of Art, New York, USA.

The Benin Empire (1440-1897) was a pre-colonial African state in what is now modern Nigeria. It is not to be confused with the modern-day country called Benin (and formerly called Dahomey). Manillas are penannular armlets, mostly in bronze or copper, very rarely gold, which served as a form of commodity money (and, to a degree, ornamentation) among certain West African peoples (Aro Confederacy, Guinea Coast, Gold Coast, Calabar and other parts of Nigeria, etc.). This form of African currency also became known as 'slave trade money' after the Europeans started using them to acquire slaves for the slave trade into the Americas.

Reclining female figure on a bed. Dimensions: L. 17.2 cm. (6 3/4 in); w. 6.5 cm (2 9/16 in). Dynasty: Dynasty 18. Date: ca. 1550-1295 B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Sandstone sacrificial altar, Tel Beersheba. Dated 8th Century B.C

A tile with a representation of an angel Herbing shield Poronia Greater Poland Museum, Poznań

Iberian ashlars. Woman with tunic. Osuna 2nd century BC.Osuna (Seville). Spain. Ibero-roman. National Archaeological Museum, Madrid. Spain.

Tombstone from the epitaph; II century AD (101-00-00-200-00-00);

Stela of Raneb ca. 2880 B.C. Early Dynastic Period This stela is inscribed with the Horus name of the second king of Dynasty 2, Raneb (or Nebra). A king's Horus name is written within a rectangular device called a serekh, which is the composite view of a building from the side and the top. The lower part depicts the niched facade associated with royal structures; the upper part represents the building's interior, or perhaps its courtyard in plan-view. The whole is surmounted by a falcon representing the god Horus and implying the king's identity with this important deity. Judging from preserved inscriptions, the Horus name is the most commonly used designation for the earliest Egyptian kings from Dynasty 0 into Dynasty 3.Ranebs stela is one of a series of royal name stelae dating to Dynasties 1 and 2. Most of these come from the royal cemeteries of Abydos in southern Egypt, and all but two are carved from relatively soft limestone. Raneb's granite stela is the earliest surviving examp

BICHA DE BALAZOTE - SIGLO VI AC - CALIZA - 93x73 - ESCULTURA IBERICA. Location: MUSEO ARQUEOLOGICO NACIONAL-COLECCION. MADRID. SPAIN.

Seated limestone kourotrophos 2nd half of the 5th century B.C. Cypriot Statue of "nursing mother" seated on a high-backed throne.. Seated limestone kourotrophos 242063

Reliëf van klei met zegewagen bespannen met paarden.Relief in the style of the Italian Renaissance, representing a stroller tensioning with two horses. At the car seat four allegorical women's spons and the feeder. The relief is made of clay.

Sagittarius centaur between two harpies, porticoed gallery, Church of San Pedro Apóstol, Romanesque, 12th century - National Historic Artistic Monument -, Caracena, Soria, Spain.

Stela relief depicting a male figure in a pedestal with offerings in a niche. Above, two birds and a Tanit Goddess holding a cornucopia. At the top, the moon and sun. Limestone. 2nd century BC. Possibly from Ghorfa (central Tunisia). British Museum. London. England. United Kingdom.

Basalt relief of an eagle, a preeminent symbol for the sun. Dated 13th Century AD

Furniture plaque carved in relief with striding man ca. 9th-8th century B.C. Assyrian This ivory panel was found in a storage room in Fort Shalmaneser, a royal building at Nimrud that was used to store booty and tribute collected by the Assyrians while on military campaign. Like many other panels from the same storage room, it was part of a chair or couch back or the headboard of a bed. Twenty pieces of furniture were discovered stacked in orderly rows in this room, where they had been stored before the destruction of the Assyrian palaces in 612 B.C. Shown here is a bearded male figure wearing a long robe belted at the waist over a short skirt, striding forward on bare feet, with both arms extended toward the tendrils of a plant that surrounds him. His left hand reaches up to pluck a cluster of fruit from an upper branch, and with his right he grasps the curving stem. The figures association with thriving vegetation suggests concepts of abundance and fruitfulness connected with the ag

Dish with Drunken Herakles Embracing Two Women 1st century Pakistan (ancient region of Gandhara) This dish from the ancient region of Gandhara dates from the second century B.C. to the first century A.D. International trade with the Hellenistic world and India as well as invasions into Gandhara by the Scythians, Parthians, and Kushans brought many new stylistic idioms that shaped the stylistic vocabulary of these objects. Similar dishes were found in the Gandharan city of Sirkap (Taxila) in contexts that suggest they were used for domestic rituals, perhaps to ensure a positive afterlife.. Dish with Drunken Herakles Embracing Two Women. Pakistan (ancient region of Gandhara). 1st century. Schist. Sculpture

Facing brick with date 1607, from the Barendrechtse sluis on the Maas, facing brick foundation stone building stone limestone 18.0, minced Rectangular top and bottom in soft arc frame and year in high relief. 1607 Rotterdam Charlois polder Robbenoord and Plompert Waalhaven Maas lock From the Barendrechtse sluis (Charloise sluice), formerly the polders Plompert and Robbenoord emerged. Now lies the Waalhaven here.

Capitel de la Abadía de Saint-Michel de Cuxa, Francia, siglo XII.

Maya Column. Columns with standing figure. Mexico; Maya. Late 8th-9th century. Stone. Height 68.5 inches. Columns with carved relief figures are not common in Maya architecture.

Lazio Viterbo Viterbo Museo Civico09. Hutzel, Max 1960-1990 Views of paintings (Middle Ages through 18th c.), frescoes, a tabernacle, coffin, sculpture reliefs, portal fragments, busts, sculpture, tapestry found in the Pinacoteca, Second floor gallery and Second floor cloister sequences. Antiquities: Many views of Etruscan and Roman fragments, sculpture, sarcophagi, pottery, masks, jewelry and other objects found in the Storeroom sequence (inventory numbers on back of prints), and the Cloister, Second floor Cloister, Valle Giulia, Sala Romana and Sala Etrusca sequences. General Notes: There are eight separate numerical sequences for this location. The cloister as an architectural structure, rather than museum site, is documented in the record and file for S. Maria della Verita, Cloister, all views of which are stored in Medieval core collection. Five views from the Museo Civico Second floor cloister sequence are stored in Medieval. German-born photographer and scholar Max Hutzel (1911-

Carved Stucco Panel from Between Two Arches 10th century This large fragment was found in the rubble of a structure excavated at Nishapur in the mound known as Vineyard Tepe. Only a very small section of the mound was uncovered, but this revealed part of a grand building with substantial architectural ornamentation. It is likely that this building was destroyed by an earthquake in the year 1145 and never rebuilt.The fragment itself reveals more about the form of the Vineyard Tepe building. Its shape suggests that it probably came from an arcade, or row of arches set atop columns. Here, the extrados (outer faces) of two arches are preserved, each decorated with a continuous band of blossoms flanked by half-palmette leaves. Several other arch fragments were found alongside this one in the same room. Given this evidence, it is possible that the space was originally domed or otherwise vaulted.. Carved Stucco Panel from Between Two Arches 450113

Vulcan Forging the Arrows of Cupid. Dated: late 15th - early 16th century. Dimensions: overall: 6 x 5.8 cm (2 3/8 x 2 1/4 in.). Medium: gilt bronze//(much abraded). Museum: National Gallery of Art, Washington DC. Author: Attributed to Pseudo Melioli.

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