probably


↑ objectName, objectTitle:

objectTitle :

collectionName : collectionName
inventoryNb : inventoryNb
objectName : objectName
objectTitle : objectTitle
objectCulture : objectCulture
geography : geography
dating : dating
material : material
technique : technique
dimensions : dimensions
legalRightOwner : legalRightOwner

objectDescription : objectDescription

↑ , Quinton:

Quinton :

collectionName : String instruments
inventoryNb : 0219
objectName :
objectTitle : Quinton
objectCulture :
geography :
dating : AD 1730 - AD 1790 (uncertain)
material :
technique :
dimensions : Height: 60 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Pardessus inv. nr. 0219 Around 1730, a variant of the "pardessus de viole" arises in France, with only five strings, the three lowest of which are now tuned as a violin (GDa) and the two highest maintain a fourth (d and g). The name "quinton", mainly used for the violin-shaped variant, indicates the hybrid character of these instruments, which are fully interchangeable in terms of social context, playing method and repertoire. Both these "pardessus a cinq cordes" and the violin-shaped quinton were played vertically, contained five strings and were partially tuned in fifths. This five-string pardessus (inv. 0219) is covered with a brown varnish and is in fairly good condition. The two-part back in highly flamed maple is arched, and a small wooden nail is inserted at the top and bottom. The purfling is composed of three strips. The ribs are made of less deeply flamed maple and show some fractures. The belly made of two parts of fine grained spruce has a double purfling with three strips crossing each other at the corners. The C-shaped sound holes with notches on both sides are undercut. Linings are applied inside. The neck is probably narrowed and made rounder later to enable playing horizontally on the shoulder. The heel, originally angular in shape, was also rounded off, so the purfling partly lies too close to the edge in that area. Fingerboard and tailpiece contain a layer of ebony veneer. The tailpiece is attached to a turned knob with a gut loop running over a small nut. The modern, strongly trimmed and simplified violin bridge carries the stamp of the "Aubert" brand. The pegbox is decorated in a style reminiscent of the 18th-century sculptor Lafille (or La Fille), adorned on the four sides by small circular punches, and crowned by a bearded man's head with a feather hat and a collar. The eyes are inlaid with white oval buttons. The sculptural style could be 19th century. The (false) printed label inside contains the words: "Jacobus Staainer Filius, in absam / prope omnipontum 1558", this year added in manuscript. This pardessus was in the possession of François-Joseph Fétis (1784-1871), first director of the Brussels Royal Conservatory and “maestro di capella” of Leopold I. In 1872 his collection of musical instruments was purchased by the Belgian State and kept in the conservatory until the opening of the Instrument Museum in 1877. Bibliography Victor-Charles Mahillon, Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, pt. 1, Ghent, 1880, 2/1893, pp. 313-319. François-Joseph Fétis en het muziekleven van zijn tijd, 1784-1871: exhibition, Brussels, Koninklijke bibliotheek Albert I, 1972. Catalogue edited by Bernard Huys a.o., Brussels, 1972, p. 216. L c. 61 cm L.c. 19,2 cm. H ribs: c. 4,4 cm String length: c. 31,5 cm

↑ , Quinton:

Quinton :

collectionName : String instruments
inventoryNb : 0220
objectName :
objectTitle : Quinton
objectCulture :
geography :
dating : AD 1730 - AD 1790
material :
technique :
dimensions : Height: 60 cm, Width: 19 cm, Depth: 10 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Around 1730, a variant of the "pardessus de viole" arises in France, with only five strings, the three lowest of which are now tuned as a violin (GDa) and the two highest maintain a quarter interval (d and g). The name "quinton", mainly used for the violin-shaped variant, indicates the hybrid character of these instruments, which are fully interchangeable in terms of social context, playing method and repertoire. Both these "pardessus à cinq cordes" and the violin-shaped quinton were played vertically, had five strings and were partially tuned in fifths. This five-string pardessus (inv. 0220) is covered with an orange-yellow varnish. The body shows various fractures. The two-part back is, just like the ribs, composed of broadly flamed maple. It has an angle in the upper part and a triple purfling of irregular width. The lower strip of the ribs is made in one piece. Four wooden nails are located near the lower nut and the turned knob for the tailpiece. Presumably pins for sympathetic strings were inserted here at a certain point and later removed. The top made of two parts of fine grained spruce has, just like the back, an irregular double purfling with three strips each. The C-shaped sound holes are situated quite far towards the neck. Inside a soundpost plate is visible. The glue seams are reinforced with linen strips. The neck seems a bit narrowed and is glued directly to the upper block without recess or reinforcement with just the heel as an extra joint. The two wooden nails that were probably attached later through the heel of the back into the neck probably served to consolidate the restored joint. The pegbox is, perhaps in the studio of the mysterious sculptor Lafille (or La Fille), decorated on all sides by punches with small circular motifs, and crowned by an open curl with a daisy and a frame in low relief. The solid black-coloured fingerboard and perhaps also the tailpiece veneered with ebony are probably not original. Space is provided under the fingerboard as for a series of sympathetic strings. This pardessus (inv. No. 0220) is anonymous, but carries a brand on the back: “de Paris”. It was owned by François-Joseph Fétis (1784-1871), the first director of the Brussels Royal Conservatory of Arts and maestro di capella for King Leopold I. In 1872, his collection of musical instruments was acquired by the Belgian State and stored in the Royal Conservatory, until the 1877 opening of the Musical Instrument Museum. L. approx. 60 cm. L. approx. 19 cm H sides approx. 4,4cm String length approx. 31,8 cm Bibliography Victor-Charles Mahillon, Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, vol. 1, Ghent, 1880, 2/1893, p. 319.

↑ , :

:

collectionName : String instruments
inventoryNb : 0221
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1745
material :
technique :
dimensions : Height: 60,4 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Six-string pardessus with wide flamed ribs and unflamed one-piece back. The latter is flat with an angle in the upper part and a purfling consisting of three strips black-white-black. The top, with similar purfling and composed of two symmetrical sections of spruce, shows fractures and closed woodworm channels. Inside is a thin soundpost plate, also in spruce. This pardessus inv.no. 0221 was later converted into a four-string instrument and perhaps tuned in fifths like a violin. The neck, the fingerboard, the unadorned pegbox, the tuning keys, the scroll and the tailpiece were probably replaced at that time, and thus are not original. The varnish is light brown. This pardessus (inv.no. 0221) has a printed label on which the last digit of the year has been added in handwriting and is no longer legible today: “Ouvrard, luthier, place / de l'École, à Paris, 1745 [or 1743/1748]. " Jean Ouvrard was established in Paris since around 1720 and died in 1748. From his making several five and six-string pardessus have been preserved, along with larger viols, violas d’amore, and some violins and cellos. The pardessus was developed at the end of the 17th century to perform solo music within the range of the violin. The preservation of the viol shape, the use of frets and the vertical playing position made it acceptable for men and especially ladies of the higher class. This pardessus was owned by François-Joseph Fétis (1784-1871), the first director of the Brussels Royal Conservatory of Arts and maestro di capella for King Leopold I. In 1872, his collection of musical instruments was acquired by the Belgian State and stored in the Royal Conservatory, until the 1877 opening of the Musical Instrument Museum. L. approx. 63 cm B. approx. 20.2 cm H sides: approx. 4.8 cm String length approx. 33.3 cm Bibliography Victor-Charles Mahillon, Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, pt. 1, Ghent, 1880, 2/1893, p. 320.

↑ , :

:

collectionName : String instruments
inventoryNb : 0223
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1730 - AD 1790
material :
technique :
dimensions : Height: 61,6 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Six-string Pardessus by an anonymous, probably French, eighteenth-century maker. The back is flat, with no purfling, with an angle in the upper part, and with a crack at the heel. It is reinforced inside by a sound post plate. Ribs and back are made of lightly and finely flamed maple. The top made of two-part spruce, shows several unevenly repaired fractures. The thin flat neck may have been slightly narrowed down later. It is covered with a fingerboard, veneered with a layer of thin ebony, and the pegbox is adorned with a relatively large female head. The tailpiece and the bridge are probably not original. The entire instrument is covered with a red-brown varnish. The pardessus was developed at the end of the 17th century to perform solo music within the reach of the violin. The use of the viol shape form, of frets, and the vertical playing position made it acceptable for men and especially ladies of the higher class. The instrument fell into disuse at the end of the 18th century. This pardessus was owned by François-Joseph Fétis (1784-1871), the first director of the Brussels Royal Conservatory of Arts and "maestro di capella" for King Leopold I. In 1872, his collection of musical instruments was acquired by the Belgian State and stored in the Royal Conservatory, until the 1877 opening of the Musical Instrument Museum. L. approx. 63 cm. L. approx. 19.7 cm H sides approx. 5.2 cm String length approx. 32.7 cm Bibliography Victor-Charles Mahillon, Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, pt. 1, Ghent, 2/1893, 1880, p. 320.

↑ , :

:

collectionName : String instruments
inventoryNb : 0230
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1701 - AD 1800
material :
technique :
dimensions : Height: 77,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Viola d’amore with 6 stopped strings and 6 resonance strings. The unadorned, one-part back, with a number of short cracks, is flat, with a slight angle in the upper part, and is reinforced inside by means of a sturdy soundpost plate. Ribs and back are made of lightly flamed maple. On the arched, one-part top, which is in a good state and which has a wide purfling, a thin layer of veneer with an engraved blazon has been applied under the fretboard, where one would expect a rosette. The two flame-shaped sound holes clearly stem from the tradition of German-Austrian viola d amore making. The sympathetic strings are attached to pins at the bottom of the ribs. A scroll, possibly retouched, closes the elongated unadorned pegbox. The latter is fully open at the front and at the back only for the six strings closest to the scroll. The long, relatively thick fingerboard and the rounded tailpiece, attached to a small turned white button, are probably not original. The instrument is covered with a brown varnish, light brown for the top. According to a letter from 1879, the instrument was donated by music director Albert Hahn from Königsberg in Prussia, who is also editor of the magazine “Tonkunst”. L approx. 78 cm L approximately 24.2 cm H sides approx. 4.8 cm String length approx. 35 cm. Bibliography Victor-Charles Mahillon, Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, pt. 1, Ghent, 2/1893, p. 324.

↑ , :

:

collectionName : Keyboard instruments
inventoryNb : 0276
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1646
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Transposing double-manual harpsichord built by Ioannes Couchet in 1646. Keyboards probably aligned from the second half of the seventeenth century onwards. Grand refurbishment in the eighteenth century. Restored several times, including by Frans de Vestibule in 1891, Knud Kaufmann in 1961 and Grant O’Brien in 1974.

↑ , Quinton d'amour:

Quinton d'amour :

collectionName : String instruments
inventoryNb : 0481
objectName :
objectTitle : Quinton d'amour
objectCulture :
geography :
dating : AD 1754
material :
technique :
dimensions : Height: 66 cm, Width: 20 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : «Quinton d’amour» from the Paris-based maker Jean Baptiste Dehaye, called “Salomon” (1713-1767), with 5 stopped strings and 5 sympathetic strings. This instrument is built like a violin, with linings, corner blocks, f-holes and protruding edges. The curved back with a three-part inlay is composed of two parts of maple, fairly deeply flamed, just like the ribs and the neck. Like the instruments of the "da gamba" family, the shoulders run flush with the wider neck, which, like the veneered fingerboard, shows traces of lost frets. On older photo’s frets are still present, see Anthony BAINES, European and American musical instruments (New York, 1966), fig.133.The ten strings are attached at the bottom of the sound box on a white plate with seven cut out pins and three holes, which resembles the other quinton d'amour (inv. No. 1358) and the viola d'amore (inv. No. 1389) by Salomon . So no tailpiece is provided. The two-part spruce top has a three-part purfling. The pegbox, adorned with a normal violin scroll and with stylized punched flower motifs, is open at the front and only closed at the rear for the first four tuning pegs. The five pegs for the resonance strings are smaller and closer to each other. This instrument was probably used in the same way as the regular quinton and the five-string pardessus: played vertically and with frets. The lower strings were then tuned in fifths and the upper in quarters (GDadg). The elements pleading in favor of this theory are the use of typical violin characteristics, and the flat broad neck (note the differences with the viola d’amore inv. No. 1389). L approximately 66.5 cm L.c. 20.8 cm. H sides: approx. 3.3 cm String length: approx. 32.5 cm Inscriptions. 1. Label: «Salomon, Lutier à Ste Cecille, Place de L’ecole à Paris, 1754» (the two last digits are not very legible) 2. Brandmark on the heel: «SALOMON A PARIS» This quinton d 'amour (inv. No. 0481) was part of the Auguste Tolbecque collection. In 1879 his collection of musical instruments was purchased by the Instrument Museum. In 1885 a viola d’amore by Salomon from the MIM was exhibited in London. Perhaps this instrument is meant, or else the quinton d’amour (inv. No. 1358) or the viola d’amore (inv. No. 1389), both also by this maker. Bibliography Victor-Charles Mahillon, Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, pt. 1, Ghent, 2/1893, p. 466.

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:

collectionName : String instruments
inventoryNb : 0482
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1700 - AD 1734
material :
technique :
dimensions : Height: 76,3 cm, Width: 23,3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Viola d’amore by Georg Ama (n) (1671-after 1717) from Vils, with 6 stopped strings and 6 sympathetic strings. The instrument, with a transparent red-brown varnish for the sound box, and an opaque brown varnish for the pegbox and head, is in fairly good condition. The flat back made of two pieces of bird's eye maple is widened by means of two extra pieces on the shoulders. It has an angle in the upper part and a wide open fracture in one of the upper shoulders. The ribs are also made of bird-eye maple. The lower band appears to be made in one piece. The top made of two parts of fine grained spruce has a black edge, and more inwards one black line has been painted to imitate a three-part purfling. The flame-shaped sound holes do not seem undercut. Fingerboard and tailpiece, with ebony veneer, are probably original. The sloping tailpiece, with six hooks for attaching the sympathetic strings at the bottom and the normal strings at the top, is attached to a white twisted knob with a loop. A soundpost plate is provided inside. A winged head with curly hair adorns the simple pegbox. The latter is open both above and below. The tuning keys are of different make, the pegs for the resonance strings are smaller than the six others. The printed label states: "Georg Aman, Lauten- and Geigenmacher in Augspurg". Aman is especially appreciated for his cellos and double basses. This viola d 'amore (inv. No. 0481) was part of the Auguste Tolbecque collection. In 1879 his collection of musical instruments was purchased by the Instrument Museum. L approx. 77.7 cm L. approx.23.5 cm. H. sides: approx. 5.1 cm String length: approx. 36.7 cm Bibliography Victor-Charles Mahillon, Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, pt. 1, Ghent, 2/1893, pp. 466-467.

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:

collectionName : String instruments
inventoryNb : 0483
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1701 - AD 1800
material :
technique :
dimensions : Height: 70,8 cm, Width: 25,7 cm, Depth: 10,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Six-string treble viol with a label bearing the name of Nicolas III Médard (1628-after 1673) from Nancy. Most probably this instrument was put together in the nineteenth century using old and new elements, perhaps by violin maker and collector Tolbecque himself. The multi-part back is completely flat with French lilies ("fleurs de lys") in gold paint in the corners and with various strips of inlay lengthwise. There is no purfling and no angle in the upper part. The back is reinforced inside by a wide soundpost plate. The ribs are also made of rosewood layers interspersed with cypress and thin strips of veneer. The top made of two-part spruce contains a fringed rosette and is also decorated with painted French lilies in the corners. It shows a number of repaired fractures. The fringed C-holes have a notch on the inside and a circle on the outside. The thin flat neck in pearwood contains a fingerboard with ebony veneer and an ivory top nut. The simply decorated pegbox is open at the back. It has a curly plant motif and is crowned with a sculpted female head with curly hair. The tuning pegs are made of boxwood, while the tailpiece and the tailpiece bar are in ebony. The top and neck are varnished dark brown and the back and ribs are covered with a transparent, almost colorless varnish. The angular way in which the shoulders overflow into the neck base, and the unusual features of the sound box suggest that an old neck was combined with a more recent sound box. This treble viol (inv.no. 0483) has a printed label, most probably false, on which the last two digits of the year are added by hand: “Nicolas Medar à Paris 1701”. Treble viols were tuned an octave higher than the six-string bass gamba and were often used to perform similar music. L. approx. 71 cm. L. approx. 25.1 cm. H sides approx. 4.4 cm. String length approx. 38 cm. This instrument (inv. No. 0483) was part of the Auguste Tolbecque collection. In 1879 his collection of musical instruments was purchased by the Instrument Museum. In 1885 a "viol" by Nicholas Medaer from the Museum, dated 1700, was exhibited in London. Probably this instrument was meant. Bibliography Victor-Charles Mahillon, Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, pt. 1, Ghent, 1893, p. 467.

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:

collectionName : String instruments
inventoryNb : 0484
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1840 - AD 1880 (uncertain)
material :
technique :
dimensions : Height: 71,8 cm, Width: 26,4 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This four-string instrument, included in the catalog by Mahillon as a treble viola da gamba, can be described as a viola with elements from the gamba and viola d'amore construction and probably dates from around 1850 or later. The two-part back in finely flamed maple is flat and has an angle in the upper part. It is reinforced on the inside by a sturdy soundpost plate and is bordered with a painted edge inlay. The high ribs are also in maple with a sloping flame. The two-part top has a few repaired fractures and has a real purfling made up of three strips. The large flame-shaped holes have notches on both sides. The thin round neck contains a massive wedge shaped fingerboard. The top nut is missing. The cello-style pegbox has been crowned with a sculpted, curiously stylized lion's head. The tailpiece is decorated with a plant motif in veneer, black with white background. The instrument is covered with a hard-looking orange-brown varnish. This instrument (inv.no. 0484) has a handwritten label: “Johann … laut[en] [und] Geigenmacher in …er/n … [anno] 17..0” The date is uncertain. One can read both 1720 and 1730. Several elements, however, indicate a nineteenth century origin: the flame-shaped sound holes, the type of varnish, the number of holes for tuning keys and the shape of the pegbox and neck. This viol comes from the collection of Auguste Tolbecque (1830-1919), acquired by the former ‘Instrumental Museum of the Conservatory’ in 1879. Bibliography: Victor-Charles Mahillon, Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, vol. 1, Ghent, 1880, 2/1893, p. 467 L. ca. 73 cm W. ca. 26,6 cm H ribs: 6,4 cm Vibrating string length: 40,6 cm

↑ , Five-course guitar:

Five-course guitar :

collectionName : String instruments
inventoryNb : 0550
objectName :
objectTitle : Five-course guitar
objectCulture :
geography :
dating : ca. AD 1640
material :
technique :
dimensions : Height: 87,5 cm, Width: 26 cm, Depth: 13 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Guitar inv. no. 0550 was bought by the first curator of the Brussels Musical Instruments Museum, Victor-Charles Mahillon, in 1879. It was formerly property of the well-known luthier Auguste Tolbecque. The pegbox bears an engraved inscription: ‘Matheo Sellas / alla Corona in / Venetia’. Sellas was an instrument maker of German origin, active in Venice in the first half of the 17th century. The guitar has five choirs and ten dorsal pegs. The back of the soundbox is made of 23 rosewood ribs separated with ivory. The rose on the soundboard is made of lead, but probably not original. It shows a harpsichord player and is signed ‘H H’. It probably comes from a keyboard instrument by Henri Hemsch. The rose is decorated with a large inlay of ivory, black paste and rosewood. On the fingerboard, ivory plates illustrate two fables by Phaedrus or Aesop: “The Wolf and the Crane” and “The Fox and the Stork”. The back of the neck is made of an inlay of ivory and black paste. At some time, this guitar has been transformed into chitarra battente, the strings being attached at the bottom of the soundbox. At the same time, the neck was shortened and has remained the same until now. The guitar was transformed once again into a more classical instrument with a glued bridge. Possibly this work was done by Tolbecque. Radiographies give evidence of important internal transformations of the original instrument, but its external aspect remains significant of the remarkable make of baroque guitars. Bibliography Victor-Charles Mahillon, Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, i, Gent, 1893, p. 481. Exposiçao Internacional de Instrumentos Antigos, V Festival Gulbenkian de Musica, Lisbonne, 1961, n° 39. Instruments de musique des XVIe et XVIIe siècles, catalogue de l’exposition du Musée Instrumental de Bruxelles en l’Hôtel de Sully, Paris, juin 1969, s.l., 1969, n° 31. Mia Awouters, "Befaamde barokgitaren uit de verzameling van het Brussels Instrumentenmuseum", Musica Antiqua, 3/3, 1986, p. 74-75. http://www.mim.be/baroque-guitar

