Ancient Hellenistic Egypt Greek Gold Hairnet Rings Earrings Cleopatra Ptolemy

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Seller: ancientgifts (4,781) 100%, Location: Lummi Island, Washington, Ships to: Worldwide, Item: 123260549476 Greek Gold from Hellenistic Egypt by Michael Pfrommer. NOTE: We have 75,000 books in our library, almost 10,000 different titles. Odds are we have other copies of this same title in varying conditions, some less expensive, some better condition. We might also have different editions as well (some paperback, some hardcover, oftentimes international editions). If you don’t see what you want, please contact us and ask. We’re happy to send you a summary of the differing conditions and prices we may have for the same title. DESCRIPTION: Softcover. Publisher: J. Paul Getty Museum (2001). Pages: 90. Size: 9¼ x 7½ inches; 1 pound. In the Hellenistic period, the Greek world enjoyed great prosperity after Alexander the Great's conquest of the Persian Empire made vast resources of gold available for the first time. The various royal courts of Alexander's successors, including the Ptolemies in Egypt, comprised a wealthy clientele with a taste for luxury. The group of gold jewelry discussed here-including earrings, finger rings, bracelets, beads, and a hairnet-consists of seventeen spectacular pieces from the Getty Museum. The author takes us on a journey through three centuries, beginning about B.C. 350, from the empire-building Alexander to the beguilingly ambitious Cleopatra VII. This sweep through the turbulent history of the eastern Mediterranean gives a picture of the Greek-Egyptian blending of religion and art. The author demonstrates how the symbolism of dynastic power plays a central role in the interpretation of each object and in understanding the assemblage as a whole. Discussing their style, iconography, and craftsmanship, he convincingly places the jewelry in late third-century-B.C. Ptolemaic Egypt and argues for the original owner's royal connections. CONDITION: NEW. New oversized softcover. J. Paul Getty Museum (2001) 90 pages. Still in publisher's wraps. Unblemished, unmarked, pristine in every respect. Pages are pristine; clean, crisp, unmarked, unmutilated, tightly bound, unambiguously unread. Satisfaction unconditionally guaranteed. In stock, ready to ship. No disappointments, no excuses. PROMPT SHIPPING! HEAVILY PADDED, DAMAGE-FREE PACKAGING! Meticulous and accurate descriptions! Selling rare and out-of-print ancient history books on-line since 1997. We accept returns for any reason within 14 days! #3106a. PLEASE SEE DESCRIPTIONS AND IMAGES BELOW FOR DETAILED REVIEWS AND FOR PAGES OF PICTURES FROM INSIDE OF BOOK. PLEASE SEE PUBLISHER, PROFESSIONAL, AND READER REVIEWS BELOW. PUBLISHER REVIEWS: REVIEW: Because the true provenance of this splendid gold jewelry in the J. Paul Getty Museum is unknown, the mystery of exactly what it is must be solved. Why are these lovely ornaments called Greek gold? How do we know they must have been produced in Egypt during Hellenistic times, the period that coincides with the Ptolemaic dynasty? Was the owner simply a wealthy member of society? A member of the court? Or a priestess? The journey through three centuries, beginning about 350 B.C., takes us from the empire-building Alexander the Great to the beguilingly ambitious Kleopatra VII, along the way providing answers to those questions. This sweep through the turbulent history of the eastern Mediterranean gives a picture of the Greek-Egyptian blending of religion and art. Although much is left to the imagination, the basic facts do come to light, and the facets and surfaces of the Getty’s golden treasure enrich us with new understanding. "Greek Gold from Hellenistic Egypt" is part of the Getty Museum Studies on Art series, which is designed to introduce individual artworks or small groups of related works to a broad public with an interest in the history of art. Each monograph is written by a leading scholar and features a close discussion of its subject as well as a detailed analysis of the broader historical and cultural context in which the work was created. REVIEW: “Greek Gold from Hellenistic Egypt” is part of the Getty Museum Studies on Art Series, which is designed to introduce individual works of art or small groups of related works to a broad public with an interest in the history of art. Each monograph is written by a leading scholar and features a close discussion of its subject as well as a detailed analysis of the broader historical and cultural context in which the work was created. The Getty Museum Studies on Art series is also intended to give readers a sense of the range of approaches that can be taken in analyzing works of art that some from a wide range of periods and cultures. Determining the