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:

collectionName : Wind instruments
inventoryNb : 0610
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1551 - AD 1600
material :
technique :
dimensions : Height: 40,5 cm, Width: 2 cm, Depth: 17 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Wind instruments
inventoryNb : 0611
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1551 - AD 1600
material :
technique :
dimensions : Height: 59 cm, Width: 3 cm, Depth: 19,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Wind instruments
inventoryNb : 0614
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1551 - AD 1600
material :
technique :
dimensions : Height: 81 cm, Width: 3,5 cm, Depth: 28 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Wind instruments
inventoryNb : 0615
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1551 - AD 1600
material :
technique :
dimensions : Height: 95 cm, Width: 3,5 cm, Depth: 29 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Sculpture and Furniture (XIII - XIX centuries)
inventoryNb : 1007
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1500 - AD 1525
material :
technique :
dimensions : Height: 15,5 cm, Width: 37,5 cm, Depth: 25,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : String instruments
inventoryNb : 1388
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1730
material :
technique :
dimensions : Height: 72,5 cm, Width: 24,3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Viola d’amore made in 1730 in today's Polish Wroczlaw (Breslau) by violin maker Andreas Ostler (1692-after 1770), with 6 stopped strings and 6 sympathetic strings. The instrument, with a golden yellow varnish, is in fairly good condition. The flat back made of two symmetrical pieces of flamed maple is gently angled to the neck and has a pear trim in the middle to compensate for the open seam. The ribs are made of maple with flames of different widths. The top made of two-part fine grained spruce has an ebony edge and in addition a three-part purfling. The arching has dropped slightly in the middle near the flame-shaped sound holes that have not been undercut. There are some restored fractures visible in both top and back. Pins are inserted at the bottom of the ribs for fixing the six metal sympathetic strings. Fingerboard and tailpiece, with ebony veneer, are probably original. The tailpiece, with six pins for attaching the normal strings, is attached with a loop to a turned knob at the bottom of the ribs. Inside, linings and a soundpost plate are provided, as well as paper strips for reinforcing the top and the back. A traditional scroll with a red candle wax seal on the rib closes the elongated pegbox. The label states: "Andreas Ostler, Lauten und Geigenmacher in Breslau, A. 1730" According to a letter from 1879, the instrument was donated by music director Albert Hahn from Königsberg in Prussia, who is also editor of the magazine “Tonkunst”. L approx. 73 cm L.ca. 24.5 cm H ribs: approx. 5.5 cm String length approx. 35 cm Bibliography Victor-Charles Mahillon, Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, pt. 3, Ghent, 1900, p. 37.

↑ , Quinton:

Quinton :

collectionName : String instruments
inventoryNb : 1399
objectName :
objectTitle : Quinton
objectCulture :
geography :
dating : AD 1766
material :
technique :
dimensions : Height: 61,2 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This 5-string pardessus was, according to the label, made by Gérard Deleplanque in Lille in 1766. The flat two-part back has a slight angle, and is decorated with a double purfling with three trims running crosswise at the corners and at the heel. The ribs and the neck are, like the back, made of finely flamed maple. The shoulders, as usual with instruments of the viol family, extend into the wider neck, which is somewhat narrowed down later near the pegbox. The fingerboard is veneered with ebony and has twelve brass frets. The two-part top plate in spruce has C holes and, like the back, a double three-piece purfling that runs crosswise at the corners. Inside, a soundpost plate and linings are used. The simple pegbox is adorned with a normal violin scroll. The ebony tail piece is attached by means of a turned white knob at the bottom. This instrument was probably used in the same way as the quinton: played vertically and with frets. The lower strings were then tuned in fifths and the upper in fourths (GDadg). The text on the printed label reads: « Gerard J. Deleplanque Luthier, marché aux Poulets près le marché aux Poissons à Lille 1766 ». The last two digits have been added by hand. The instrument was part of the collection of Victor and Joseph Mahillon that was purchased by the museum in 1883. Bibliography: Victor-Charles Mahillon, Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, III, Ghent, 1900, p. 40. Els Moens, De cister en aanverwante instrumenten in de Belgische verzamelingen, pt. I, Gent, Rijksuniversiteit, 1995, p. 123. L approx. 63 cm W.ca. 20.1 cm. H ribs: approx. 4.6 cm. String length approx. 32.4 cm.

↑ , :

:

collectionName : String instruments
inventoryNb : 1400
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1668
material :
technique :
dimensions : Height: 69,4 cm, Width: 24,6 cm, Depth: 9 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This treble viol (inv. no. 1400) was made in 1668 by Dierich Bochem from Cologne. The two-part back in lightly flamed maple is flat and has an angle in the upper part and an open glued seam in the middle. It is reinforced on the inside by a wide soundpost plate and is lined with a three-part purfling with a cross motif on the heel. The latter was probably reshaped later. The ribs are also made in maple with a light, fine flame. The lower one-piece band exhibits multiple fractures and protuberances with respect to the blades. There is a hole for a turned knob. The belly also has several repaired fractures and has a double purfling made up of three strips. The round, damaged rosette with gothic motifs is also lined with a double three-part purfling. The C holes have notches on each side. The sturdy round neck has an ebony fingerboard and is grafted on both the body and the pegbox sides, indicating that it is not original. Top and bottom nut are made of bone. The unadorned pegbox with flat back is crowned with a sculpted head with curly hair. The tail piece veneered with ebony runs obliquely, shortening to the bass side. The instrument is covered with a matte dark brown varnish. The handwritten text on the label reads: “Dierich Bochem in /Cöllen. Anno 1668” The instrument was part of the collection of Victor and Joseph Mahillon that was purchased by the museum in 1883. Bibliography: Victor-Charles Mahillon, Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, III, Ghent, 1900, pp. 40-41. L approx. 70 cm W.ca. 24.7 cm. H ribs: approx. 6.9 cm String length approx. 38.5 cm

↑ , :

:

collectionName : String instruments
inventoryNb : 1443
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1580 - AD 1600 (uncertain)
material :
technique :
dimensions : Height: 71,3 cm, Width: 25,4 cm, Depth: 9 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The lira da braccio is a bowed string instrument typical of the Renaissance. It is characterized by its pegbox with frontal tuners and its almost flat bridge which favors playing chords. The lira da braccio is generally equipped with five melody strings and two drones. Originally, it was mainly used as an accompaniment instrument for Italian poet-musicians. There is virtually no written music for this instrument, which was primarily intended for improvisation. The popularity of the lira da braccio seems to have faded during the second half of the 16th century, but the instrument was still being used sporadically in the beginning of the 17th century.The arching of the belly and back is irregular and not very high, and there is hardly a deepening on the sides, where the fluting normally runs. The corners are very narrow and fine. At the bottom block there is a constriction of the contour. The back, in good condition with only a crack near the heel of the neck, is made of plain sawn wood, without a heel and without purfling. The slightly flamed ribs show several thin fractures, and miter joints are used for the corners. The top in bearclaw spruce has numerous padded woodworm channels and some cracks. There is a three-part purfling and there are S-shaped sound holes, but no bass bar is provided. The neck is fixed with a nail at the inside through the upper block. The heel does not protrude beyond the edge of the back. Seven heart-shaped tuning pegs are mounted frontally in the transverse pegbox. The top of the latter is lined with a profile that is deepened inwards. At the top, a new piece has been glued in where a corner was damaged. The five playing strings go over a top nut and through holes to the underside. Two freely vibrating bourdon strings run over a pin on the bass side and further through holes in the sides of the pegbox to the tuning pegs. At the top a hole has been drilled from the side, probably to hang the instrument with a cord or ribbon. The fingerboard is flat and, just like the neck, somewhat affected by woodworm. A three-part purfling has been inserted, just as with the tail piece, which, however, has a slightly curved surface and a different finishing layer: matt , darker and less transparent. It is attached to a large turned knob at the bottom of the ribs with a piece of gut string. A thickening on the top serves as top nut. Bibliography Victor-Charles Mahillon, , Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, III, Ghent, 1900, pp. 59-60, ill. 60 Ignace De Keyser, ", "Le paradoxe d'un musée d'instruments de musique", La tradition rassemblée, Journées d'études of the University of Friborg, ed. by Guy Bedouelle, Christian Belin and Simone de Reyff, (Academic Press Friborg, 2007), pp. 251-268. L. approx. 71.8 cm W. approx. 25.9 cm. H. ribs: approx. 3.4 cm String length approx. 35 cm

↑ , Rectangular muselar virginal:

Rectangular muselar virginal :

collectionName : Keyboard instruments
inventoryNb : 1597
objectName :
objectTitle : Rectangular muselar virginal
objectCulture :
geography :
dating : AD 1620
material :
technique :
dimensions : Height: 26 cm, Width: 173,8 cm, Depth: 49,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Muselar virginal on 6 legs, bearing the serial number 6/27, built by Andreas Ruckers in 1620. Its refurbishment was probably completed by the end of the seventeenth century. Restored in 1847 by Bruno Martens, in 1885 by Frans de Vestibule, in 1936–1937 by Siméon Moisse and in 1982 by Kurt and Susanne Wittmayer.

↑ , Yang-kin, Yang-ch'in, Yangqin:

Yang-kin, Yang-ch'in, Yangqin :

collectionName : Asian musical instruments
inventoryNb : 1932
objectName :
objectTitle : Yang-kin, Yang-ch'in, Yangqin
objectCulture :
geography :
dating : before AD 1900
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Percussion instruments
inventoryNb : 1970.022
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1595
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Fretted clavichord:

Fretted clavichord :

collectionName : Keyboard instruments
inventoryNb : 1970.029
objectName :
objectTitle : Fretted clavichord
objectCulture :
geography :
dating : AD 1733
material :
technique :
dimensions : Height: 13,4 cm, Width: 120,7 cm, Depth: 36,8 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Keyboard instruments
inventoryNb : 1971.027
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1633
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : 6-voet muselar virginal bearing the serial number 6/70, built by Andreas Ruckers in 1633. Enlarged in both the bass and treble in the eighteenth or even nineteenth century. Restored probably in Claude Mercier-Ythier’s workshop in 1964 and in 2013 thanks to the patronage of the Fonds Baillet Latour.

↑ , :

:

collectionName : Wind instruments
inventoryNb : 1980.057
objectName :
objectTitle :
objectCulture :
geography :
dating : ca. AD 1900
material :
technique :
dimensions : Height: 83 cm, Width: 23,5 cm, Depth: 37,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Wind instruments
inventoryNb : 2019.0045.008
objectName :
objectTitle :
objectCulture :
geography :
dating : ca. AD 1900
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Wind instruments
inventoryNb : 2019.0045.009
objectName :
objectTitle :
objectCulture :
geography :
dating : ca. AD 1900
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Wind instruments
inventoryNb : 2019.0045.010
objectName :
objectTitle :
objectCulture :
geography :
dating : ca. AD 1900
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Wind instruments
inventoryNb : 2019.0045.011
objectName :
objectTitle :
objectCulture :
geography :
dating : ca. AD 1900
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Wind instruments
inventoryNb : 2019.0045.012
objectName :
objectTitle :
objectCulture :
geography :
dating : ca. AD 1900
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Wind instruments
inventoryNb : 2019.0045.013
objectName :
objectTitle :
objectCulture :
geography :
dating : ca. AD 1900
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Wind instruments
inventoryNb : 2019.0045.014
objectName :
objectTitle :
objectCulture :
geography :
dating : ca. AD 1900
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Wind instruments
inventoryNb : 2019.0045.016
objectName :
objectTitle :
objectCulture :
geography :
dating : ca. AD 1900
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Wind instruments
inventoryNb : 2019.0045.017
objectName :
objectTitle :
objectCulture :
geography :
dating : ca. AD 1950
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Wind instruments
inventoryNb : 2019.0045.018
objectName :
objectTitle :
objectCulture :
geography :
dating : ca. AD 1900
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Wind instruments
inventoryNb : 2019.0045.019
objectName :
objectTitle :
objectCulture :
geography :
dating : ca. AD 1900
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Wind instruments
inventoryNb : 2019.0045.020
objectName :
objectTitle :
objectCulture :
geography :
dating : ca. AD 1900
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Wind instruments
inventoryNb : 2019.0045.021
objectName :
objectTitle :
objectCulture :
geography :
dating : ca. AD 1900
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Wind instruments
inventoryNb : 2019.0045.022
objectName :
objectTitle :
objectCulture :
geography :
dating : ca. AD 1900
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Wind instruments
inventoryNb : 2019.0045.023
objectName :
objectTitle :
objectCulture :
geography :
dating : ca. AD 1900
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Wind instruments
inventoryNb : 2019.0045.024
objectName :
objectTitle :
objectCulture :
geography :
dating : ca. AD 1900
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Wind instruments
inventoryNb : 2019.0045.025
objectName :
objectTitle :
objectCulture :
geography :
dating : ca. AD 1900
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Wind instruments
inventoryNb : 2019.0045.026
objectName :
objectTitle :
objectCulture :
geography :
dating : ca. AD 1900
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Wind instruments
inventoryNb : 2019.0045.027
objectName :
objectTitle :
objectCulture :
geography :
dating : ca. AD 1900
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Percussion instruments
inventoryNb : 2019.0045.036
objectName :
objectTitle :
objectCulture :
geography :
dating : ca. AD 1900
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Percussion instruments
inventoryNb : 2019.0045.040
objectName :
objectTitle :
objectCulture :
geography :
dating : ca. AD 1900
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Percussion instruments
inventoryNb : 2019.0045.041
objectName :
objectTitle :
objectCulture :
geography :
dating : ca. AD 1900
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Wind instruments
inventoryNb : 2020.0002.002
objectName :
objectTitle :
objectCulture :
geography :
dating : ca. AD 1901 - AD 1925
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Wind instruments
inventoryNb : 2020.0409.002
objectName :
objectTitle :
objectCulture :
geography :
dating : ca. AD 1878 - AD 1900
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Sculpture and Furniture (XIII - XIX centuries)
inventoryNb : 2335
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1480 - AD 1490 unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : String instruments
inventoryNb : 2828
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1660
material :
technique :
dimensions : Height: 66,8 cm, Width: 23,8 cm, Depth: 10,6 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This viola (inv. no. 2828) has similarities with, among others, the viola by Jooris Willems (inv. no. 2831) and could also be a late seventeenth or early eighteenth-century Ghent work. The two-part back is made of fine and lightly flamed maple. The arching and the three-part purfling are irregular. Two wooden nails are inserted through the back into the lower block, and even three in the upper block, with an extra nail through the heel, which is has probably been replaced. The back joint is slightly open. The low ribs are made of irregular and finely flamed maple. The belly is made of spruce, the grain of which becomes wider towards the sides. This medium-sized viola is not very refined in terms of finish and materials used. The sound holes, the long narrow corners and the high arching indicate that the maker was directly or indirectly inspired by Italian violins from the first half of the seventeenth century, but then proceeded more roughly. The graft of the new neck is clearly visible at the pegbox. A wedge in maple underneath the fingerboard increases the inclination. The scroll shows clear gouge marks towards the center. The repair label in handwriting reads: “Reparé par I. Ondereet / rue des Semeurs N ° 60, Gand”» This viola was part of the César Snoeck collection and was donated in 1908 to the former Instrument Museum by Louis Cavens. Bibliography Victor-Charles Mahillon, Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, IV, Ghent, 1912, p. 411. L approx. 67.5 cm L. of body approx. 40.5 cm. W. ca. 23.8 cm. H. ribs approx. 3.3 cm String length approx. 34.8 cm

↑ , :

:

collectionName : String instruments
inventoryNb : 2832
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1782 (uncertain)
material :
technique :
dimensions : Height: 64,8 cm, Width: 22,7 cm, Depth: 11,1 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This instrument (inv. no. 2832) resembles the viola with a Cuypers label from 1761 (inv. no. 2833) in a number of respects, but neither of them is probably by this maker. The two-part back is, just like the ribs, made of strongly and finely flamed maple and has a three-part purfling. The top, in two-part spruce, has a similar inlay and a fracture starting from the bottom nut. The corners are not very wide and the C-bouts are elongated. The arching is of an average height with not too wide a fluting. The f-holes are standing upright and far apart (5 cm). The lower band of the ribs is made of two parts. Linings have been provided all around. The neck, again in maple with strong and narrow flame, has a very small overhang above the top and a slight inclination. A screw, most probably replacing an older metal nail has been used to join the neck to the body. The wedge-shaped ebony fingerboard has an incision at the bottom near the joint between neck and body, and gets thinner both ways lengthwise. The spiral of the scroll widens in the longitudinal direction, making the scroll look oval. The heel is fairly wide. Pegs and tailpiece are modern; the bridge refers to seventeenth-century models. The varnish is reddish brown and looks quite hard. The handwritten label, with a date that is difficult to read, says: "Johannes Cuypers / fecit s'Hage 1782". This viola was part of the César Snoeck collection and was donated in 1908 to the former Instrument Museum by Louis Cavens. Bibliography Victor-Charles Mahillon, Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, IV, Ghent, 1912, p. 412. Musée Instrumental de Bruxelles, Instruments de musique des Pays-Bas, 17e-19e siècles, Europalia 1971, Catalogue, p. 22. Els Moens, De cister en aanverwante instrumenten in de Belgische verzamelingen, Pt. I, Rijksuniversiteit Gent, 1995, p. 151. L approx. 66 cm L. body approx. 39 cm. W. approx. 22,8 cm. H ribs: approx. 35 cm String length approx. 36 cm

↑ , :

:

collectionName : String instruments
inventoryNb : 2833
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1761
material :
technique :
dimensions : Height: 66,9 cm, Width: 23,1 cm, Depth: 9,3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This instrument (inv. no. 2833) resembles the viola with a Cuypers label from 1762 (inv. no. 2832) in a number of respects, but neither of them is probably by this maker. The two-part back is, just like the ribs, made of finely flamed maple and has a three-part purfling with long “stems” in the corners, just like for the top. The latter, in two-part spruce, has a similar purfling and shows several fractures and worm channels. The corners are rather narrow and the C-bouts are elongated. The arching is of an average height with a rather narrow fluting. The f-holes are standing upright and 5 cm apart. The lower band of the ribs is made of two parts. Linings have been provided all around. The neck, in maple with faint flame, was later raised relative to the body. Under the neck base a piece of wood was added for this purpose and presumably the heel was narrowed down at this point. A screw, most probably replacing an older metal nail has been used to join back the neck to the body. The wedge-shaped ebony fingerboard gets thinner both ways lengthwise and thus slightly increases the inclination. The profile of the neck is rather characteristic of the eighteenth century and the spiral of the scroll is extending somewhat in the longitudinal direction, making the scroll look oval. Button and tail piece are modern. An orange-brown varnish covers the instrument. The printed label reads: "JOHANNES CUYPERS, / FECIT’S HAGE A ° 1761" Only the last two digits have been added by hand. This viola was part of the César Snoeck collection and was donated in 1908 to the former Instrument Museum by Louis Cavens. Bibliography Victor-Charles Mahillon, Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, IV, Ghent, 1912, p. 412. Musée Instrumental de Bruxelles, Instruments de musique des Pays-Bas, 17e-19e siècles, Europalia 1971, Catalogue, p. 22. Els Moens, De cister en aanverwante instrumenten in de Belgische verzamelingen, Pt. I, Rijksuniversiteit Gent, 1995, p. 151. L approx. 67,5 cm L. of body approx. 40,7 cm. W. approx. 23,3 cm. H ribs: approx. 3,4 cm String length approx. 37,3cm

↑ , :

:

collectionName : String instruments
inventoryNb : 2834
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1809
material :
technique :
dimensions : Height: 63,2 cm, Width: 22,4 cm, Depth: 11 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This small viola (inv. no. 2834) differs in several respects from the instruments with a Cuypers label from 1761 and 1782 (inv. no. 2833 and 2832). The two-part back is made of strongly and finely flamed maple and has a wider three-part purfling that lies quite far from the edge. The top, in two-part spruce, has a similar purfling and multiple fractures. The corners are not very wide and unequal in shape, and the C-bouts are elongated. The arching is rather low gradually rising out of the fluting. The f-holes are cut fairly angularly, stand 5 cm apart and point a little inwards at the bottom. The lower band of the ribs is made of two parts. The flame is less pronounced. Linings have been provided all around. The neck, in very lightly flamed maple, has been joined to the body by means of a screw, most probably replacing an older metal nail. It has a very low overhang above the top. The wedge-shaped ebony fingerboard has an incision at the bottom above the connection between neck and body, and from there it becomes thinner on both sides. The spiral of the scroll widens lengthwise, making the scroll look oval, and the pegbox is roughly trimmed in the area under the scroll. The heel is fairly wide. Tailpiece and bridge are modern. The transparent golden yellow varnish forms a thin protective layer. The sometimes hesitating realization may be due to the high age of Johannes Theodorus Cuypers (1724-1808), or it can indicate the cooperation or termination by the master’s sons Johannes Franciscus I (1766-1828) or Johannes Bernardus (1781-1840). The handwritten label reads: "Johannes Cuypers, fecit s'Hage 1809 (aetatis suae 80)" This viola was part of the César Snoeck collection and was donated in 1908 to the former Instrument Museum by Louis Cavens. Bibliography Victor-Charles Mahillon, Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, IV, Ghent, 1912, p. 412. Musée Instrumental de Bruxelles, Instruments de musique des Pays-Bas, 17e-19e siècles, Europalia 1971, Catalogue, p. 23. Karel Moens, Instrumentenmuseum Brussel, Tentoonstelling Europese strijkinstrumenten, Brussels, 1980. L. approx. 64,5 cm L. of body approx. 38,2 cm. W. approx. 22,6 cm. H ribs approx. 3,5 cm String length approx. 34,6 cm

↑ , Haute-contre à la française:

Haute-contre à la française :

collectionName : String instruments
inventoryNb : 2838
objectName :
objectTitle : Haute-contre à la française
objectCulture :
geography :
dating : AD 1777
material :
technique :
dimensions : Height: 59,8 cm, Width: 22,7 cm, Depth: 10,7 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This heavily damaged viola (inv. no. 2838) from 1777, by the Brussels builder Henri Joseph De Lannoy (1712-after 1795), is inspired by the Cremonese violin from the seventeenth century, and is covered with a yellow-beige transparent varnish, probably as a replacement for a lost original layer of varnish. Back and front, both in two parts, have, as far as they are not damaged, elegant edges and corners, with a three-part purfling that is fairly irregular in width. The back, just like the ribs in highly flamed maple, shows woodworm channels filled up on the bass side and changes to the heel. A wooden pin is visible above and below just next to the middle joint. The archings are regular and not too high. The notches of the smoothly cut f-holes are almost opposite each other. Ribs and tops also show cracks and filled woodworm channels. Linings have been provided all around. The modern neck in maple with a stronger and narrower flame and set in with a dovetail joint, has a modern fingerboard in ebony with a bevel for the thickest string. The joint of the new neck to the pegbox is clearly visible and extends approximately to the middle of the latter. It is composed of different parts that, just like the scroll, may not have belonged to the original pegbox. Bridge, soundpost, keys, nut, button and tail piece are modern. The printed label reads: "H ... cus Josephus de Lannoy, Bruxellensis 1777". The two last digits have been added in handwriting. This viola was part of the César Snoeck collection and was donated in 1908 to the former Instrument Museum by Louis Cavens. Bibliography Victor-Charles Mahillon, Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, IV, Ghent, 1912, p. 413. Lutgart Moens, De familie Snoeck, vioolbouwers aan het hof te Brussel in de 18de eeuw, Katholieke universiteit te Leuven, 1976, p. 130. L approx. 66.4 cm L. body approx. 39.5 cm. W. approx. 22.9 cm. H ribs: approx. 3.4 cm String length approx. 36.2 cm

↑ , :

:

collectionName : String instruments
inventoryNb : 2888
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1701 - AD 1800
material :
technique :
dimensions : Height: 72,5 cm, Width: 22,2 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This six-string treble viol by Charle Bis from Douai (inv. no. 2888) is brown in color with a thin layer of varnish. The back, composed of three strips in a light and two in a dark wood, is flat, with a slight angle towards the neck. Each strip is bordered with a three-part purfling, which therefore does not follow the entire circumference. Inside there is a soundpost plate. The ribs are also made of layers: two wide light-colored bands interrupted by one narrow dark one in the middle. The top made of two-part spruce has a three-part purfling and two C-holes. Near the heel, the neck still has a V-shaped profile. Further towards the pegbox, it is narrowed and probably also made thinner. The pegbox itself is joined to the neck and also narrowed at the bottom. The underside is decorated with acanthus leaves and adorned with a child's head with curly hair. It is provided with notches near the (lost) upper nut, to facilitate the passage of the outer strings. The wedge-shaped fingerboard in maple is, just like the neck, narrowed down towards the body. It has a purfling composed of three strips and a diamond-shaped pattern in the same material. Despite the presence of a similar diamond pattern on the tailpiece, the latter is to be dated later, given the rounded shapes, the darker finish, the five-strip inlays and the absence of purfling near the edges. The tailpiece bar with turned top is attached to the bottom by means of two turned wooden nails. The entire instrument is fragile: it has several crack, as well as numerous woodworm holes, padded or not. The label contains the following handwritten text "Faict à Douaij par Charle Bis". This treble viol was part of the César Snoeck collection and was donated to the former Instrument Museum in 1908 by Louis Cavens. Bibliography Victor-Charles Mahillon, Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, IV, Ghent, 1912, p. 422. L. approximately 74.8 cm W. approx. 21 cm. H. ribs: approx. 8 cm String length approx. 40 cm

↑ , Rectangular muselar virginal:

Rectangular muselar virginal :

collectionName : Keyboard instruments
inventoryNb : 2930
objectName :
objectTitle : Rectangular muselar virginal
objectCulture :
geography :
dating : AD 1614 (uncertain)
material :
technique :
dimensions : Length: 1667 mm, Width: 490 mm, Height: 240 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Muselar virginal on 6 legs, bearing the serial number 6/20, probably built in 1614. Restyled several times according to current tastes. In the first half of the 18th century, the original porphyry decoration was covered with a brownish colour. During the 19th century, that brown was then hidden under faux-wood and the instrument was given a new lid. Also during the 19th century, the instrument was redecorated with geometrical motifs. A new fallboard and jackrail were added. A flap was cut out of the lid above the keys while the soundboard and bridges were painted in a milky brown. The soundboard was enhanced with decorative motifs. Some of these alterations could have been the work of a certain I.B.P., who left his signature on the nameboard liner. Restored in the 1960s.

↑ , Rectangular muselar virginal:

Rectangular muselar virginal :

collectionName : Keyboard instruments
inventoryNb : 2933
objectName :
objectTitle : Rectangular muselar virginal
objectCulture :
geography :
dating : AD 1638
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Muselar virginal on 6 legs, bearing the serial number 6/68 and built by Ioannes Ruckers in 1638 according to the date inscribed on the soundboard. Underwent a refurbishment, probably in the eighteenth century. Restored at least once, probably several times.

↑ , Harpsichord with double keyboard:

Harpsichord with double keyboard :

collectionName : Keyboard instruments
inventoryNb : 2934
objectName :
objectTitle : Harpsichord with double keyboard
objectCulture :
geography :
dating : ca. AD 1585
material :
technique :
dimensions : Height: 27,1 cm, Width: 79,4 cm, Depth: 224,2 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Double-manual harpsichord long considered a Hans Ruckers instrument, built by a Flemish maker around 1585. The oldest extant double-manual Flemish harpsichord. It originally had two manuals, one of which was transposing, two ranks of strings (1x4’, 1x8’), but only three registers. Alignment of the keyboards and grand refurbishment, probably as early as in the seventeenth century. Further touchup at some time in the eighteenth century. Restored in 2015 thanks to the patronage of the Foundation Baillet Latour.

↑ , :

:

collectionName : Sculpture and Furniture (XIII - XIX centuries)
inventoryNb : 3146
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1501 - AD 1600
material :
technique :
dimensions : Height: 33 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Harpsichord with double keyboard:

Harpsichord with double keyboard :

collectionName : Keyboard instruments
inventoryNb : 3848
objectName :
objectTitle : Harpsichord with double keyboard
objectCulture :
geography :
dating : ca. AD 1695
material :
technique :
dimensions : Length: 2263 cm, Width: 898 cm, Height: 919 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Double-manual harpsichord long considered an instrument by Hans Ruckers, built by a French maker around 1695. Lid and fallboard paintings attributed to the studio of Martin des Batailles and to Pierre-Denis Martin. First refurbishment probably by Antoine Vater around 1750. Second refurbishment by Pascal Taskin in 1774. Restored in 1905 in Paris by the Italian piano maker and restorer Louis Tomasini, in the 1950s by the American harpsichord maker Frank Hubbard and in 1996 thanks to funds from the King Baudouin Foundation.

↑ , :

:

collectionName : Keyboard instruments
inventoryNb : 3908
objectName :
objectTitle :
objectCulture :
geography :
dating : ca. AD 1620
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Flemish harpsichord from the early seventeenth century, formerly considered an Andreas Ruckers instrument. Probably as early as the 17th century, the instrument has undergone a first refurbishment. The soundboard was redecorated, most likely sometime in the eighteenth century. In the late nineteenth or even twentieth century, a new keyboard was placed into the instrument; a second rank of 8’ strings was added while the 4’ was abandoned. The case then received a Louis XV-style decoration.

↑ , :

:

collectionName : Wind instruments
inventoryNb : 4246
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1851 - AD 1900
material :
technique :
dimensions : Height: 47 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Sculpture and Furniture (XIII - XIX centuries)
inventoryNb : 9038
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1650 unknown
material :
technique :
dimensions : Height: 183 cm, Width: 173 cm, Depth: 70 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Vase decorated with snakes:

Vase decorated with snakes :

collectionName : America
inventoryNb : AAM 00070.6
objectName :
objectTitle : Vase decorated with snakes
objectCulture : Tarascans (Purépecha)
geography :
dating : AD 1 - AD 500
material :
technique :
dimensions : Height: 23,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Large spherical vessel with painted decoration: a mouth with eyes, probably a reptilian head:

Large spherical vessel with painted decoration: a mouth with eyes, probably a reptilian head :

collectionName : America
inventoryNb : AAM 00083.3
objectName :
objectTitle : Large spherical vessel with painted decoration: a mouth with eyes, probably a reptilian head
objectCulture : Veraguas
geography :
dating : AD 850 - AD 1000
material :
technique :
dimensions : Dimensions H x D: 30 cm, 33 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Part of a pair of vessels with multi-colour decorations : to the left a representation of an Alligator-god and to the right a complex figure

↑ , Whistle in the shape of a birdman:

Whistle in the shape of a birdman :

collectionName : America
inventoryNb : AAM 01409
objectName :
objectTitle : Whistle in the shape of a birdman
objectCulture : Maya
geography :
dating : AD 600 - AD 1000 (uncertain)
material :
technique :
dimensions : Height: 11 cm, Width: 5 cm, Depth: 4,3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Figurine, possibly a human figure wearing a plumed mask or a heron mask. Bird head identified as pelican.

↑ , Vase in the shape of a human head:

Vase in the shape of a human head :

collectionName : America
inventoryNb : AAM 04444
objectName :
objectTitle : Vase in the shape of a human head
objectCulture : Mississipi tradition
geography :
dating : AD 700 - AD 1500
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Gallo-Roman
inventoryNb : B000474-010
objectName :
objectTitle :
objectCulture : Gallo-Roman
geography :
dating :
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Base of a plate in terra sigillata, Drag. 28, with seal OFTSFE (probably Flavus and Secundus).

↑ , Denarius probably struck at Limoges by Theodoald:

Denarius probably struck at Limoges by Theodoald :

collectionName : Merovingians
inventoryNb : B000938-001
objectName :
objectTitle : Denarius probably struck at Limoges by Theodoald
objectCulture : Merovingian
geography :
dating : AD 670 - AD 750
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Biconical pot made of brown paste with undulating incisions:

Biconical pot made of brown paste with undulating incisions :

collectionName : Merovingians
inventoryNb : B000956-010
objectName :
objectTitle : Biconical pot made of brown paste with undulating incisions
objectCulture : Merovingian
geography :
dating : AD 500 - AD 550
material :
technique :
dimensions : Height: 8 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This carinated pot was found amongst a number of grave goods (including a pair of cissors, a knife and an iron buckle) in grave 35, dated in the first half of the 6th century. It probably concerned a male grave. The mentioned object comes from a 6th to 7th century burial ground, discovered on top of the ruins of a Roman villa at the Saint-Annafield in Anderlecht. This graveyard, excavated in the late 19th and early 20th century by the ‘Société royale d’Archéologie de Bruxelles’, presumably contained about 300 graves. The deceased were positioned in east-west orientation, in graves that were placed closely together. Some of these consisted of a stone enclosure or wooden coffin and most of them contained grave goods. The deepest graves were usually characterized by the richest objects.

↑ , Oval buckle with shield-shaped prong:

Oval buckle with shield-shaped prong :

collectionName : Merovingians
inventoryNb : B000956-024
objectName :
objectTitle : Oval buckle with shield-shaped prong
objectCulture : Merovingian
geography :
dating : AD 501 - AD 550
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This oval buckle was found amongst a number of other grave goods (including a nail, a small iron rod and several fibulae) in tomb 41. The grave probably contained a wooden coffin and the remains of a wealthy woman. The mentioned object comes from a 6th to 7th century burial ground, discovered on top of the ruins of a Roman villa at the Saint-Annafield in Anderlecht. This graveyard, excavated in the late 19th and early 20th century by the ‘Société royale d’Archéologie de Bruxelles’, presumably contained about 300 graves. The deceased were positioned in east-west orientation, in graves that were placed closely together. Some of these consisted of a stone enclosure or wooden coffin and most of them contained grave goods. The deepest graves were usually characterized by the richest objects.

↑ , S-shaped fibulae:

S-shaped fibulae :

collectionName : Merovingians
inventoryNb : B000956-029
objectName :
objectTitle : S-shaped fibulae
objectCulture : Merovingian
geography :
dating : AD 551 - AD 600
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : These s-shaped fibulae were found amongst a number of other grave goods (including a buckle, a small iron rod and multiple other fibulae) in tomb 41. The grave, dated in the second half of the 6th century, probably contained a wooden coffin and the remains of a wealthy woman. The mentioned object comes from a 6th to 7th century burial ground, discovered on top of the ruins of a Roman villa at the Saint-Annafield in Anderlecht. This graveyard, excavated in the late 19th and early 20th century by the ‘Société royale d’Archéologie de Bruxelles’, presumably contained about 300 graves. The deceased were positioned in east-west orientation, in graves that were placed closely together. Some of these consisted of a stone enclosure or wooden coffin and most of them contained grave goods. The deepest graves were usually characterized by the richest objects.

↑ , Iron plane:

Iron plane :

collectionName : Merovingians
inventoryNb : B000956-042
objectName :
objectTitle : Iron plane
objectCulture : Merovingian
geography :
dating : AD 575 - AD 625
material :
technique :
dimensions : Height: 3,8 cm, Width: 17,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This iron plane was found amongst a number of other grave goods (including a buckle, an iron nail and a fibula) in tomb 60. The grave, dated around 600, probably contained a wooden coffin and the remains of a wealthy woman. The mentioned object comes from a 6th to 7th century burial ground, discovered on top of the ruins of a Roman villa at the Saint-Annafield in Anderlecht. This graveyard, excavated in the late 19th and early 20th century by the ‘Société royale d’Archéologie de Bruxelles’, presumably contained about 300 graves. The deceased were positioned in east-west orientation, in graves that were placed closely together. Some of these consisted of a stone enclosure or wooden coffin and most of them contained grave goods. The deepest graves were usually characterized by the richest objects.

↑ , Small iron knife:

Small iron knife :

collectionName : Merovingians
inventoryNb : B000956-056
objectName :
objectTitle : Small iron knife
objectCulture : Merovingian
geography :
dating : AD 500 - AD 550
material :
technique :
dimensions : Length: 15,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This small knife was found amongst a number of grave goods (including a pair of cissors, a ceramic vase and an iron buckle) in grave 35, dated in the first half of the 6th century. It probably concerned a male grave. The mentioned object comes from a 6th to 7th century burial ground, discovered on top of the ruins of a Roman villa at the Saint-Annafield in Anderlecht. This graveyard, excavated in the late 19th and early 20th century by the ‘Société royale d’Archéologie de Bruxelles’, presumably contained about 300 graves. The deceased were positioned in east-west orientation, in graves that were placed closely together. Some of these consisted of a stone enclosure or wooden coffin and most of them contained grave goods. The deepest graves were usually characterized by the richest objects.

↑ , Small iron knife:

Small iron knife :

collectionName : Merovingians
inventoryNb : B000956-058
objectName :
objectTitle : Small iron knife
objectCulture : Merovingian
geography :
dating : AD 575 - AD 625
material :
technique :
dimensions : Length: 14 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This small knife was found amongst a number of other grave goods (including a buckle, an iron nail and a fibula) in tomb 60. The grave, dated around 600, probably contained a wooden coffin and the remains of a wealthy woman. The mentioned object comes from a 6th to 7th century burial ground, discovered on top of the ruins of a Roman villa at the Saint-Annafield in Anderlecht. This graveyard, excavated in the late 19th and early 20th century by the ‘Société royale d’Archéologie de Bruxelles’, presumably contained about 300 graves. The deceased were positioned in east-west orientation, in graves that were placed closely together. Some of these consisted of a stone enclosure or wooden coffin and most of them contained grave goods. The deepest graves were usually characterized by the richest objects.

↑ , Bent iron nail:

Bent iron nail :

collectionName : Merovingians
inventoryNb : B000956-063
objectName :
objectTitle : Bent iron nail
objectCulture : Merovingian
geography :
dating : AD 575 - AD 600
material :
technique :
dimensions : Length: 5,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This iron nail was found amongst a number of other grave goods (including a buckle, a plane and a fibula) in tomb 60. The grave, dated around 600, probably contained a wooden coffin and the remains of a wealthy woman. The mentioned object comes from a 6th to 7th century burial ground, discovered on top of the ruins of a Roman villa at the Saint-Annafield in Anderlecht. This graveyard, excavated in the late 19th and early 20th century by the ‘Société royale d’Archéologie de Bruxelles’, presumably contained about 300 graves. The deceased were positioned in east-west orientation, in graves that were placed closely together. Some of these consisted of a stone enclosure or wooden coffin and most of them contained grave goods. The deepest graves were usually characterized by the richest objects.

↑ , Iron nail with head damaged:

Iron nail with head damaged :

collectionName : Merovingians
inventoryNb : B000956-065
objectName :
objectTitle : Iron nail with head damaged
objectCulture : Merovingian
geography :
dating : AD 550 - AD 600
material :
technique :
dimensions : Length: 5,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This iron nail was found amongst a number of other grave goods (including a buckle, a small iron bar and several fibulae) in tomb 41. The grave, dated in the second half of the 6th century, probably contained a wooden coffin and the remains of a wealthy woman. The mentioned object comes from a 6th to 7th century burial ground, discovered on top of the ruins of a Roman villa at the Saint-Annafield in Anderlecht. This graveyard, excavated in the late 19th and early 20th century by the ‘Société royale d’Archéologie de Bruxelles’, presumably contained about 300 graves. The deceased were positioned in east-west orientation, in graves that were placed closely together. Some of these consisted of a stone enclosure or wooden coffin and most of them contained grave goods. The deepest graves were usually characterized by the richest objects.