original setting for the spectacular pieces of gold jewelry that make up the present assemblage is at the core of Michael Pfrommer’s discussion. He bases his arguments on clues contained in the objects themselves: their style, iconography, and craftsmanship. Pfrommer demonstrates how the symbolism of dynastic powers plays a central role in the shape of each object, and in the assemblage as a whole. With that in mind he convincingly places the jewelry in Ptolemaic Egypt and argues for the original owner’s royal connection, perhaps as a priestess for a royal cult. REVIEW: In the Hellenistic period, the Greek world was flooded with gold. Greece itself had few sources of this precious metal, and they had been depleted by the late Classical period. Alexander the Great's conquest of the Persian Empire, which included Egypt, made vast resources of gold available for the first time. The various royal courts of Alexander's successors, including the Ptolemies in Egypt, comprised a wealthy clientele with a taste for luxury, which, in combination with this new abundance of gold, led to an immense outpouring of gold jewelry. This spectacular assemblage may have belonged to an important and wealthy woman in Ptolemaic Egypt. It comprises a hairnet with an image of Aphrodite and Eros; a diadem with an elaborate Herakles knot; two pairs of hoop earrings with antelope-head finials; a pair of disk pendant earrings with a figure of Eros; one pair of upper-arm bracelets in the form of a coiled snake; one pair of wrist bracelets in the form of coiled snakes; two rings inset with intaglios, one representing Artemis, the other Fortuna holding a double cornucopia; 28 miscellaneous beads and one stud; and a string of gold beads in the shape of cowrie shells. REVIEW: A discussion of the style, iconography and craftsmanship of 17 spectacular pieces of gold jewelry from Ptolemaic Egypt, dating from the late-3rd century BC. The pieces include earrings, bracelets, beads and a hairnet. The author places the pieces in their historical and iconographic context with special emphasis on the pieces as expressions of dynastic power. REVIEW: TABLE OF CONTENTS: Foreword by Marion True. Map. Chronology. Introduction. The Jewelry. Alexander the Great: A New God in Egypt. Alexandria, a New City in an Old World. The God of Love as King of Egypt. Powerful Queens: From Arsinoëaut; II to Kleopatra VII. Religion: One Language for Two Civilizations. At the Brink of Disaster: The Golden Treasure in Its Historical. Perspective. Bibliography. Ptolemaic Dynasty. Acknowledgments. REVIEW: A specialist in Hellenistic metalwork, Michael Pfrommer is Associate Professor of Classical Archaeology at the University of Trier in Germany and the author of “Metalwork from the Hellenized East”. REVIEW: Michael Pfrommer was for several years at the German Archaeological Institute in Istanbul and is now associate professor of classical archaeology at the University of Trier in Germany. His areas of specialty are Ptolemaic Egypt and Hellenistic jewelry and metalwork, about which he has published several monographs. PROFESSIONAL REVIEWS: REVIEW: "Greek Gold from Hellenistic Egypt" by Michael Pfrommer is a slim but handsome monograph published by the J. Paul Getty Museum as part of its Studies of Art series. The author, a specialist in Hellenistic metalwork, is associate professor of classical archaeology at the University of Trier in Germany and the author of a previous work, Metalwork from the Hellenized East. Pfrommer was invited to the Getty when the museum acquired a spectacular collection of Hellenistic gold jewelry from the private collectors Lawrence and Barbara Fleischman. The pieces included a magnificent hairnet mounted on a cushion of rose-colored satin, two bracelets of intertwined snakes followed by a large, heavy pair of amulets, each formed by a single coiled serpent, a diadem and two large finger rings, one decorated with an image of Artemis, the other with an image of Tyche. Beads of gold and semiprecious stones and several gold cowrie shells completed the rare assemblage. These treasures were exhibited to the public for the first time during the symposium on Alexandria and Alexandrianism held at the Getty in 1993. It was on that occasion that Pfrommer first saw the collection. "His interest in the exquisite workmanship and his appreciation for the unusual imagery were so immediately apparent that we invited him to take on the initial publication of this collection," said the museum's Curator of Antiquities. Pfrommer, joined by Jack Ogden, an English expert on ancient jewelry, established that all the pieces in the collection were of Hellenistic Egyptian workmanship, circa 350 B.C. Pfrommer not only proves this in GREEK GOLD FROM HELLENISTIC EGYPT, but takes the reader on a journey through