↑ , Oval buckle with prong:

Oval buckle with prong :

collectionName : Merovingians
inventoryNb : B000956-082
objectName :
objectTitle : Oval buckle with prong
objectCulture : Merovingian
geography :
dating : AD 575 - AD 625
material :
technique :
dimensions : Length: 2,8 cm, Width: 2,7 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This oval buckle was found amongst a number of other grave goods (including a knife, a plane and a fibula) in tomb 60. The grave, dated around 600, probably contained a wooden coffin and the remains of a wealthy woman. The mentioned object comes from a 6th to 7th century burial ground, discovered on top of the ruins of a Roman villa at the Saint-Annafield in Anderlecht. This graveyard, excavated in the late 19th and early 20th century by the ‘Société royale d’Archéologie de Bruxelles’, presumably contained about 300 graves. The deceased were positioned in east-west orientation, in graves that were placed closely together. Some of these consisted of a stone enclosure or wooden coffin and most of them contained grave goods. The deepest graves were usually characterized by the richest objects.

↑ , Oval buckle with restored prong:

Oval buckle with restored prong :

collectionName : Merovingians
inventoryNb : B000956-085
objectName :
objectTitle : Oval buckle with restored prong
objectCulture : Merovingian
geography :
dating : AD 500 - AD 550
material :
technique :
dimensions : Length: 3,8 cm, Width: 3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This oval buckle was found amongst a number of grave goods (including a pair of cissors, a ceramic vase and a knife) in grave 35, dated in the first half of the 6th century. It probably concerned a male grave. The mentioned object comes from a 6th to 7th century burial ground, discovered on top of the ruins of a Roman villa at the Saint-Annafield in Anderlecht. This graveyard, excavated in the late 19th and early 20th century by the ‘Société royale d’Archéologie de Bruxelles’, presumably contained about 300 graves. The deceased were positioned in east-west orientation, in graves that were placed closely together. Some of these consisted of a stone enclosure or wooden coffin and most of them contained grave goods. The deepest graves were usually characterized by the richest objects.

↑ , :

:

collectionName : Prehistory and Metal Ages
inventoryNb : B001376-001
objectName :
objectTitle :
objectCulture : Michelsberg
geography :
dating :
material :
technique :
dimensions : Length: 3,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Gift from M. Et. Verhaegen to the RMAH in 1908. The material dates back to the Middle Neolithic period (probably Michelsberg or S.O.M.) and comes from Boitsfort (without more precise location).

↑ , Bird-shaped fibula:

Bird-shaped fibula :

collectionName : Merovingians
inventoryNb : B001915-039
objectName :
objectTitle : Bird-shaped fibula
objectCulture : Merovingian
geography :
dating : AD 476 - AD 525
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This bird-shaped fibula was found amongst a number of other grave goods (including a knife, a plane and a buckle) in tomb 60. The grave, dated around 600, probably contained a wooden coffin and the remains of a wealthy woman. The mentioned object comes from a 6th to 7th century burial ground, discovered on top of the ruins of a Roman villa at the Saint-Annafield in Anderlecht. This graveyard, excavated in the late 19th and early 20th century by the ‘Société royale d’Archéologie de Bruxelles’, presumably contained about 300 graves. The deceased were positioned in east-west orientation, in graves that were placed closely together. Some of these consisted of a stone enclosure or wooden coffin and most of them contained grave goods. The deepest graves were usually characterized by the richest objects.

↑ , Small fragmentary beaker, probably attached to the back of another recipient:

Small fragmentary beaker, probably attached to the back of another recipient :

collectionName : Merovingians
inventoryNb : B002144-001
objectName :
objectTitle : Small fragmentary beaker, probably attached to the back of another recipient
objectCulture : Merovingian
geography :
dating :
material :
technique :
dimensions : Height: 8,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Ansated fibula with buttons:

Ansated fibula with buttons :

collectionName : Merovingians
inventoryNb : B005759-282
objectName :
objectTitle : Ansated fibula with buttons
objectCulture : Merovingian
geography :
dating : AD 550 - AD 600
material :
technique :
dimensions : Length: 8,7 cm, Width: 4,7 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This ansated fibula was found amongst a number of other grave goods (including a buckle, a small iron rod and multiple other fibulae) in tomb 41. The grave, dated in the second half of the 6th century, probably contained a wooden coffin and the remains of a wealthy woman. The mentioned object comes from a 6th to 7th century burial ground, discovered on top of the ruins of a Roman villa at the Saint-Annafield in Anderlecht. This graveyard, excavated in the late 19th and early 20th century by the ‘Société royale d’Archéologie de Bruxelles’, presumably contained about 300 graves. The deceased were positioned in east-west orientation, in graves that were placed closely together. Some of these consisted of a stone enclosure or wooden coffin and most of them contained grave goods. The deepest graves were usually characterized by the richest objects.

↑ , Glass drinking horn with metal fitting:

Glass drinking horn with metal fitting :

collectionName : Merovingians
inventoryNb : B005829-001
objectName :
objectTitle : Glass drinking horn with metal fitting
objectCulture : Merovingian
geography :
dating :
material :
technique :
dimensions : Height: 20,3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : In the early Middle Ages, people were buried with various grave goods. This drinking horn, acquired by the museum in 2010, is probably from the cemetery of Anderlecht, where it was unearthed during early excavations. Its previous owner discovered it as a child in the attic of his grandfather, a Brussels notary. A greenish yellow, heightened with a net pattern and three rings, all bluish green, it is distinctive for its large size. Related to similar net-decorated horns form Lombardy, it could nonetheless be a local product. Intact ancient or medieval glass drinking horns are quite rare.

↑ , Probably two pairs of cuffs:

Probably two pairs of cuffs :

collectionName : Lace
inventoryNb : D.3311.00
objectName :
objectTitle : Probably two pairs of cuffs
objectCulture :
geography :
dating : ca. AD 1625
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Probably cuff:

Probably cuff :

collectionName : Lace
inventoryNb : D.3311.01
objectName :
objectTitle : Probably cuff
objectCulture :
geography :
dating : ca. AD 1625
material :
technique :
dimensions : Height: 13 cm, Width: 24 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Probably cuff:

Probably cuff :

collectionName : Lace
inventoryNb : D.3311.02
objectName :
objectTitle : Probably cuff
objectCulture :
geography :
dating : ca. AD 1625
material :
technique :
dimensions : Height: 13 cm, Width: 24 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Probably cuff:

Probably cuff :

collectionName : Lace
inventoryNb : D.3311.03
objectName :
objectTitle : Probably cuff
objectCulture :
geography :
dating : ca. AD 1625
material :
technique :
dimensions : Height: 13 cm, Width: 29 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Probably cuff:

Probably cuff :

collectionName : Lace
inventoryNb : D.3311.04
objectName :
objectTitle : Probably cuff
objectCulture :
geography :
dating : ca. AD 1625
material :
technique :
dimensions : Height: 13 cm, Width: 29 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Copper tweezers:

Copper tweezers :

collectionName : Merovingians
inventoryNb : D0058-007
objectName :
objectTitle : Copper tweezers
objectCulture : Merovingian
geography :
dating : AD 501 - AD 550
material :
technique :
dimensions : Height: 8,5 cm
legalRightOwner : Société Royale d'Archéologie de Bruxelles

objectDescription : These tweezers were found amongst a number of grave goods (including a pair of cissors, a ceramic vase and an iron buckle) in grave 35, dated in the first half of the 6th century. It probably concerned a male grave. The mentioned object comes from a 6th to 7th century burial ground, discovered on top of the ruins of a Roman villa at the Saint-Annafield in Anderlecht. This graveyard, excavated in the late 19th and early 20th century by the ‘Société royale d’Archéologie de Bruxelles’, presumably contained about 300 graves. The deceased were positioned in east-west orientation, in graves that were placed closely together. Some of these consisted of a stone enclosure or wooden coffin and most of them contained grave goods. The deepest graves were usually characterized by the richest objects.

↑ , :

:

collectionName : Wind instruments
inventoryNb : D2008.0226
objectName :
objectTitle :
objectCulture :
geography :
dating : before AD 1980
material :
technique :
dimensions :
legalRightOwner : Museum over industrie, arbeid en textiel (MIAT), Gent

objectDescription : item has no descption

↑ , Blue glazed pectoral:

Blue glazed pectoral :

collectionName : Egypt
inventoryNb : E.00267
objectName :
objectTitle : Blue glazed pectoral
objectCulture : Egyptian
geography :
dating : 1550 BC - 1069 BC
material :
technique :
dimensions : Height: 5,7 cm, Width: 6,2 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This small blue glazed pectoral is shaped like a naos with a cornice. It was probably used as an amulet. It depicts the god Anubis lying on a naos. The object dates to the New Kingdom and was found in tomb D94 at Abydos. Excavation: McIver & Mace

↑ , Pyramidion, decorated on one side:

Pyramidion, decorated on one side :

collectionName : Egypt
inventoryNb : E.00276
objectName :
objectTitle : Pyramidion, decorated on one side
objectCulture : Egyptian
geography :
dating : ca. 1300 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This pyramidion, probably dating to the Amarna period, was found in a tomb at Abydos. Only the front side is decorated. The scene shows the (anonymous) deceased with two baboons, in adoration for the rising sun. The deceased hoped to join the sun-god Re in his solar bark, when he started his journey through the sky. Excavation: McIver & Mace

↑ , Hieratic ostracon:

Hieratic ostracon :

collectionName : Egypt
inventoryNb : E.00304
objectName :
objectTitle : Hieratic ostracon
objectCulture : Egyptian
geography :
dating : 1545 BC - 1069 BC
material :
technique :
dimensions : Height: 9,5 cm, Width: 17 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This ostracon, bought in 1901 at Dra' Abu el-Naga by Jean Capart, has several lines of hieratic on both sides. Some lines have faded. The text probably contains a list of food, and other materials, such as fabrics and metals.

↑ , Hieratic ostracon:

Hieratic ostracon :

collectionName : Egypt
inventoryNb : E.00305
objectName :
objectTitle : Hieratic ostracon
objectCulture : Egyptian
geography :
dating : 1186 BC - 1069 BC (uncertain)
material :
technique :
dimensions : Height: 10,5 cm, Width: 9,8 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This ostracon contains ten lines of hieratic, 5 on each side. It is a letter concerning various deliveries. It probably dates to the 20th dynasty.

↑ , Hieratic ostracon:

Hieratic ostracon :

collectionName : Egypt
inventoryNb : E.00306
objectName :
objectTitle : Hieratic ostracon
objectCulture : Egyptian
geography :
dating : 1545 BC - 1069 BC unknown
material :
technique :
dimensions : Height: 4,1 cm, Width: 7 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This small fragment of an ostracon, probably from Deir el-Medina, mentions a name that is only attested in the period between the reigns of Ramesses III and Ramesses V.

↑ , Hieratic ostracon:

Hieratic ostracon :

collectionName : Egypt
inventoryNb : E.00312
objectName :
objectTitle : Hieratic ostracon
objectCulture : Egyptian
geography :
dating : 1550 BC - 1069 BC
material :
technique :
dimensions : Height: 8,7 cm, Width: 11,4 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This fragment of an ostracon contains five lines of hieratic. It is probably an extract from an account. The end of the text mentions a painter of the royal tombs in Thebes, with the name Nebnefer.

↑ , Demotic ostracon:

Demotic ostracon :

collectionName : Egypt
inventoryNb : E.00357
objectName :
objectTitle : Demotic ostracon
objectCulture : Egyptian
geography :
dating : 332 BC - 30 BC
material :
technique :
dimensions : Height: 10,7 cm, Width: 7 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This fragment of an ostracon, purchased by Jean Capart in 1900 in Luxor, contains a column with names and the beginning of another column with lists of words related to a priestly environment. The verso contains only a few incomplete words. This was probably a temple account.

↑ , Fragment of an ostracon: royal figure and servant:

Fragment of an ostracon: royal figure and servant :

collectionName : Egypt
inventoryNb : E.00367
objectName :
objectTitle : Fragment of an ostracon: royal figure and servant
objectCulture : Egyptian
geography :
dating : unknown
material :
technique :
dimensions : Height: 14,1 cm, Width: 27 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The figures on this ostracon, painted with red ink, are difficult to distinguish. They probably represent a royal figure accompanied by a servant. This piece was severely damaged by humidity in the period 1940-1944.

↑ , Coptic ostracon, probably a letter:

Coptic ostracon, probably a letter :

collectionName : Egypt
inventoryNb : E.00376
objectName :
objectTitle : Coptic ostracon, probably a letter
objectCulture : Egyptian
geography :
dating : unknown
material :
technique :
dimensions : Height: 7,7 cm, Width: 11,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Fragments of a tomb relief:

Fragments of a tomb relief :

collectionName : Egypt
inventoryNb : E.00402
objectName :
objectTitle : Fragments of a tomb relief
objectCulture : Egyptian
geography :
dating : 1295 BC - 1186 BC
material :
technique :
dimensions : Height: 16,2 cm, Width: 15,7 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : These three relief fragments (E.00402, E.00403, E.00405) probably came from a wall of a Theban tomb. They depict the heads of three dignitaries. The style and colours of the reliefs confirm a New Kingdom dating, more specifically to the 19th dynasty.

↑ , Fragments of a tomb relief:

Fragments of a tomb relief :

collectionName : Egypt
inventoryNb : E.00403
objectName :
objectTitle : Fragments of a tomb relief
objectCulture : Egyptian
geography :
dating : 1295 BC - 1186 BC
material :
technique :
dimensions : Height: 22,7 cm, Width: 17,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : These three relief fragments (E.00402, E.00403, E.00405) probably came from a wall of a Theban tomb. They depict the heads of three dignitaries. The style and colours of the reliefs confirm a New Kingdom dating, more specifically to the 19th dynasty.

↑ , Fragment of a relief:

Fragment of a relief :

collectionName : Egypt
inventoryNb : E.00404
objectName :
objectTitle : Fragment of a relief
objectCulture : Egyptian
geography :
dating : 1295 BC - 1186 BC
material :
technique :
dimensions : Height: 25 cm, Width: 18 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This relief probably came from a Theban tomb. It depicts a man who raises his hand in adoration. Above the man, three columns with painted hieroglyphs are visible. The style of the relief and the pronounced colours are characteristic for the Ramesside period.

↑ , Fragments of a tomb relief:

Fragments of a tomb relief :

collectionName : Egypt
inventoryNb : E.00405
objectName :
objectTitle : Fragments of a tomb relief
objectCulture : Egyptian
geography :
dating : 1295 BC - 1186 BC
material :
technique :
dimensions : Height: 17,2 cm, Width: 14,2 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : These three relief fragments (E.00402, E.00403, E.00405) probably came from a wall of a Theban tomb. They depict the heads of three dignitaries. The style and colours of the reliefs confirm a New Kingdom dating, more specifically to the 19th dynasty.

↑ , Amulet in the shape of a waterbird with two heads:

Amulet in the shape of a waterbird with two heads :

collectionName : Egypt
inventoryNb : E.00421
objectName :
objectTitle : Amulet in the shape of a waterbird with two heads
objectCulture : Egyptian
geography :
dating : 4000 BC - 3000 BC (uncertain)
material :
technique :
dimensions : Height: 5,3 cm, Width: 7,8 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This amulet in the shape of a two-headed waterbird in graywacke has a rectangular protrusion that is pierced and notched at the top. It was probably used as a pendant. The remains of inlay (quartz?) are still visible in one of the eyes.

↑ , Amulet in the shape of a waterbird:

Amulet in the shape of a waterbird :

collectionName : Egypt
inventoryNb : E.00422
objectName :
objectTitle : Amulet in the shape of a waterbird
objectCulture : Egyptian
geography :
dating : 4000 BC - 3000 BC (uncertain)
material :
technique :
dimensions : Height: 9 cm, Width: 6,1 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This amulet in the form of a two-headed swimming bird in graywacke has a central rectangular protrusion that is pierced and notched at the top. It was probably used as a pendant. The eye is pierced, but probably once contained an inlay. The precise meaning of this object is unknown.

↑ , Canopic jar:

Canopic jar :

collectionName : Egypt
inventoryNb : E.00528
objectName :
objectTitle : Canopic jar
objectCulture : Egyptian
geography :
dating : 1185 BC - 944 BC (uncertain)
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This fragment of a canopic jar was found during the excavations of W.M.F. Petrie in Abydos. It is decorated with lines in white, black and red. The body carries an inscription that has to be read by Kebehsenuef, the child of Horus, for the benefit of the owner Pahemnetjer. The jar seems to be too small to contain actual human intestines. It probably dates to the end of the New Kingdom, or to the beginning of the 21st Dynasty.

↑ , Globular vase:

Globular vase :

collectionName : Egypt
inventoryNb : E.00555
objectName :
objectTitle : Globular vase
objectCulture : Egyptian
geography :
dating : 2925 BC - 2700 BC
material :
technique :
dimensions : Dimensions H x D: 12,5 cm, 19,3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This stone vase was found in the tomb of Khasekhemwy (2nd dynasty), in the royal necropolis of Umm el-Qaab, near Abydos. 18 (fragments of) stone vases from this tomb were acquired by the RMAH in 1904. They were found during the excavations of the French archaeologist Amélineau in 1896-1897. They served as funerary offerings. One of the two ears that were used to hang these vases, was broken, probably already during the production of the vase. The fracture was polished afterwards.

↑ , Fragment of a bowl with decoration in relief:

Fragment of a bowl with decoration in relief :

collectionName : Egypt
inventoryNb : E.00578
objectName :
objectTitle : Fragment of a bowl with decoration in relief
objectCulture : Egyptian
geography :
dating : 3000 BC - 2686 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : These fragments are very thin and slightly curved, suggesting they did not belong to a palette, but rather to a shallow bowl with decorations on the inside. The decoration cannot be entirely reconstructed, but a creature is visible with both human and animal characteristics. It probably depicts the beetle "Agrypnus notodonta", that is often depicted in this period as the sacred animal of the goddess Neith. The beetle holds a was-scepter. Excavation: Amélineau/Petrie

↑ , Lid of coffin of Khonsutefnakht alias Ankhpayefhery:

Lid of coffin of Khonsutefnakht alias Ankhpayefhery :

collectionName : Egypt
inventoryNb : E.00586
objectName :
objectTitle : Lid of coffin of Khonsutefnakht alias Ankhpayefhery
objectCulture : Egyptian
geography :
dating : 672 BC - 525 BC (uncertain)
material :
technique :
dimensions : Length: 190 cm, Width: 50 cm, Height: 32 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Lid of the coffin of Khonsutefnakht alias Ankhpayefhery Plastered and painted wood Probably 26th dynasty (c. 672-525 BC) El-Hibeh The coffin belonged to Khonsutefnakht, alias Ankhpayefhery, a resident of El-Hibeh, a small village located south of Beni Suef. The lid was discovered during the excavations of Grenfell and Hunt in 1902-1903. The location of the coffin box is not known. The chest is covered with a large necklace. Below, the goddess Nut spreads her wings. The inscription on the legs contains Chapter 72 of the Book of the Dead, providing protection and offerings for the deceased.