three centuries ranging from the empire-building Alexander to the beguilingly ambitious Cleopatra VII. A collection of "such importance raises many questions, particularly what is it and where did it come from," writes Pfrommer. "Was it formerly part of the splendor of a temple, where it perhaps decorated the statue of a goddess? Were the golden hairnet and the shining stephane ornaments for the hair of a priestess? Were the images of deities symbols of piety, or were they symbols of wealth? Were the delicate hoop earrings and the coiled snake amulets and bracelets affectionate gifts to a mother or sister, or were they intended to adorn her on her last journey-- to the funeral pyre--or to comfort her with earthly riches in the tomb? "Could the jewelry have been worn at royal festivities to glorify the monarchy? Or could these pieces have been symbolic of the increasing wealth of a city on the rise? Is the treasure perhaps the last vestige of a tragedy? Was the jewelry worn by a victim of war or plunder or death? Did the onetime owner hide the gold so well that its whereabouts remained unknown after her demise? Is it a modern assemblage or an ancient treasure? Was it chance that restored the golden treasure to modern wonder--and to all the questions and close examination?" Pfrommer answers these and other related questions in his smoothly written, erudite and copiously illustrated book (34 color & 41 b&w plates). In a mere 64 pages of text, he not only delivers a lesson in history and art, but plays the detective. In all, it's a remarkable performance on his part, one that will captivate even those with just a passing interest in antique jewelry. REVIEW: The jewelry that forms the subject of this little book seems to have made its first appearance as an after-dinner treat at the home of collectors Lawrence and Barbara Fleischman. Curator Marion True recalls in her preface: "As we seated ourselves in the library, Larry produced a small, brown paper bag. From the crumpled sack he lifted out one tissue-wrapped object after another and laid them on the table, then slowly he began to unwrap each piece..." True confesses to a severe attack of envy as she watched object after object emerge; if only she could have them for the Getty Museum! In 1993, when the owner decided to sell, her ardor had not cooled, and the Getty acquired a golden stephane, a hairnet, two bracelets and two armlets, three pairs of earrings, two rings, and assorted beads of gold and semi-precious stone. Michael Pfrommer presents them here in the Getty Museum Studies on Art series, "designed" (according to the jacket blurb) "to introduce individual works of art or small groups of related works to a broad public with an interest in the history of art." After a page and a half of introduction, the book is divided into seven sections. The first ("The Jewelry") gives a streamlined description of the pieces, replacing the catalogue of a scholarly work. The second ("Alexander the Great: A New God in Egypt") provides historical background, tracing Alexander's conquest of Egypt and the establishment of the Ptolemaic dynasty. Each of the remaining chapters revolves around one type of artifact, which Pfrommer attempts to situate within an ancient Alexandrian context and to weave into a history of Hellenistic Egypt. Pfrommer sketches the splendor of the ancient city in "Alexandria, a New City in an Old World." He stresses that the ruling culture was essentially Greek or Macedonian and that explicitly Egyptian elements were few. This provides an introduction to the jewelry (which is wholly Greek in character) and leads into a discussion of the stephane and its iconography. Pfrommer sees the Herakles knot, torches, and ivy that decorate the stephane as reflections of the Ptolemaic claim of descent from Herakles and Dionysos, and further suggests that the original owner of the jewelry was a priestess of one of the cults of the Ptolemaic queens. He turns to the more elaborate of the three pairs of earrings in a short chapter entitled "The God of Love as King of Egypt." (The other two pairs, of the common antelope-head type, are not discussed.) Each earring has a pendent Eros carrying a torch in his left hand; according to Pfrommer they also carry flutes, but this is perhaps an error in translation, for they clearly hold phialai in their right hands (and are so described in the first chapter). He points out that if Aphrodite is the equivalent of Isis, then Eros is the equivalent of Horus, the god that the Egyptian pharaoh embodied; and he links the bull heads that appear atop the earrings with the cult of the Apis bull. In "Powerful Queens: From Arsinoe II to Kleopatra VII" P turns to the two rings, each of them featuring an intaglio gem depicting a goddess: Tyche in one case, Artemis in the other. The