↑ , Figurine of Athena:

Figurine of Athena :

collectionName : Egypt
inventoryNb : E.00631
objectName :
objectTitle : Figurine of Athena
objectCulture : Egyptian
geography :
dating : AD 201 - AD 300
material :
technique :
dimensions : Height: 16 cm, Width: 8,4 cm, Depth: 3,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This terracotta statue represents the goddess Athena, standing, with her left leg slightly bent. It was found during the excavations of W.M.F. Petrie in Herakleopolis Magna. She is wearing the peplum, folded at the waist and fastened with a belt. With her left hand, she holds an oval shield. The right hand probably held a weapon. The representation of the goddess Athena, who was identified with Neith and Taweret, is strongly influenced by Greek sculpture. Excavation: Petrie 1903-1904

↑ , Ushabti of Nesbaankhu (?):

Ushabti of Nesbaankhu (?) :

collectionName : Egypt
inventoryNb : E.00681
objectName :
objectTitle : Ushabti of Nesbaankhu (?)
objectCulture : Egyptian
geography :
dating : 342 BC - 331 BC (uncertain)
material :
technique :
dimensions : Height: 10,8 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This funerary figurine in greenish faience probably dates to the end of the Late Period. Apart from the typical features, e.g. a tripartite wig, a false beard, tools and a small bag, a back pillar and a base, this statuette is also characterized by a T-shaped inscription. The text only contains the names and titles of the deceased and his mother. The reading of the names is uncertain: Nesbaankhu and Nefret-?. The titles of the owner (imy-Khenet, priest, and 'he who separates the two gods') show that this person belonged to the phyla of Mendes.

↑ , Ex-voto in the shape of an eye:

Ex-voto in the shape of an eye :

collectionName : Egypt
inventoryNb : E.00720a
objectName :
objectTitle : Ex-voto in the shape of an eye
objectCulture : Egyptian
geography :
dating : 1545 BC - 1291 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Votive objects in the shape of eyes and ears have been found in large numbers at Deir el-Bahri. They represent the eyes and ears of the divinity, in order to encourage him to listen to the request of the devotee. Eye amulets were more specifically offered to the goddess Hathor, probably due to her role as protector of the Eye of Ra. Excavation: Naville

↑ , Ex-voto in the shape of an eye:

Ex-voto in the shape of an eye :

collectionName : Egypt
inventoryNb : E.00720b
objectName :
objectTitle : Ex-voto in the shape of an eye
objectCulture : Egyptian
geography :
dating : 1545 BC - 1291 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Votive objects in the shape of eyes and ears have been found in large numbers at Deir el-Bahri. They represent the eyes and ears of the divinity, in order to encourage him to listen to the request of the devotee. Eye amulets were more specifically offered to the goddess Hathor, probably due to her role as protector of the Eye of Ra. Excavation: Naville

↑ , Fragment of a little stela with the goddess Hathor:

Fragment of a little stela with the goddess Hathor :

collectionName : Egypt
inventoryNb : E.00722
objectName :
objectTitle : Fragment of a little stela with the goddess Hathor
objectCulture : Egyptian
geography :
dating : 1545 BC - 1291 BC
material :
technique :
dimensions : Height: 5,4 cm, Width: 6,4 cm, Depth: 1,7 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This small votive stela is adorned with a cow carrying the sun disk between her horns. The top of the stela shows a winged sun disk with two uraei. The cow is a representation of the goddess Hathor, and is often depicted in the temple of Hatshepsut at Deir el-Bahri. The papyrus probably refers to the swamps of the Nile Delta, where - according to the legend - Hathor raised the young Horus. Excavation: Naville 1903-1904

↑ , Ostracon with the image of the god Amun-Min:

Ostracon with the image of the god Amun-Min :

collectionName : Egypt
inventoryNb : E.00736
objectName :
objectTitle : Ostracon with the image of the god Amun-Min
objectCulture : Egyptian
geography :
dating : 1545 BC - 1291 BC
material :
technique :
dimensions : Height: 20 cm, Width: 14 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The drawing in red is made on top of an earlier drawing in the same colour. It is a rather mediocre sketch, probably made by an apprentice, depicting the god Amun-Min. Excavation: Naville 1903-1904

↑ , :

:

collectionName : Egypt
inventoryNb : E.00749
objectName :
objectTitle :
objectCulture : Egyptian
geography :
dating : 747 BC - 656 BC
material :
technique :
dimensions : Height: 47 cm, Width: 43 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This fragment in sandstone probably came from a temple in Meroe. It represents an official, with curled hair and a headband which is typical for royal sculpture of the 25th Dynasty. The deep cavity of the eye shows that it originally contained an inlay.

↑ , Man carrying a bag:

Man carrying a bag :

collectionName : Egypt
inventoryNb : E.00785.24
objectName :
objectTitle : Man carrying a bag
objectCulture : Egyptian
geography :
dating : 2125 BC - 1650 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This wooden model, completely plastered and painted, was found in a tomb in Antinoopolis by A. Gayet. The man holds a large bag on his back. This piece probably belonged to a larger model, presumably a granary. The model dates from the Middle Kingdom.

↑ , Model of a brewery:

Model of a brewery :

collectionName : Egypt
inventoryNb : E.00785.8
objectName :
objectTitle : Model of a brewery
objectCulture : Egyptian
geography :
dating : 2125 BC - 1650 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The model shows two women, one of them is standing and is naked, the other one is sitting in front of a jar and a non-identified hemispherical object. Probably this should be identified as a scene from a brewery. Excavation: Gayet 1899-1900

↑ , Small lamp holder:

Small lamp holder :

collectionName : Egypt
inventoryNb : E.01091a
objectName :
objectTitle : Small lamp holder
objectCulture : Egyptian
geography :
dating : 30 BC - AD 395
material :
technique :
dimensions : Height: 4,4 cm, Width: 2,8 cm, Depth: 1,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This terracotta object, found during the excavations of Petrie in Herakleopolis Magna, probably served as a lamp holder. The cylindrical part has a rectangular opening through which a small oil lamp was inserted. It has a suspension hole on the top. Probably, this type of lamp holders was used during religious practices. Excavation: Petrie 1903-1904

↑ , Painted plaster mask:

Painted plaster mask :

collectionName : Egypt
inventoryNb : E.01092
objectName :
objectTitle : Painted plaster mask
objectCulture : Egyptian
geography :
dating : AD 101 - AD 200
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This plaster mummy mask was purchased in 1901 by Jean Capart in Thebes. It depicts a woman's head with inlaid eyes (black glass paste on a white background). The woman has a short, wavy hairstyle and a round face with less pronounced facial features. The neck has almost completely disappeared. It probably comes from Hermopolis, and dates to the second century AD.

↑ , Coffin of a child:

Coffin of a child :

collectionName : Egypt
inventoryNb : E.01182
objectName :
objectTitle : Coffin of a child
objectCulture : Egyptian
geography :
dating : 332 BC - 30 BC (uncertain)
material :
technique :
dimensions : Length: 77 cm, Width: 26,2 cm, Height: 25 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : E.01182 - E.01183 Two coffins of a child Plastered and painted wood Probably end of the Ptolemaic Period (332-30 BCE) Origin unknown These two coffins were clearly made in a similar way and probably belonged to the same tomb. The surface was once covered with a thick layer of plaster, which is no longer preserved. Traces of paint suggest that the body was once painted yellow, while the face was painted in a darker shade of yellow. The faces of both coffins have pronounced facial features. They were the tripartite wig. The back pillar of the coffins is shaped as a Djed-pillar, a reference to the spine of Osiris. Both coffins were donated to the Museum in 1905 by the count & countess van de Steen de Jehay. They acquired the objects in 1891 in Luxor. It is possible that the coffins were found during excavations in the Valley of the Kings. At the time, the coffins still contained the mummified bodies of two children.

↑ , Coffin of a child:

Coffin of a child :

collectionName : Egypt
inventoryNb : E.01183
objectName :
objectTitle : Coffin of a child
objectCulture : Egyptian
geography :
dating : 332 BC - 30 BC
material :
technique :
dimensions : Length: 59,5 cm, Width: 20,5 cm, Height: 21 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : E.01182 - E.01183 Two coffins of a child Plastered and painted wood Probably end of the Ptolemaic Period (332-30 BCE) Origin unknown These two coffins were clearly made in a similar way and probably belonged to the same tomb. The surface was once covered with a thick layer of plaster, which is no longer preserved. Traces of paint suggest that the body was once painted yellow, while the face was painted in a darker shade of yellow. The faces of both coffins have pronounced facial features. They were the tripartite wig. The back pillar of the coffins is shaped as a Djed-pillar, a reference to the spine of Osiris. Both coffins were donated to the Museum in 1905 by the count & countess van de Steen de Jehay. They acquired the objects in 1891 in Luxor. It is possible that the coffins were found during excavations in the Valley of the Kings. At the time, the coffins still contained the mummified bodies of two children.

↑ , Oval plaque with monkey and "nfr":

Oval plaque with monkey and "nfr" :

collectionName : Egypt
inventoryNb : E.02110
objectName :
objectTitle : Oval plaque with monkey and "nfr"
objectCulture : Egyptian
geography :
dating : 1295 BC - 1186 BC (uncertain)
material :
technique :
dimensions : Height: 1,2 cm, Width: 0,8 cm, Depth: 0,4 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The inscription reads “nfr.w”, ‘good things’. 18-19th dynasty, probably 19th. Excavation: Petrie 1903-1904

↑ , Cowroid depicting Bes:

Cowroid depicting Bes :

collectionName : Egypt
inventoryNb : E.02795
objectName :
objectTitle : Cowroid depicting Bes
objectCulture : Egyptian
geography :
dating : 1295 BC - 1069 BC
material :
technique :
dimensions : Height: 4,3 cm, Width: 2,2 cm, Depth: 1 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This kauroid seal has a flat top and a band with cross-hatching running around the sides. The base shows three registers, separated by a double line. Above and below are two uraei on each side of a beetle. In the middle, a prisoner to the right, his arms tied on his back, and to his left the god Bes drinking from a vase with a straw (also E.5353). Bes became popular on seals starting from the Ramessid period onwards. The division into registers appears on Ramessid scarabs as well and therefore this seal probably dates from the 19th-20th century.

↑ , Figurine, probably a mirror handle:

Figurine, probably a mirror handle :

collectionName : Egypt
inventoryNb : E.02864
objectName :
objectTitle : Figurine, probably a mirror handle
objectCulture : Egyptian
geography :
dating : 2125 BC - 1650 BC
material :
technique :
dimensions : Height: 8,8 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Button seal decorated with dragonfly:

Button seal decorated with dragonfly :

collectionName : Egypt
inventoryNb : E.03028
objectName :
objectTitle : Button seal decorated with dragonfly
objectCulture : Egyptian
geography :
dating : 2345 BC - 2181 BC
material :
technique :
dimensions : Height: 0,7 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The base of this seal amulet shows an insect, probably a dragon fly; Similar seals date from the 6th dynasty.

↑ , Scarab with Thoth and Re-Horakhty:

Scarab with Thoth and Re-Horakhty :

collectionName : Egypt
inventoryNb : E.04579b
objectName :
objectTitle : Scarab with Thoth and Re-Horakhty
objectCulture : Egyptian
geography :
dating : 1550 BC - 1069 BC
material :
technique :
dimensions : Height: 1,5 cm, Width: 1,1 cm, Depth: 0,7 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The base of this scarab shows a seated baboon, the animal of the god Thoth, to the left, in his function as moon god (identifiable by the solar disk with moon crescent above his head), and to the right a seated falcon-headed god with a solar disk above his head, Re-Horachte (Horus in his function as solar deity). Probably a Ramessid scarab (19th-20th dynasty). Excavation: B.S.A.E. 1906

↑ , Scarab (fake):

Scarab (fake) :

collectionName : Egypt
inventoryNb : E.04862
objectName :
objectTitle : Scarab (fake)
objectCulture : Egyptian
geography :
dating : (uncertain)
material :
technique :
dimensions : Height: 8 cm, Width: 5,6 cm, Depth: 2,8 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This large scarab in blue-green glazed steatite shows, on the base, a scene with two fighting bulls. Above them are two large birds with a crest, on each side of a large solar disk. Below the figures, a “nb” basket, partly preserved. This is a modern scarab, probably produced in the 19th century.

↑ , Seal-amulet in the shape of a human face (?):

Seal-amulet in the shape of a human face (?) :

collectionName : Egypt
inventoryNb : E.04936
objectName :
objectTitle : Seal-amulet in the shape of a human face (?)
objectCulture : Egyptian
geography :
dating : 2160 BC - 2025 BC
material :
technique :
dimensions : Height: 2,8 cm, Width: 2,5 cm, Depth: 1,3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Similar seal amulets are known from the First Intermediate Period and probably represent a human face on the base.

↑ , Udjat-eye seal-amulet:

Udjat-eye seal-amulet :

collectionName : Egypt
inventoryNb : E.04937
objectName :
objectTitle : Udjat-eye seal-amulet
objectCulture : Egyptian
geography :
dating : 1550 BC - 1069 BC
material :
technique :
dimensions : Height: 1,9 cm, Width: 1 cm, Depth: 0,4 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The base of this scaraboid in the shape of an udjat eye shows a worshipping scene: before an enthroned goddess sits a second goddess, with a cobra above her head and the life sign “ankh” in her left hand. Both stretch out one hand towards a long papyrus sceptre. The goddess on the right side, with an animal head, is probably the lion-goddess Sekhmet, who is often depicted with this type of sceptre. The enthroned goddess has two horns on her head and is possibly Isis or Hathor.

↑ , Scarab of Ramesses II:

Scarab of Ramesses II :

collectionName : Egypt
inventoryNb : E.05028
objectName :
objectTitle : Scarab of Ramesses II
objectCulture : Egyptian
geography :
dating : 1279 BC - 1213 BC
material :
technique :
dimensions : Height: 2,2 cm, Width: 1,6 cm, Depth: 0,8 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The name of Ramses II is written in two cartouches on the back of this scarab: “wsr-maAt-ra stp-n-ra mry-imn ra-ms-s”. On the base we see three gods on the hieroglyph “mr”, ‘beloved’: the fertility god Min, the goddess Hathor with on her head a solar disk between two cow horns, holding a falcon-headed deity, probably her son Horus, by the hand. Below, to the right, an inscription that reads “mr(y).s”, ‘beloved by him’. Above the scene, the solar disk of Ra and below the hieroglyph “nb”, ‘lord’.

↑ , Cylinder seal with hieroglyphs:

Cylinder seal with hieroglyphs :

collectionName : Egypt
inventoryNb : E.05034
objectName :
objectTitle : Cylinder seal with hieroglyphs
objectCulture : Egyptian
geography :
dating : 3000 BC - 2686 BC
material :
technique :
dimensions : Height: 1,8 cm, Width: 1,7 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This cylinder seal in black steatite wears some hieroglyphic symbols with an uncertain meaning. The piece, which probably came from a grave, was used by its owner to “draw” on clay. It dates from the Thinite period.

↑ , Scarab with the name of Amon-re in its mounting:

Scarab with the name of Amon-re in its mounting :

collectionName : Egypt
inventoryNb : E.05362
objectName :
objectTitle : Scarab with the name of Amon-re in its mounting
objectCulture : Egyptian
geography :
dating : 1550 BC - 1295 BC
material :
technique :
dimensions : Height: 1,4 cm, Width: 0,9 cm, Depth: 0,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The base of this scarab shows hieroglyphs which form the name of the god Amon Ra next to a lotus stalk. Scarabs with similar inscriptions date from the 18th dynasty. The original gold mounting is preserved; the scarab was probably originally attached to a ring.

↑ , Scarab:

Scarab :

collectionName : Egypt
inventoryNb : E.05379
objectName :
objectTitle : Scarab
objectCulture : Egyptian
geography :
dating : 1295 BC - 1069 BC
material :
technique :
dimensions : Height: 1,3 cm, Width: 0,9 cm, Depth: 0,6 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The base of this scarab shows three motifs. From right to left: the obelisk, the seated goddess Maat and the solar disk “ra”. This could be a cryptogram of the name Amon Ra, “imn ra”. The scarab probably dates from the Ramessid Period or somewhat later.

↑ , Scarab with bird:

Scarab with bird :

collectionName : Egypt
inventoryNb : E.05381
objectName :
objectTitle : Scarab with bird
objectCulture : Egyptian
geography :
dating : 1550 BC - 1295 BC
material :
technique :
dimensions : Height: 1,4 cm, Width: 1 cm, Depth: 0,6 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The base of this scarab shows a bird (duck), lifting off. Behind it, a small oval, probably an egg.

↑ , Scarab:

Scarab :

collectionName : Egypt
inventoryNb : E.05590b
objectName :
objectTitle : Scarab
objectCulture : Egyptian
geography :
dating : 747 BC - 525 BC
material :
technique :
dimensions : Height: 1 cm, Width: 0,7 cm, Depth: 0,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The base of this scarab shows a falcon with flagellum in front of a seated figure with ostrich feather on his knees, probably the goddess Maat.

↑ , Seal imprint:

Seal imprint :

collectionName : Egypt
inventoryNb : E.05642
objectName :
objectTitle : Seal imprint
objectCulture : Egyptian
geography :
dating : 1545 BC - 1069 BC (uncertain)
material :
technique :
dimensions : Height: 1,7 cm, Width: 1,5 cm, Depth: 0,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This small seal imprint in terracotta probably shows a king with a club beating a quadruped which he raises with his hand. According to the cartouche accompanying the depiction, this is probably Psammetichus I.

↑ , Scarab of Thutmosis III:

Scarab of Thutmosis III :

collectionName : Egypt
inventoryNb : E.05704.9b
objectName :
objectTitle : Scarab of Thutmosis III
objectCulture : Egyptian
geography :
dating : 1295 BC - 1069 BC (uncertain)
material :
technique :
dimensions : Height: 1,6 cm, Width: 1,3 cm, Depth: 0,8 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Scarab with an inscription naming Thutmosis III, whose name can be seen in the central oval: “mn-khpr-re”. Above, the royal epithet “nTr nfr nb tAwy”, ‘the good god, lord of the Two Lands’. Below stands the second epithet, “tit lmn”, ‘image of Amun’. This scarab probably dates from the Ramessid Period (19th-20th dynasty). This is not exceptional for scarabs bearing the name of Thutmosis III, who was worshipped for centuries after his death and whose name appeared on scarabs until the Late Period. Excavation: Griffith 1913-1914

↑ , Scarab of Ahmose (?):

Scarab of Ahmose (?) :

collectionName : Egypt
inventoryNb : E.05790.4
objectName :
objectTitle : Scarab of Ahmose (?)
objectCulture : Egyptian
geography :
dating : 1550 BC - 1460 BC
material :
technique :
dimensions : Height: 1,4 cm, Width: 1 cm, Depth: 0,6 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The base of this scarab displays two hieroglyphs: the crescent “iaH” (?) and the sign “ms”. This inscription probably forms the name Ahmose (early 18th dynasty). Excavation: B.S.A.E.

↑ , Scaraboid with human head:

Scaraboid with human head :

collectionName : Egypt
inventoryNb : E.05861
objectName :
objectTitle : Scaraboid with human head
objectCulture : Egyptian
geography :
dating : 664 BC - 525 BC
material :
technique :
dimensions : Height: 2,1 cm, Width: 1,6 cm, Depth: 0,9 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The production of scaraboids with human face, in faience, seems to appear in the Ramessid Period and lasts until the Late Period. The base shows a number of hieroglyphs, from top to bottom: the sign “pA”, the arm “di” and some damaged signs, among them “mn”. They probably form the name of a person beginning with “pA-di-…”. Such names have been attested on scarabs from the 23rd-26th dynasties, when several pharaohs with this name ruled. The scaraboid was possibly produced in the workshop of Naucratis, in the Delta (late 7th-6th century).

↑ , Rectangular plaque bearing the name Ramesses:

Rectangular plaque bearing the name Ramesses :

collectionName : Egypt
inventoryNb : E.06327
objectName :
objectTitle : Rectangular plaque bearing the name Ramesses
objectCulture : Egyptian
geography :
dating : 1295 BC - 1069 BC
material :
technique :
dimensions : Height: 1,8 cm, Width: 1,3 cm, Depth: 0,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This seal amulet has on the one side (originally, the other side was probably also engraved) an inscription in hieroglyphs: “nb tAwy (mry imn ra) nb Hb mi ra”, ‘lord of the Two Lands (Ramesses), lord of the festival like Ra’. The royal name in the cartouche is only partly visible; only the motifs in the upper part can be identified as two gods, sitting in front of each other, above the sign “mr”, ‘beloved by’. Multiple kings from the 19th and especially the 20th dynasty had similar cartouches.