double cornucopia of the former points to the Ptolemaic queens, especially Arsinoe II, for whom the symbol is said to have been invented, and Pfrommer maintains that this a portrait of the queen herself in the guise of the goddess -- an impersonation that the queens also carried out on the faience oinochoai that were used in the service of their cult. The Artemis, too, is identified as Arsinoe II on the basis of the large eye and long nose -- although, since these features are miniscule, one may be permitted to doubt. A stipulation of the Decree of Canopus that royal priests should be recognized by their rings further suggests an association of the jewelry with dynastic cult. The chapter is fleshed out with colorful anecdotes about other Ptolemaic queens, especially Berenike II, Arsinoe III, and, of course, Kleopatra VII. The elaborate hairnet is the focus of "Religion: One Language for Two Civilizations." Its central medallion, representing Aphrodite and Eros, is taken as a reference to a Ptolemaic queen and her child; her melonenfrisur is supposed to evoke Arsinoe II, the flowing tresses on her breast the dedicated lock of Berenike II, though the absence of royal insignia forces P to stop short of calling this a portrait. Eight small masks that link chains of the net bring us back to Dionysos. They are indeed Dionysiac, but not, I think, satyr, silen, Dionysos, and perhaps maenad, as Pfrommer identifies them; rather, they represent the standard new comedy mask types of the slave, old man, youth, and kore respectively. The theater reminds P of Mark Antony's impersonation of Dionysos and provides a segue to the dramatic career of Kleopatra VII. The final section ("At the Brink of Disaster: The Gold Treasure in its Historical Perspective") speculates further on the identity of the owner of the jewelry and its possible provenience. The human scale and mixed iconography argue against its use as ornament for a cult statue, and Pfrommer concludes that "there can hardly be any doubt that the owner of the jewelry must have belonged in the circle of Ptolemaic nobility"; he characterizes her as "an upper-class lady with court connections," perhaps even "one of the so-called relatives of the king" (59-60). The redundant pairs of earrings and armlets argue against a tomb-group, which would probably contain only one set of jewelry; the objects, then, are mostly likely a hoard, secreted by its owner in a time of peril. P also concludes that the assemblage is not complete, since necklaces with animal-head terminations are absent. He ends by summarizing some of the events of the turbulent period from the late 3rd to the middle of the 2nd century that could have caused the owner to hide the jewelry. The book is lavishly illustrated with many fine color pictures of the jewelry (including many details at greater than natural size), as well as of other objects discussed in the text. There is a meaty bibliography, organized by topic, at the end, and a detailed chronology at the beginning. The author is a learned man and a prolific scholar, a specialist in the field of Hellenistic jewelry and plate, and widely read in Hellenistic art and history; the text accordingly is dense and full of information. REVIEW: Although much is left to the imagination, the basic facts do come to light, and the facets and surfaces of the Getty's golden treasure enrich us with new understanding. READER REVIEWS: REVIEW: This is a very well produced Getty Museum paperback catalogue describing in great detail with many photographs and diagrams a small collection of 12 items of Hellenistic jewelry thought to have been made in Egypt, rather than from Greece or the Black Sea area, whence many items have been recovered from graves and burial mounds, to be seen in Athens, and the Hermitage in St Petersburg. Interesting for the specialist, as I was unaware that this type of jewelry was made in Egypt as well as the usual regions, though as the source of the collection is unknown, the Egyptian origin is deduced, not proven. REVIEW: Very beautiful book with interesting jewelry. This book features unique pieces that I have not seen before. REVIEW: Five stars! Well written overview, compact. REVIEW: Lovely, beautiful, I really enjoyed it. Such exquisite ancient jewelry! I always ship books Media Mail in a padded mailer. This book is shipped FOR FREE via USPS INSURED media mail (“book rate”). All domestic shipments and most international shipments will include free USPS Delivery Confirmation (you might be able to update the status of your shipment on-line at the USPS Web Site) and free insurance coverage. A small percentage of international shipments may require an additional fee for tracking and/or delivery confirmation. If you are concerned about a little wear and tear to the book in transit, I