↑ , Rectangular plaque with enthroned figure bearing the name of Amun:

Rectangular plaque with enthroned figure bearing the name of Amun :

collectionName : Egypt
inventoryNb : E.06328
objectName :
objectTitle : Rectangular plaque with enthroned figure bearing the name of Amun
objectCulture : Egyptian
geography :
dating : 1069 BC - 900 BC
material :
technique :
dimensions : Height: 2 cm, Width: 1,5 cm, Depth: 0,7 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This rectangular seal amulet is decorated on two sides. Side A shows a recumbent animal, probably a ram, next to the name of Amun. Side B shows a figure approaching an enthroned figure (a king) holding a sceptre in his hand. The style and similar seals point to a dating around the 21st dynasty.

↑ , Ushabti of Amenemope:

Ushabti of Amenemope :

collectionName : Egypt
inventoryNb : E.06338
objectName :
objectTitle : Ushabti of Amenemope
objectCulture : Egyptian
geography :
dating : 1069 BC - 945 BC
material :
technique :
dimensions : Height: 10,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Seal of Henat:

Seal of Henat :

collectionName : Egypt
inventoryNb : E.06941a
objectName :
objectTitle : Seal of Henat
objectCulture : Egyptian
geography :
dating : 664 BC - 525 BC
material :
technique :
dimensions : Height: 3 cm, Width: 3,8 cm, Depth: 1,3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This seal imprint in clay has an inscription organised in two horizontal rows. It consists of the name, title and descent of the owner: “prophet of Menkare, de high reading priest, Henat, son of Psamtek-sa-Neith”. This person and his family are known from several documents. Henat was probably a contemporary of the Persian kings. His first title (“prophet of Menkare”) shows the existence of a cult for king Menkare in the Persian Period. The imprint, which is in excellent condition (see also E.6941 B), was used for binding papyrus scrolls together.

↑ , Seal of Henat:

Seal of Henat :

collectionName : Egypt
inventoryNb : E.06941b
objectName :
objectTitle : Seal of Henat
objectCulture : Egyptian
geography :
dating : 664 BC - 525 BC
material :
technique :
dimensions : Height: 3 cm, Width: 2,6 cm, Depth: 1,3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This seal imprint in clay has an inscription organised in two horizontal rows. It consists of the name, title and descent of the owner: “prophet of Menkare, de high reading priest, Henat, son of Psamtek-sa-Neith”. This person and his family are known from several documents. Henat was probably a contemporary of the Persian kings. His first title (“prophet of Menkare”) shows the existence of a cult for king Menkare in the Persian Period. The imprint is less well preserved than the other copy (compare E.6941A) and was used to bind together papyrus scrolls.

↑ , Seal of Petenisis:

Seal of Petenisis :

collectionName : Egypt
inventoryNb : E.06941c
objectName :
objectTitle : Seal of Petenisis
objectCulture : Egyptian
geography :
dating : 664 BC - 525 BC
material :
technique :
dimensions : Height: 3 cm, Width: 3,5 cm, Depth: 1,3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This seal imprint in clay is part of a category of similar objects which carry an inscription with the royal name of Amasis, preceded by the sign “sa” (protection) and followed by the title and name of the owner. The piece of Brussels carries the name of Petenisis, also known from his grave south east of the Oenas pyramid. This man, who seems to have been connected to the royal treasury, probably lived under the government of Amasis, the second to last king of the 26th dynasty.

↑ , Boat with birds, probably divine falcons:

Boat with birds, probably divine falcons :

collectionName : Egypt
inventoryNb : E.07067
objectName :
objectTitle : Boat with birds, probably divine falcons
objectCulture : Egyptian
geography :
dating : 4000 BC - 3000 BC
material :
technique :
dimensions : Height: 15 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Scarab of Thutmosis III:

Scarab of Thutmosis III :

collectionName : Egypt
inventoryNb : E.07270
objectName :
objectTitle : Scarab of Thutmosis III
objectCulture : Egyptian
geography :
dating : 1295 BC - 1069 BC
material :
technique :
dimensions : Height: 2,9 cm, Width: 2 cm, Depth: 1,1 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The base of this scarab shows a horse and a prisoner whose hands are tied behind his back. Above, an oval with the throne name of Thutmosis III, “mn-khpr-ra”. The morphology of the scarab points to a posthumous production from the Ramessid Period, probably the 19th dynasty.

↑ , Ramesses III smiting the enemy:

Ramesses III smiting the enemy :

collectionName : Egypt
inventoryNb : E.07359
objectName :
objectTitle : Ramesses III smiting the enemy
objectCulture : Egyptian
geography :
dating : 1185 BC - 1153 BC
material :
technique :
dimensions : Height: 18,1 cm, Width: 15,2 cm, Depth: 3,2 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Ushabti of Seti I with inscription:

Ushabti of Seti I with inscription :

collectionName : Egypt
inventoryNb : E.07423
objectName :
objectTitle : Ushabti of Seti I with inscription
objectCulture : Egyptian
geography :
dating : 1290 BC - 1279 BC
material :
technique :
dimensions : Height: 18,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Scarab (fake):

Scarab (fake) :

collectionName : Egypt
inventoryNb : E.07632
objectName :
objectTitle : Scarab (fake)
objectCulture : Egyptian
geography :
dating :
material :
technique :
dimensions : Height: 8 cm, Width: 5,2 cm, Depth: 3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The base of this large scarab shows a scene with a mating bull and cow between papyrus plants on the banks off the Nile (the water is presented below as zigzag lines). Behind them, a bird flies up and two figures approach. The largest holds a sack on his shoulder. This is a modern scarab, probably produced during the 19th century.

↑ , Oval plaque with bundled handle representing Horus and Seth:

Oval plaque with bundled handle representing Horus and Seth :

collectionName : Egypt
inventoryNb : E.07672
objectName :
objectTitle : Oval plaque with bundled handle representing Horus and Seth
objectCulture : Egyptian
geography :
dating : ca. 1291 BC - 1073 BC
material :
technique :
dimensions : Height: 6,3 cm, Width: 3,2 cm, Depth: 1,9 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The grip of this seal amulet is formed by plant stalks bound together. The base shows two gods, who hold each other by the hand. The falcon headed gods are crowned with the double crown of Upper and Lower Egypt and probably represent the reconciled Seth and Horus. They stand on the hieroglyph “nbw”, which represents gold.

↑ , Capital with interlace ornament and animal heads:

Capital with interlace ornament and animal heads :

collectionName : Egypt
inventoryNb : E.08041
objectName :
objectTitle : Capital with interlace ornament and animal heads
objectCulture : Egyptian
geography :
dating : AD 395 - AD 640
material :
technique :
dimensions : Height: 53 cm, Width: 45 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : In the Byzantine Empire, the stonemasons of column capitals demonstrated great creativity. This example from Egypt shows an interlace ornament and four animal heads (probably rams heads). Two vertical cut-outs may have held a closure system, perhaps of a pulpitum.

↑ , Capital with interlace ornament and animal heads:

Capital with interlace ornament and animal heads :

collectionName : Egypt
inventoryNb : E.08042
objectName :
objectTitle : Capital with interlace ornament and animal heads
objectCulture : Egyptian
geography :
dating : AD 395 - AD 640
material :
technique :
dimensions : Height: 42 cm, Width: 48 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : In the Byzantine Empire, the stonemasons of column capitals demonstrated great creativity. This example from Egypt shows an interlace ornament and four animal heads (probably rams heads). Two vertical cut-outs may have held a closure system, perhaps of a pulpitum.

↑ , Funerary monument of a boy:

Funerary monument of a boy :

collectionName : Egypt
inventoryNb : E.08062
objectName :
objectTitle : Funerary monument of a boy
objectCulture : Egyptian
geography :
dating : AD 401 - AD 500
material :
technique :
dimensions : Height: 62 cm, Width: 23,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This statue (5th century), which formed probably part of a niche, depicts a standing young man dressed in a long tunic. In his left hand he is holding a bunch of grapes. The right arm is stretched out next to the body; the hand enclosing a funeral wreath. The haircut with fine strands is cut short around the skull. The round face, which has an almost childlike appearance, the large almond-shaped eyes and the soft smile are already announcing the Coptic style.

↑ , Tomb sculpture of a woman:

Tomb sculpture of a woman :

collectionName : Egypt
inventoryNb : E.08239
objectName :
objectTitle : Tomb sculpture of a woman
objectCulture : Egyptian
geography :
dating : AD 395 - AD 640
material :
technique :
dimensions : Height: 1,2 cm, Width: 48 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This funerary high relief sculpture was originally located in a niche. The woman wears the costume of the goddess Isis: a tunic covered with a garment (palla contabulata with a knot) folded and tied on the chest (Isis knot), with a fringed edge and decorated with a vegetable garland. She holds a situla containing the water from the Nile in her right hand, and probably an incense box in her left. The deceased was an initiator to the Isiscultus, perhaps even a priestess.

↑ , Offering table of the goldsmith Menekh:

Offering table of the goldsmith Menekh :

collectionName : Egypt
inventoryNb : E.08280
objectName :
objectTitle : Offering table of the goldsmith Menekh
objectCulture : Egyptian
geography :
dating : 2066 BC - 1650 BC
material :
technique :
dimensions : Height: 25,8 cm, Width: 24,3 cm, Depth: 6,7 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Large concubine, probably on a bed:

Large concubine, probably on a bed :

collectionName : Egypt
inventoryNb : E.08330
objectName :
objectTitle : Large concubine, probably on a bed
objectCulture : Egyptian
geography :
dating : unknown
material :
technique :
dimensions : Height: 14,7 cm, Width: 9,9 cm, Depth: 6,4 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Mould, probably for ushabti:

Mould, probably for ushabti :

collectionName : Egypt
inventoryNb : E.09190
objectName :
objectTitle : Mould, probably for ushabti
objectCulture : Egyptian
geography :
dating : unknown
material :
technique :
dimensions : Height: 13,2 cm, Width: 8,1 cm, Depth: 4,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Excavation: Petrie 1902-1903

↑ , Mould, probably for ushabti:

Mould, probably for ushabti :

collectionName : Egypt
inventoryNb : E.09191
objectName :
objectTitle : Mould, probably for ushabti
objectCulture : Egyptian
geography :
dating : unknown
material :
technique :
dimensions : Height: 11,4 cm, Width: 5,2 cm, Depth: 3,4 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Excavation: Petrie 1902-1903

↑ , Mould, probably for ushabti:

Mould, probably for ushabti :

collectionName : Egypt
inventoryNb : E.09192
objectName :
objectTitle : Mould, probably for ushabti
objectCulture : Egyptian
geography :
dating : unknown
material :
technique :
dimensions : Height: 13,1 cm, Width: 6,4 cm, Depth: 4,2 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Excavation: Petrie 1902-1903

↑ , :

:

collectionName : America
inventoryNb : ETAM 00035.7.7
objectName :
objectTitle :
objectCulture : Papagos, (Uncertain)
geography :
dating :
material :
technique :
dimensions : Diameter: 21 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Stage front "Teatro Italiano":

Stage front "Teatro Italiano" :

collectionName : European Ethnology
inventoryNb : F.P.0481
objectName :
objectTitle : Stage front "Teatro Italiano"
objectCulture :
geography :
dating :
material :
technique :
dimensions : Height: 39,7 cm, Width: 29,5 cm
legalRightOwner :

objectDescription : Musée de l'Image Épinal 2006, Décors

↑ , :

:

collectionName : Wind instruments
inventoryNb : GED0292
objectName :
objectTitle :
objectCulture :
geography :
dating : before AD 1999
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Glassware
inventoryNb : I.A.236
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1570 - AD 1630
material :
technique :
dimensions : Dimensions H x D: 14,4 cm, 8 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Cylinder seal with figure in front of a tree of life:

Cylinder seal with figure in front of a tree of life :

collectionName : Iran
inventoryNb : IR.0018
objectName :
objectTitle : Cylinder seal with figure in front of a tree of life
objectCulture : Achaemenid
geography :
dating : 559 BC - 330 BC
material :
technique :
dimensions : Dimensions H x D: 2,7 cm, 1,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This seal has been quite famous ever since the identification of its inscription as an Old Persian name by the assyriologists J. Ménant and J. Oppert. Given in 1861 by the art collector Gustave Hagemans to the then Musée des Armures in the Porte de Hal, Brussels (now preserved in the Musées royaux d’Art et d’Histoire), the cylinder seal was first published, with a picture and a transliteration, in Ménant 1877. At that time Old Persian inscriptions were scarce, hence its success. The seal shows a male figure, a wreath (?) in his hand, standing near a tree. The stylized tree is reminiscent of Neo-Assyrian iconography, and the offering of a crown is uncommon and attested rather from the Parthian period in the 3rd century BC. No parallel found. The framed inscription is composed of three lines, vertically written, from bottom to top, and to be read on the seal, which is unusual for the Achaemenid period. The bizarre spelling of Xerxes was first read as “Kharsā…siyā” (Kharsā son of Siyā or Kharsāisiyā; Ménant 1878a), “Khsarasasya” or alternatively “the woman Khsarsya” (Ménant 1886, 172), then as “Kharšadašia” (Speleers 1923, 217). The particle ma- was interpreted as a logogram for “seal” by Ménant, some sort of abbreviation of the Old Persian māraka (cf. also Oppert 1884; Kent 1953, 201) and by a 1st person pronoun by Speleers (“Je (suis) Kharšadašia”). Yet, the 1st person should be adam, as in other seals, and this ma- is considered as dubious (Kent 1953, 201). In the da-sign, the top horizontal wedge is missing. The stroke after the first sign (ma) is a divider, transliterated here as “:”. The form X-r-š-a-d?-š-y-a should probably be read X-š-y-a-r-š-a, after inverting line 2 and line 3 (Mayrhofer 1979) to have a nominative sing. ending in –ša. ma:x- r-š-a- da!-š-y-a “Seal of (?) Xerxes” This inscription is either a late (but genuine) imitation, or a modern forgery. The unusual lay-out of the inscription, the misshaped design and the bizarre spelling for the name of Xerxes, not to mention the iconography, could point to a forgery. However, in 1888 only three additional cylinder seals with Old Persian cuneiform signs were known to scholars (Ménant 1888, 12), all preserved in the collections of the British Museum, but we know that copies were produced in Iran at that time.

↑ , Standard or idol:

Standard or idol :

collectionName : Iran
inventoryNb : IR.0045
objectName :
objectTitle : Standard or idol
objectCulture : Iranian
geography :
dating : ca. 1180 BC - AD 300
material :
technique :
dimensions : Height: 11 cm, Width: 5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Idol or standard of two lions standing. The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The oldest standards date to the 13th century, the beginning of the Iron Age. They consist of two standing ibex or wild animals, probably lions or leopards. The style of the oldest pieces is very naturalistic, while the more recent pieces are more stylized. Sometimes the animals are attached to a ring, or their anterior and posterior paws merge to form the ring. Some standards are characterized by the presence of a rolled bronze sheet forming a pipe. It is possible that in the perforation thus obtained or in the small pipe, a branch could be inserted, which gave rise to the motif of animals flanking a tree of life. This was a particularly popular motif in Luristan.

↑ , Spiked axe head:

Spiked axe head :

collectionName : Iran
inventoryNb : IR.0053
objectName :
objectTitle : Spiked axe head
objectCulture : Iranian
geography :
dating : 1300 BC - 801 BC
material :
technique :
dimensions : Height: 18 cm, Width: 5,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Spiked axe head. The spikes (or "fingers") on the socket are a typical characteristic of Luristan axes. The blade is often strongly bent. The "fingers" are sometimes modelled as animals, while in other case small animal figurines were added to the axe blade. Some of these spiked axes, found on the art market, bear dedication inscriptions of Elamite and Neo-Babylonian kings, indicating that they were kept in temples. This was confirmed by the discovery of miniature spiked axes in a temple at Surkh Dum-i Luri, and in a deposit of bronze objects in Sangtarashan, probably also originating from a temple. However, the fact that they were also found in tombs at Bard-i Bal, Kutal-i Gulgul and Khatunban indicates that they were actually used. They can be dated to the early Iron Age, between the 13th and 9th century BCE.

↑ , Fragment of a halberd:

Fragment of a halberd :

collectionName : Iran
inventoryNb : IR.0099
objectName :
objectTitle : Fragment of a halberd
objectCulture : Iranian
geography :
dating : 1000 BC - 801 BC
material :
technique :
dimensions : Height: 7,5 cm, Width: 5,5 cm, Depth: 2,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Only the bronze socket and a fragment of the iron blade are preserved. The combination of iron for functional parts such as the blade, with bronze for the more complicated and decorative parts is typical for the 10th-9th centuries. This type of axe was first discovered during excavations in Luristan in 2006. Examples in bronze, iron or a combination of bronze and iron were found, together with other metal objects, in Sangtarashan. The archaeological context of these objects, however, remains unclear. Probably it must be identified as a votive deposit of a sanctuary.

↑ , Pendant with rattle:

Pendant with rattle :

collectionName : Iran
inventoryNb : IR.0119
objectName :
objectTitle : Pendant with rattle
objectCulture : Iranian
geography :
dating : 1400 BC - 601 BC
material :
technique :
dimensions : Height: 5,7 cm, Width: 3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : These small objects, in the form of animals, humans or genies, were discovered in large numbers in the Surkh Dim-i Luri sanctuary. Probably they served as votive offerings. They were also found in tombs, and probably held an apotropaic function. IR.0119 is a small rattle with a horned human head on top. The front and back are identical, suggesting that this might represent a Janus head. Similar objects have been found in Susa and Mashid-i Sulaiman.

↑ , Ring decorated with geometric patterns:

Ring decorated with geometric patterns :

collectionName : Iran
inventoryNb : IR.0120
objectName :
objectTitle : Ring decorated with geometric patterns
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Bronze ring, probably part of a horse harness. Parallel and oblique lines are engraved, filled with dots.

↑ , Ring decorated with geometric patterns:

Ring decorated with geometric patterns :

collectionName : Iran
inventoryNb : IR.0121
objectName :
objectTitle : Ring decorated with geometric patterns
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Bronze ring, probably belonging to a horse harness. The ring is decorated with engraved parallel and oblique lines, filled with dots.

↑ , Standard or idol:

Standard or idol :

collectionName : Iran
inventoryNb : IR.0124
objectName :
objectTitle : Standard or idol
objectCulture : Iranian
geography :
dating : ca. 1180 BC - AD 300
material :
technique :
dimensions : Height: 11,8 cm, Width: 5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The oldest standards date to the 13th century, the beginning of the Iron Age. They consist of two standing ibex or wild animals, probably lions or leopards. The style of the oldest pieces is very naturalistic, while the more recent pieces are more stylized. Sometimes the animals are attached to a ring, or their anterior and posterior paws merge to form the ring. Some standards are characterized by the presence of a rolled bronze sheet forming a pipe. It is possible that in the perforation thus obtained or in the small pipe, a branch could be inserted, which gave rise to the motif of animals flanking a tree of life. This was a particularly popular motif in Luristan.

↑ , Standard or idol:

Standard or idol :

collectionName : Iran
inventoryNb : IR.0125
objectName :
objectTitle : Standard or idol
objectCulture : Iranian
geography :
dating : ca. 1180 BC - AD 300
material :
technique :
dimensions : Height: 10 cm, Width: 4,8 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The oldest standards date to the 13th century, the beginning of the Iron Age. They consist of two standing ibex or wild animals, probably lions or leopards. The style of the oldest pieces is very naturalistic, while the more recent pieces are more stylized. Sometimes the animals are attached to a ring, or their anterior and posterior paws merge to form the ring. Some standards are characterized by the presence of a rolled bronze sheet forming a pipe. It is possible that in the perforation thus obtained or in the small pipe, a branch could be inserted, which gave rise to the motif of animals flanking a tree of life. This was a particularly popular motif in Luristan. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors.