would suggest a boxed shipment - it is an extra $1.00. Whether via padded mailer or box, we will give discounts for multiple purchases. International orders are welcome, but shipping costs are substantially higher. Most international orders cost an additional $9.99 to $37.99 for an insured shipment in a heavily padded mailer, and typically includes some form of rudimentary tracking and/or delivery confirmation (though for some countries, this is only available at additional cost). There is also a discount program which can cut postage costs by 50% to 75% if you’re buying about half-a-dozen books or more (5 kilos+). Rates and available services vary a bit from country to country. You can email or message me for a shipping cost quote, but I assure you they are as reasonable as USPS rates allow, and if it turns out the rate is too high for your pocketbook, we will cancel the sale at your request. ADDITIONAL PURCHASES do receive a VERY LARGE discount, typically about $5 per book (for each additional book after the first) so as to reward you for the economies of combined shipping/insurance costs. Your purchase will ordinarily be shipped within 48 hours of payment. We package as well as anyone in the business, with lots of protective padding and containers. All of our shipments are sent via insured mail so as to comply with PayPal requirements. We do NOT recommend uninsured shipments, and expressly disclaim any responsibility for the loss of an uninsured shipment. Unfortunately the contents of parcels are easily “lost” or misdelivered by postal employees – even in the USA. That’s why all of our domestic shipments (and most international) shipments include a USPS delivery confirmation tag; or are trackable or traceable, and all shipments (international and domestic) are insured. We do offer U.S. Postal Service Priority Mail, Registered Mail, and Express Mail for both international and domestic shipments, as well United Parcel Service (UPS) and Federal Express (Fed-Ex). Please ask for a rate quotation. We will accept whatever payment method you are most comfortable with. If upon receipt of the item you are disappointed for any reason whatever, I offer a no questions asked return policy. Send it back, I will give you a complete refund of the purchase price (less our original shipping costs). Most of the items I offer come from the collection of a family friend who was active in the field of Archaeology for over forty years. However many of the items also come from purchases I make in Eastern Europe, India, and from the Levant (Eastern Mediterranean/Near East) from various institutions and dealers. Though I have always had an interest in archaeology, my own academic background was in sociology and cultural anthropology. After my retirement however, I found myself drawn to archaeology as well. Aside from my own personal collection, I have made extensive and frequent additions of my own via purchases on Ebay (of course), as well as many purchases from both dealers and institutions throughout the world - but especially in the Near East and in Eastern Europe. I spend over half of my year out of the United States, and have spent much of my life either in India or Eastern Europe. In fact much of what we generate on Yahoo, Amazon and Ebay goes to support The Hermitage Museum in St. Petersburg, as well as some other worthy institutions in Europe connected with Anthropology and Archaeology. I acquire some small but interesting collections overseas from time-to-time, and have as well some duplicate items within my own collection which I occasionally decide to part with. Though I have a collection of ancient coins numbering in the tens of thousands, my primary interest is in ancient jewelry. My wife also is an active participant in the "business" of antique and ancient jewelry, and is from Russia. I would be happy to provide you with a certificate/guarantee of authenticity for any item you purchase from me. There is a $2 fee for mailing under separate cover. Whenever I am overseas I have made arrangements for purchases to be shipped out via domestic mail. If I am in the field, you may have to wait for a week or two for a COA to arrive via international air mail. But you can be sure your purchase will arrive properly packaged and promptly - even if I am absent. And when I am in a remote field location with merely a notebook computer, at times I am not able to access my email for a day or two, so be patient, I will always respond to every email. Please see our "ADDITIONAL TERMS OF SALE." Material: Paper, Provenance: Hellenic Egypt Hellene Greek, Publisher: J. Paul Getty Museum (2001), Title: Greek Gold from Hellenistic Egypt, Format: Oversized softcover, Length: 90 pages, Dimensions: 9¼ x 7½ inches; 1 pound

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