↑ , Pendant in the shape of a rooster:

Pendant in the shape of a rooster :

collectionName : Iran
inventoryNb : IR.0141
objectName :
objectTitle : Pendant in the shape of a rooster
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions : Height: 5 cm, Width: 5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : These small objects, in the form of animals, humans or genies, were discovered in large numbers in the Surkh Dim-i Luri sanctuary. Probably they served as votive offerings. They were also found in tombs, and probably held an apotropaic function.

↑ , Pendant in the shape of a horse:

Pendant in the shape of a horse :

collectionName : Iran
inventoryNb : IR.0142
objectName :
objectTitle : Pendant in the shape of a horse
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions : Height: 4 cm, Width: 4,6 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : These small objects, in the form of animals, humans or genies, were discovered in large numbers in the Surkh Dim-i Luri sanctuary. Probably they served as votive offerings. They were also found in tombs, and probably held an apotropaic function.

↑ , Pendant in the shape of a horse:

Pendant in the shape of a horse :

collectionName : Iran
inventoryNb : IR.0143
objectName :
objectTitle : Pendant in the shape of a horse
objectCulture : Iranian
geography :
dating : 1400 BC - 601 BC
material :
technique :
dimensions : Height: 4,5 cm, Width: 3,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : These small objects, in the form of animals, humans or genies, were discovered in large numbers in the Surkh Dim-i Luri sanctuary. Probably they served as votive offerings. They were also found in tombs, and probably held an apotropaic function.

↑ , Pendant, ibex-shaped:

Pendant, ibex-shaped :

collectionName : Iran
inventoryNb : IR.0144
objectName :
objectTitle : Pendant, ibex-shaped
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions : Height: 4 cm, Width: 4,8 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : These small objects, in the form of animals, humans or genies, were discovered in large numbers in the Surkh Dim-i Luri sanctuary. Probably they served as votive offerings. They were also found in tombs, and probably held an apotropaic function.

↑ , Pendant, ibex-shaped:

Pendant, ibex-shaped :

collectionName : Iran
inventoryNb : IR.0145
objectName :
objectTitle : Pendant, ibex-shaped
objectCulture : Iranian
geography :
dating : 1400 BC - 601 BC
material :
technique :
dimensions : Height: 3 cm, Width: 4 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : These small objects, in the form of animals, humans or genies, were discovered in large numbers in the Surkh Dim-i Luri sanctuary. Probably they served as votive offerings. They were also found in tombs, and probably held an apotropaic function.

↑ , Cylinder seal with two gods:

Cylinder seal with two gods :

collectionName : Iran
inventoryNb : IR.0239
objectName :
objectTitle : Cylinder seal with two gods
objectCulture : Iranian
geography :
dating : 299 BC - AD 300
material :
technique :
dimensions : Height: 3,2 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : A nude male with mace represents probably the Greek god Heracles, who was introduced in Iran by Alexander the Great and who was assimilated into the Iranian pantheon. Behind him is a winged Nikè. A nude man in front of him seems to hold three twigs, possibly a barsom. A fourth figure stands in front of an altar. There are Aramaic inscriptions. Old number: O.01446.

↑ , Spouted bowl:

Spouted bowl :

collectionName : Iran
inventoryNb : IR.0245
objectName :
objectTitle : Spouted bowl
objectCulture : Iranian
geography :
dating : 1000 BC - 601 BC
material :
technique :
dimensions : Height: 19,5 cm, Width: 18 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The white slip pottery with red painted decoration from Tepe Siyalk can be seen as a local development of the grey ceramics from the Iron Age I. This pottery dates to the Iron Age II-III (10th - 7th century BCE). The spout is usually connected to the neck of the vase, while a "crop" in the spout sometimes takes the form of a human head or animal. In general, this type of pottery is entirely painted, including the bottom. In addition to geometric patterns, animals, human figures and fabulous creatures are depicted. This type was discovered for the first time during the French excavation at a cemetery near Tepe Siyalk, an archaeological site close to the modern city of Kashan. Between 1933 and 1937, this site was excavated under the direction of Roman Girshman, on behalf of the Louvre. Similar vases, sold on the art market, probably also came from this site.

↑ , Decorated jar with a handle and a spout:

Decorated jar with a handle and a spout :

collectionName : Iran
inventoryNb : IR.0254
objectName :
objectTitle : Decorated jar with a handle and a spout
objectCulture : Iranian
geography :
dating : 1000 BC - 601 BC
material :
technique :
dimensions : Height: 22 cm, Width: 23 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The white slip pottery with red painted decoration from Tepe Siyalk can be seen as a local development of the grey ceramics from the Iron Age I. This pottery dates to the Iron Age II-III (10th - 7th century BCE). The spout is usually connected to the neck of the vase, while a "crop" in the spout sometimes takes the form of a human head or animal. In general, this type of pottery is entirely painted, including the bottom. In addition to geometric patterns, animals, human figures and fabulous creatures are depicted. This type was discovered for the first time during the French excavation at a cemetery near Tepe Siyalk, an archaeological site close to the modern city of Kashan. Between 1933 and 1937, this site was excavated under the direction of Roman Girshman, on behalf of the Louvre. Similar vases, sold on the art market, probably also came from this site.

↑ , Spouted bowl:

Spouted bowl :

collectionName : Iran
inventoryNb : IR.0255
objectName :
objectTitle : Spouted bowl
objectCulture : Iranian
geography :
dating : 1000 BC - 601 BC
material :
technique :
dimensions : Height: 19 cm, Width: 19 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The white slip pottery with red painted decoration from Tepe Siyalk can be seen as a local development of the grey ceramics from the Iron Age I. This pottery dates to the Iron Age II-III (10th - 7th century BCE). The spout is usually connected to the neck of the vase, while a "crop" in the spout sometimes takes the form of a human head or animal. In general, this type of pottery is entirely painted, including the bottom. In addition to geometric patterns, animals, human figures and fabulous creatures are depicted. This type was discovered for the first time during the French excavation at a cemetery near Tepe Siyalk, an archaeological site close to the modern city of Kashan. Between 1933 and 1937, this site was excavated under the direction of Roman Girshman, on behalf of the Louvre. Similar vases, sold on the art market, probably also came from this site.

↑ , Bronze pendant:

Bronze pendant :

collectionName : Iran
inventoryNb : IR.0259
objectName :
objectTitle : Bronze pendant
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions : Height: 7,4 cm, Width: 8,6 cm, Depth: 3,2 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Pendant in the shape of the front of two horses. These small objects, in the form of animals, humans or genies, were discovered in large numbers in the Surkh Dim-i Luri sanctuary. Probably they served as votive offerings. They were also found in tombs, and probably held an apotropaic function.

↑ , Cup with handle:

Cup with handle :

collectionName : Iran
inventoryNb : IR.0269
objectName :
objectTitle : Cup with handle
objectCulture : Iranian
geography :
dating : ca. 1180 BC - AD 300
material :
technique :
dimensions : Height: 7,7 cm, Width: 11,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The upper part of the cup and the handle are decorated with red, crossing lines and dashes. The white slip pottery with red painted decoration from Tepe Siyalk can be seen as a local development of the grey ceramics from the Iron Age I. This pottery dates to the Iron Age II-III (10th - 7th century BCE). This type was discovered for the first time during the French excavation at a cemetery near Tepe Siyalk, an archaeological site close to the modern city of Kashan. Between 1933 and 1937, this site was excavated under the direction of Roman Girshman, on behalf of the Louvre. Similar vases, sold on the art market, probably also came from this site.

↑ , Cup with handle:

Cup with handle :

collectionName : Iran
inventoryNb : IR.0270
objectName :
objectTitle : Cup with handle
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions : Height: 10 cm, Width: 12,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Cup with handle, the upper part is decorated with a pattern of crossing lines. A straight line is painted from the top of the handle to the base. The white slip pottery with red painted decoration from Tepe Siyalk can be seen as a local development of the grey ceramics from the Iron Age I. This pottery dates to the Iron Age II-III (10th - 7th century BCE). This type was discovered for the first time during the French excavation at a cemetery near Tepe Siyalk, an archaeological site close to the modern city of Kashan. Between 1933 and 1937, this site was excavated under the direction of Roman Girshman, on behalf of the Louvre. Similar vases, sold on the art market, probably also came from this site.

↑ , Cup with handle:

Cup with handle :

collectionName : Iran
inventoryNb : IR.0271
objectName :
objectTitle : Cup with handle
objectCulture : Iranian
geography :
dating : 1000 BC - 601 BC
material :
technique :
dimensions : Height: 7 cm, Width: 14,3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The white slip pottery with red painted decoration from Tepe Siyalk can be seen as a local development of the grey ceramics from the Iron Age I. This pottery dates to the Iron Age II-III (10th - 7th century BCE). In general, this type of pottery is entirely painted, including the bottom. In addition to geometric patterns, animals, human figures and fabulous creatures are depicted. This type was discovered for the first time during the French excavation at a cemetery near Tepe Siyalk, an archaeological site close to the modern city of Kashan. Between 1933 and 1937, this site was excavated under the direction of Roman Girshman, on behalf of the Louvre. Similar vases, sold on the art market, probably also came from this site.

↑ , Cup with loop handle:

Cup with loop handle :

collectionName : Iran
inventoryNb : IR.0272
objectName :
objectTitle : Cup with loop handle
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions : Height: 8,1 cm, Width: 15,4 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Cup with handle and red painted decoration. Underneath the pattern of triangles, red dots were placed. A wavy line is painted on the handle. The white slip pottery with red painted decoration from Tepe Siyalk can be seen as a local development of the grey ceramics from the Iron Age I. This pottery dates to the Iron Age II-III (10th - 7th century BCE). In general, this type of pottery is entirely painted, including the bottom. In addition to geometric patterns, animals, human figures and fabulous creatures are depicted. This type was discovered for the first time during the French excavation at a cemetery near Tepe Siyalk, an archaeological site close to the modern city of Kashan. Between 1933 and 1937, this site was excavated under the direction of Roman Girshman, on behalf of the Louvre. Similar vases, sold on the art market, probably also came from this site.

↑ , Spouted bowl:

Spouted bowl :

collectionName : Iran
inventoryNb : IR.0273
objectName :
objectTitle : Spouted bowl
objectCulture : Iranian
geography :
dating : 1000 BC - 601 BC
material :
technique :
dimensions : Height: 20 cm, Width: 30,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The white slip pottery with red painted decoration from Tepe Siyalk can be seen as a local development of the grey ceramics from the Iron Age I. This pottery dates to the Iron Age II-III (10th - 7th century BCE). The spout is usually connected to the neck of the vase, while a "crop" in the spout sometimes takes the form of a human head or animal. In general, this type of pottery is entirely painted, including the bottom. In addition to geometric patterns, animals, human figures and fabulous creatures are depicted. This type was discovered for the first time during the French excavation at a cemetery near Tepe Siyalk, an archaeological site close to the modern city of Kashan. Between 1933 and 1937, this site was excavated under the direction of Roman Girshman, on behalf of the Louvre. Similar vases, sold on the art market, probably also came from this site.

↑ , Cup with loop handle:

Cup with loop handle :

collectionName : Iran
inventoryNb : IR.0291
objectName :
objectTitle : Cup with loop handle
objectCulture : Iranian
geography :
dating : ca. 1180 BC - AD 300
material :
technique :
dimensions : Height: 8 cm, Width: 13 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The upper part of the cup is decorated with red, crossing lines and dashes. The white slip pottery with red painted decoration from Tepe Siyalk can be seen as a local development of the grey ceramics from the Iron Age I. This pottery dates to the Iron Age II-III (10th - 7th century BCE). This type was discovered for the first time during the French excavation at a cemetery near Tepe Siyalk, an archaeological site close to the modern city of Kashan. Between 1933 and 1937, this site was excavated under the direction of Roman Girshman, on behalf of the Louvre. Similar vases, sold on the art market, probably also came from this site.

↑ , Decorated vase with handle:

Decorated vase with handle :

collectionName : Iran
inventoryNb : IR.0292
objectName :
objectTitle : Decorated vase with handle
objectCulture : Iranian
geography :
dating : 1000 BC - 601 BC
material :
technique :
dimensions : Height: 12 cm, Width: 10 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Globular vase with handle. The body is decorated with 6 rays, made of 5 or 6 straight lines, starting at the neck. The handle and rim are painted in the same colour. The white slip pottery with red painted decoration from Tepe Siyalk can be seen as a local development of the grey ceramics from the Iron Age I. This pottery dates to the Iron Age II-III (10th - 7th century BCE). This type was discovered for the first time during the French excavation at a cemetery near Tepe Siyalk, an archaeological site close to the modern city of Kashan. Between 1933 and 1937, this site was excavated under the direction of Roman Girshman, on behalf of the Louvre. Similar vases, sold on the art market, probably also came from this site.

↑ , Decorated vase with handle:

Decorated vase with handle :

collectionName : Iran
inventoryNb : IR.0293
objectName :
objectTitle : Decorated vase with handle
objectCulture : Iranian
geography :
dating : 1000 BC - 601 BC
material :
technique :
dimensions : Height: 16 cm, Width: 14 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Globular vase with handle. The body of the vase is decorated with sets of 5 or 6 lines, starting at the neck and ending at the base. The rim and handle are decorated with wavy lines, also ending at the base. The white slip pottery with red painted decoration from Tepe Siyalk can be seen as a local development of the grey ceramics from the Iron Age I. This pottery dates to the Iron Age II-III (10th - 7th century BCE). In general, this type of pottery is entirely painted, including the bottom. In addition to geometric patterns, animals, human figures and fabulous creatures are depicted. This type was discovered for the first time during the French excavation at a cemetery near Tepe Siyalk, an archaeological site close to the modern city of Kashan. Between 1933 and 1937, this site was excavated under the direction of Roman Girshman, on behalf of the Louvre. Similar vases, sold on the art market, probably also came from this site.

↑ , Spouted bowl:

Spouted bowl :

collectionName : Iran
inventoryNb : IR.0294
objectName :
objectTitle : Spouted bowl
objectCulture : Iranian
geography :
dating : 1000 BC - 601 BC
material :
technique :
dimensions : Height: 20 cm, Width: 29 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Spouted bowl with a handle and red painted decoration. On one end of the spout, a spiral is placed. The white slip pottery with red painted decoration from Tepe Siyalk can be seen as a local development of the grey ceramics from the Iron Age I. This pottery dates to the Iron Age II-III (10th - 7th century BCE). The spout is usually connected to the neck of the vase, while a "crop" in the spout sometimes takes the form of a human head or animal. In general, this type of pottery is entirely painted, including the bottom. In addition to geometric patterns, animals, human figures and fabulous creatures are depicted. This type was discovered for the first time during the French excavation at a cemetery near Tepe Siyalk, an archaeological site close to the modern city of Kashan. Between 1933 and 1937, this site was excavated under the direction of Roman Girshman, on behalf of the Louvre. Similar vases, sold on the art market, probably also came from this site.

↑ , Spouted bowl:

Spouted bowl :

collectionName : Iran
inventoryNb : IR.0295
objectName :
objectTitle : Spouted bowl
objectCulture : Iranian
geography :
dating : 1000 BC - 601 BC
material :
technique :
dimensions : Height: 25,5 cm, Width: 30 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The white slip pottery with red painted decoration from Tepe Siyalk can be seen as a local development of the grey ceramics from the Iron Age I. This pottery dates to the Iron Age II-III (10th - 7th century BCE). The spout is usually connected to the neck of the vase, while a "crop" in the spout sometimes takes the form of a human head or animal. In general, this type of pottery is entirely painted, including the bottom. In addition to geometric patterns, animals, human figures and fabulous creatures are depicted. This type was discovered for the first time during the French excavation at a cemetery near Tepe Siyalk, an archaeological site close to the modern city of Kashan. Between 1933 and 1937, this site was excavated under the direction of Roman Girshman, on behalf of the Louvre. Similar vases, sold on the art market, probably also came from this site.

↑ , Decorated jar with a handle and a spout:

Decorated jar with a handle and a spout :

collectionName : Iran
inventoryNb : IR.0296
objectName :
objectTitle : Decorated jar with a handle and a spout
objectCulture : Iranian
geography :
dating : 1000 BC - 601 BC
material :
technique :
dimensions : Height: 21 cm, Width: 24,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The white slip pottery with red painted decoration from Tepe Siyalk can be seen as a local development of the grey ceramics from the Iron Age I. This pottery dates to the Iron Age II-III (10th - 7th century BCE). The spout is usually connected to the neck of the vase, while a "crop" in the spout sometimes takes the form of a human head or animal. In general, this type of pottery is entirely painted, including the bottom. In addition to geometric patterns, animals, human figures and fabulous creatures are depicted. This type was discovered for the first time during the French excavation at a cemetery near Tepe Siyalk, an archaeological site close to the modern city of Kashan. Between 1933 and 1937, this site was excavated under the direction of Roman Girshman, on behalf of the Louvre. Similar vases, sold on the art market, probably also came from this site.

↑ , Standard or idol of the “Master of the Animals type”:

Standard or idol of the “Master of the Animals type” :

collectionName : Iran
inventoryNb : IR.0328
objectName :
objectTitle : Standard or idol of the “Master of the Animals type”
objectCulture : Iranian
geography :
dating : 1300 BC - 801 BC
material :
technique :
dimensions : Height: 13 cm, Width: 7 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The standard represents a male figure (Gilgamesh?) holding two wild animals by the throat. The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The oldest standards date to the 13th century, the beginning of the Iron Age. They consist of two standing ibex or wild animals, probably lions or leopards. The style of the oldest pieces is very naturalistic, while the more recent pieces are more stylized. Sometimes the animals are attached to a ring, or their anterior and posterior paws merge to form the ring. Some standards are characterized by the presence of a rolled bronze sheet forming a pipe. It is possible that in the perforation thus obtained or in the small pipe, a branch could be inserted, which gave rise to the motif of animals flanking a tree of life. This was a particularly popular motif in Luristan. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors.

↑ , Bull's head:

Bull's head :

collectionName : Iran
inventoryNb : IR.0364
objectName :
objectTitle : Bull's head
objectCulture : Iranian
geography :
dating : 1000 BC - 601 BC
material :
technique :
dimensions : Height: 8 cm, Width: 9,2 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The white slip pottery with red painted decoration from Tepe Siyalk can be seen as a local development of the grey ceramics from the Iron Age I. This pottery dates to the Iron Age II-III (10th - 7th century BCE). This piece is probably a fragment of a rhyton. This type of pottery was discovered for the first time during the French excavation at a cemetery near Tepe Siyalk, an archaeological site close to the modern city of Kashan. Between 1933 and 1937, this site was excavated under the direction of Roman Girshman, on behalf of the Louvre. Similar vases, sold on the art market, probably also came from this site.

↑ , Naked Goddess:

Naked Goddess :

collectionName : Iran
inventoryNb : IR.0379
objectName :
objectTitle : Naked Goddess
objectCulture : Iranian
geography :
dating : 1500 BC - 1000 BC
material :
technique :
dimensions : Height: 15,7 cm, Width: 4,7 cm, Depth: 3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Numerous clay figurines were found during the excavations in Susa and Choga Zanbil, of which the figurines of naked women clearly were the most important group. This figurine represents a naked woman holding her breasts in her hands. Apart from bracelets and anklets, she wears two bands, crossing between her breasts in a round medallion. Probably she has to be identified as a fertility figurine. They were made in an open mold, so the back is always flat. This technique was already used in Susa in the third millennium. The specific characteristics of the jewels, and the way the woman holds her breasts, allow us to date this figurine to the Middle Elamite Period.

↑ , Very long trapezoid plaque, probably from a quiver:

Very long trapezoid plaque, probably from a quiver :

collectionName : Iran
inventoryNb : IR.0419
objectName :
objectTitle : Very long trapezoid plaque, probably from a quiver
objectCulture : Iranian
geography :
dating : 1350 BC - 650 BC (uncertain)
material :
technique :
dimensions : Height: 20 cm, Width: 13,8 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Gubel 1995, In de schaduw van Babel / A l’ombre de Babel., p. 101, n. 164

↑ , Naked Goddess:

Naked Goddess :

collectionName : Iran
inventoryNb : IR.0420
objectName :
objectTitle : Naked Goddess
objectCulture : Iranian
geography :
dating : ca. 1500 BC - 1000 BC
material :
technique :
dimensions : Height: 16,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Numerous clay figurines were found during the excavations in Susa and Choga Zanbil, of which the figurines of naked women clearly were the most important group. This figurine represents a naked woman holding her breasts in her hands. Apart from bracelets and anklets, she wears two bands, crossing between her breasts in a round medallion. Probably she has to be identified as a fertility figurine. They were made in an open mold, so the back is always flat. This technique was already used in Susa in the third millennium. The specific characteristics of the jewels, and the way the woman holds her breasts, allow us to date this figurine to the Middle Elamite Period.

↑ , Bronze handle:

Bronze handle :

collectionName : Iran
inventoryNb : IR.0509
objectName :
objectTitle : Bronze handle
objectCulture : Iranian
geography :
dating : 2750 BC - 2250 BC
material :
technique :
dimensions : Height: 18 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Bronze handle. The three tubular cast objects (IR.0509, IR.0512 and IR.1188) belong to a type of which several examples were excavated in Susa. Numerous other examples are said to come from Luristan. They probably date to the mid-third millennium. They probably must be identified as handles, since several examples have been found in connection with axes. The decoration with knobs and wavy lines is often supplemented with figurative elements, such as snakes and people.

↑ , Bronze handle:

Bronze handle :

collectionName : Iran
inventoryNb : IR.0512
objectName :
objectTitle : Bronze handle
objectCulture : Iranian
geography :
dating : 2750 BC - 2250 BC
material :
technique :
dimensions : Height: 11 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Bronze handle. The three tubular cast objects (IR.0509, IR.0512 and IR.1188) belong to a type of which several examples were excavated in Susa. Numerous other examples are said to come from Luristan. They probably date to the mid-third millennium. They probably must be identified as handles, since several examples have been found in connection with axes. The decoration with knobs and wavy lines is often supplemented with figurative elements, such as snakes and people.

↑ , Bronze axe:

Bronze axe :

collectionName : Iran
inventoryNb : IR.0522
objectName :
objectTitle : Bronze axe
objectCulture : Iranian
geography :
dating : 2500 BC - 1501 BC
material :
technique :
dimensions : Height: 7 cm, Width: 17,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This type is known from excavations in Mesopotamia, Anatolia and Iran, and dates to the end of the third millennium and the first centuries of the second millennium. Other examples where the blade appears to be coming from the mouth of a lion can be found in the collections of the Metropolitan Museum of Art in New York and the Ashmolean Museum in Oxford. The probably represent an Elamite variation.

↑ , Bronze spiked axe head:

Bronze spiked axe head :

collectionName : Iran
inventoryNb : IR.0526
objectName :
objectTitle : Bronze spiked axe head
objectCulture : Iranian
geography :
dating : 1300 BC - 801 BC
material :
technique :
dimensions : Height: 5,5 cm, Width: 18,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Spiked axe head. The spikes (or "fingers") on the socket are a typical characteristic of Luristan axes. The blade is often strongly bent. The "fingers" are sometimes modelled as animals, while in other case small animal figurines were added to the axe blade. Some of these spiked axes, found on the art market, bear dedication inscriptions of Elamite and Neo-Babylonian kings, indicating that they were kept in temples. This was confirmed by the discovery of miniature spiked axes in a temple at Surkh Dum-i Luri, and in a deposit of bronze objects in Sangtarashan, probably also originating from a temple. However, the fact that they were also found in tombs at Bard-i Bal, Kutal-i Gulgul and Khatunban indicates that they were actually used. They can be dated to the early Iron Age, between the 13th and 9th century BCE.

↑ , Halberd:

Halberd :

collectionName : Iran
inventoryNb : IR.0533
objectName :
objectTitle : Halberd
objectCulture : Iranian
geography :
dating : 1000 BC - 801 BC
material :
technique :
dimensions : Height: 20 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The blade in the shape of a crescent moon appears to be coming from the mouth of a lion. On the back of the handle, a stretched animal is lying down. This type of decoration is closely related to the spiked axe blades. This type of axe was first discovered during excavations in Luristan in 2006. Examples in bronze, iron or a combination of bronze and iron were found, together with other metal objects, in Sangtarashan. The archaeological context of these objects, however, remains unclear. Probably it must be identified as a votive deposit of a sanctuary.

↑ , Dagger decorated with bees:

Dagger decorated with bees :

collectionName : Iran
inventoryNb : IR.0536
objectName :
objectTitle : Dagger decorated with bees
objectCulture : Iranian
geography :
dating : 1300 BC - 801 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The handle of this dagger, made from one piece of bronze, was originally inlaid with perishable materials, probably wood or bone. The inlay was attached to the handle with two rivets and the sides of the handle were bent in order to keep the inlay in its place. This type of dagger is characteristic for the early Iron Age and is dated between the 13th and the 9th century BCE. The blade is decorated on both sides with a row of 10 insects (bees?). This unusual motif also appears on a Luristan vase, currently kept in the collection of the Metropolitan Museum of Art in New York.

↑ , Bronze spiked axe head:

Bronze spiked axe head :

collectionName : Iran
inventoryNb : IR.0542
objectName :
objectTitle : Bronze spiked axe head
objectCulture : Iranian
geography :
dating : 1300 BC - 801 BC
material :
technique :
dimensions : Height: 10 cm, Width: 23 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Spiked axe head. The spikes (or "fingers") on the socket are a typical characteristic of Luristan axes. The blade is often strongly bent. The "fingers" are sometimes modelled as animals, while in other case small animal figurines were added to the axe blade. Some of these spiked axes, found on the art market, bear dedication inscriptions of Elamite and Neo-Babylonian kings, indicating that they were kept in temples. This was confirmed by the discovery of miniature spiked axes in a temple at Surkh Dum-i Luri, and in a deposit of bronze objects in Sangtarashan, probably also originating from a temple. However, the fact that they were also found in tombs at Bard-i Bal, Kutal-i Gulgul and Khatunban indicates that they were actually used. They can be dated to the early Iron Age, between the 13th and 9th century BCE.

↑ , Spiked axe head:

Spiked axe head :

collectionName : Iran
inventoryNb : IR.0543
objectName :
objectTitle : Spiked axe head
objectCulture : Iranian
geography :
dating : 1300 BC - 801 BC
material :
technique :
dimensions : Height: 7 cm, Width: 19 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Spiked axe head. The spikes (or "fingers") on the socket are a typical characteristic of Luristan axes. The blade is often strongly bent. The "fingers" are sometimes modelled as animals, while in other case small animal figurines were added to the axe blade. Some of these spiked axes, found on the art market, bear dedication inscriptions of Elamite and Neo-Babylonian kings, indicating that they were kept in temples. This was confirmed by the discovery of miniature spiked axes in a temple at Surkh Dum-i Luri, and in a deposit of bronze objects in Sangtarashan, probably also originating from a temple. However, the fact that they were also found in tombs at Bard-i Bal, Kutal-i Gulgul and Khatunban indicates that they were actually used. They can be dated to the early Iron Age, between the 13th and 9th century BCE.

↑ , Idol or banner:

Idol or banner :

collectionName : Iran
inventoryNb : IR.0609
objectName :
objectTitle : Idol or banner
objectCulture : Culture unknown
geography :
dating : 1300 BC - 801 BC
material :
technique :
dimensions : Height: 10,5 cm, Width: 9 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The oldest standards date to the 13th century, the beginning of the Iron Age. They consist of two standing ibex or wild animals, probably lions or leopards. The style of the oldest pieces is very naturalistic, while the more recent pieces are more stylized. Sometimes the animals are attached to a ring, or their anterior and posterior paws merge to form the ring. Some standards are characterized by the presence of a rolled bronze sheet forming a pipe. It is possible that in the perforation thus obtained or in the small pipe, a branch could be inserted, which gave rise to the motif of animals flanking a tree of life. This was a particularly popular motif in Luristan. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors.

↑ , Bronze idol:

Bronze idol :

collectionName : Iran
inventoryNb : IR.0610
objectName :
objectTitle : Bronze idol
objectCulture : Iranian
geography :
dating : 1300 BC - 750 BC
material :
technique :
dimensions : Height: 35 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors. The oldest standards date to the 13th century, the beginning of the Iron Age. They consist of two standing ibex or wild animals, probably lions or leopards. The style of the oldest pieces is very naturalistic, while the more recent pieces are more stylized. Sometimes the animals are attached to a ring, or their anterior and posterior paws merge to form the ring. Some standards are characterized by the presence of a rolled bronze sheet forming a pipe. It is possible that in the perforation thus obtained or in the small pipe, a branch could be inserted, which gave rise to the motif of animals flanking a tree of life. This was a particularly popular motif in Luristan.

↑ , Idol or banner:

Idol or banner :

collectionName : Iran
inventoryNb : IR.0611
objectName :
objectTitle : Idol or banner
objectCulture : Iranian
geography :
dating : 1300 BC - 750 BC
material :
technique :
dimensions : Height: 13 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors. The oldest standards date to the 13th century, the beginning of the Iron Age. They consist of two standing ibex or wild animals, probably lions or leopards. The style of the oldest pieces is very naturalistic, while the more recent pieces are more stylized. Sometimes the animals are attached to a ring, or their anterior and posterior paws merge to form the ring. Some standards are characterized by the presence of a rolled bronze sheet forming a pipe. It is possible that in the perforation thus obtained or in the small pipe, a branch could be inserted, which gave rise to the motif of animals flanking a tree of life. This was a particularly popular motif in Luristan.

↑ , Idol or banner:

Idol or banner :

collectionName : Iran
inventoryNb : IR.0613
objectName :
objectTitle : Idol or banner
objectCulture : Iranian
geography :
dating : 1300 BC - 801 BC
material :
technique :
dimensions : Height: 8,5 cm, Width: 4 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The oldest standards date to the 13th century, the beginning of the Iron Age. They consist of two standing ibex or wild animals, probably lions or leopards. The style of the oldest pieces is very naturalistic, while the more recent pieces are more stylized. Sometimes the animals are attached to a ring, or their anterior and posterior paws merge to form the ring. Some standards are characterized by the presence of a rolled bronze sheet forming a pipe. It is possible that in the perforation thus obtained or in the small pipe, a branch could be inserted, which gave rise to the motif of animals flanking a tree of life. This was a particularly popular motif in Luristan. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors.

↑ , Idol or banner:

Idol or banner :

collectionName : Iran
inventoryNb : IR.0615
objectName :
objectTitle : Idol or banner
objectCulture : Iranian
geography :
dating : 1300 BC - 750 BC
material :
technique :
dimensions : Height: 15,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors. The oldest standards date to the 13th century, the beginning of the Iron Age. They consist of two standing ibex or wild animals, probably lions or leopards. The style of the oldest pieces is very naturalistic, while the more recent pieces are more stylized. Sometimes the animals are attached to a ring, or their anterior and posterior paws merge to form the ring. Some standards are characterized by the presence of a rolled bronze sheet forming a pipe. It is possible that in the perforation thus obtained or in the small pipe, a branch could be inserted, which gave rise to the motif of animals flanking a tree of life. This was a particularly popular motif in Luristan.

↑ , Idol or banner:

Idol or banner :

collectionName : Iran
inventoryNb : IR.0616
objectName :
objectTitle : Idol or banner
objectCulture : Iranian
geography :
dating : 1300 BC - 801 BC
material :
technique :
dimensions : Height: 17,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors. The oldest standards date to the 13th century, the beginning of the Iron Age. They consist of two standing ibex or wild animals, probably lions or leopards. The style of the oldest pieces is very naturalistic, while the more recent pieces are more stylized. Sometimes the animals are attached to a ring, or their anterior and posterior paws merge to form the ring. Some standards are characterized by the presence of a rolled bronze sheet forming a pipe. It is possible that in the perforation thus obtained or in the small pipe, a branch could be inserted, which gave rise to the motif of animals flanking a tree of life. This was a particularly popular motif in Luristan.

↑ , Bronze idol:

Bronze idol :

collectionName : Iran
inventoryNb : IR.0618
objectName :
objectTitle : Bronze idol
objectCulture : Iranian
geography :
dating : 1300 BC - 801 BC
material :
technique :
dimensions : Height: 13,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Idole in the shape of two standing ibex. The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors. The oldest standards date to the 13th century, the beginning of the Iron Age. They consist of two standing ibex or wild animals, probably lions or leopards. The style of the oldest pieces is very naturalistic, while the more recent pieces are more stylized. Sometimes the animals are attached to a ring, or their anterior and posterior paws merge to form the ring. Some standards are characterized by the presence of a rolled bronze sheet forming a pipe. It is possible that in the perforation thus obtained or in the small pipe, a branch could be inserted, which gave rise to the motif of animals flanking a tree of life. This motif was particularly popular in Luristan.

↑ , Idol or banner:

Idol or banner :

collectionName : Iran
inventoryNb : IR.0619
objectName :
objectTitle : Idol or banner
objectCulture : Iranian
geography :
dating : 1300 BC - 801 BC
material :
technique :
dimensions : Height: 8,5 cm, Width: 3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors. The oldest standards date to the 13th century, the beginning of the Iron Age. They consist of two standing ibex or wild animals, probably lions or leopards. The style of the oldest pieces is very naturalistic, while the more recent pieces are more stylized. Sometimes the animals are attached to a ring, or their anterior and posterior paws merge to form the ring. Some standards are characterized by the presence of a rolled bronze sheet forming a pipe. It is possible that in the perforation thus obtained or in the small pipe, a branch could be inserted, which gave rise to the motif of animals flanking a tree of life. This was a particularly popular motif in Luristan.

↑ , Idol or banner:

Idol or banner :

collectionName : Iran
inventoryNb : IR.0620
objectName :
objectTitle : Idol or banner
objectCulture : Iranian
geography :
dating : 1300 BC - 801 BC
material :
technique :
dimensions : Height: 9 cm, Width: 2,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors. The oldest standards date to the 13th century, the beginning of the Iron Age. They consist of two standing ibex or wild animals, probably lions or leopards. The style of the oldest pieces is very naturalistic, while the more recent pieces are more stylized. Sometimes the animals are attached to a ring, or their anterior and posterior paws merge to form the ring. Some standards are characterized by the presence of a rolled bronze sheet forming a pipe. It is possible that in the perforation thus obtained or in the small pipe, a branch could be inserted, which gave rise to the motif of animals flanking a tree of life. This was a particularly popular motif in Luristan.

↑ , Idol or banner:

Idol or banner :

collectionName : Iran
inventoryNb : IR.0621
objectName :
objectTitle : Idol or banner
objectCulture : Iranian
geography :
dating : 1300 BC - 801 BC
material :
technique :
dimensions : Height: 14,5 cm, Width: 6 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors. The oldest standards date to the 13th century, the beginning of the Iron Age. They consist of two standing ibex or wild animals, probably lions or leopards. The style of the oldest pieces is very naturalistic, while the more recent pieces are more stylized. Sometimes the animals are attached to a ring, or their anterior and posterior paws merge to form the ring. Some standards are characterized by the presence of a rolled bronze sheet forming a pipe. It is possible that in the perforation thus obtained or in the small pipe, a branch could be inserted, which gave rise to the motif of animals flanking a tree of life. This was a particularly popular motif in Luristan.

↑ , Disc-headed pin:

Disc-headed pin :

collectionName : Iran
inventoryNb : IR.0635
objectName :
objectTitle : Disc-headed pin
objectCulture : Iranian
geography :
dating : 1000 BC - 701 BC
material :
technique :
dimensions : Dimensions H x D: 33 cm, 3,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The pins with cast or hammered disc-shaped heads all belong to the former collection of Egbert Graeffe, acquired by the RMAH in 1954. They were purchased by Graeffe in Iran between 1936 and 1945, and probably originate from Surkh Dum-i Luri. In June 1938, a sanctuary was excavated by an American expedition, after the authorities stopped clandestine excavations there. Even though the sanctuary had been largely looted, the expedition still managed to discover hundreds of votive objects hidden in the walls and floors of the building. They found a large amount of similar looking pins, some even identical. Up till now, no such pins have been found during scientific excavations. Although it cannot be excluded that such large, and sometimes heavy, pins were made as votive objects, it is likely that they were worn effectively before they were deposited in the sanctuary. Other types of pins were found in Surkh Dum-i Luri, which are also known from tombs and houses and were known to have a practical function. The dating of these disc-shaped pins is particularly difficult because objects are sometimes kept in shrines for a very long period. The majority probably dates from the 10th to the 8th century BCE. The combination of iron pins with cast bronze heads seems to confirm this. The motifs are very diverse and include scenes with plants, naturalistic and fantastic animals, human heads, human figures and geniuses.

↑ , Disc-headed pin:

Disc-headed pin :

collectionName : Iran
inventoryNb : IR.0638
objectName :
objectTitle : Disc-headed pin
objectCulture : Iranian
geography :
dating : 1000 BC - 701 BC
material :
technique :
dimensions : Dimensions H x D: 15 cm, 7 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Votive pin with horned man. The pins with cast or hammered disc-shaped heads all belong to the former collection of Egbert Graeffe, acquired by the RMAH in 1954. They were purchased by Graeffe in Iran between 1936 and 1945, and probably originate from Surkh Dum-i Luri. In June 1938, a sanctuary was excavated by an American expedition, after the authorities stopped clandestine excavations there. Even though the sanctuary had been largely looted, the expedition still managed to discover hundreds of votive objects hidden in the walls and floors of the building. They found a large amount of similar looking pins, some even identical. Up till now, no such pins have been found during scientific excavations. Although it cannot be excluded that such large, and sometimes heavy, pins were made as votive objects, it is likely that they were worn effectively before they were deposited in the sanctuary. Other types of pins were found in Surkh Dum-i Luri, which are also known from tombs and houses and were known to have a practical function. The dating of these disc-shaped pins is particularly difficult because objects are sometimes kept in shrines for a very long period. The majority probably dates from the 10th to the 8th century BCE. The combination of iron pins with cast bronze heads seems to confirm this. The motifs are very diverse and include scenes with plants, naturalistic and fantastic animals, human heads, human figures and geniuses.

↑ , Disc-headed pin:

Disc-headed pin :

collectionName : Iran
inventoryNb : IR.0647
objectName :
objectTitle : Disc-headed pin
objectCulture : Iranian
geography :
dating : 1000 BC - 701 BC
material :
technique :
dimensions : Dimensions H x D: 27 cm, 12 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Votive pin with a human head, surrounded by a frieze with fantastic and naturalistic animals. The pins with cast or hammered disc-shaped heads all belong to the former collection of Egbert Graeffe, acquired by the RMAH in 1954. They were purchased by Graeffe in Iran between 1936 and 1945, and probably originate from Surkh Dum-i Luri. In June 1938, a sanctuary was excavated by an American expedition, after the authorities stopped clandestine excavations there. Even though the sanctuary had been largely looted, the expedition still managed to discover hundreds of votive objects hidden in the walls and floors of the building. They found a large amount of similar looking pins, some even identical. Up till now, no such pins have been found during scientific excavations. Although it cannot be excluded that such large, and sometimes heavy, pins were made as votive objects, it is likely that they were worn effectively before they were deposited in the sanctuary. Other types of pins were found in Surkh Dum-i Luri, which are also known from tombs and houses and were known to have a practical function. The dating of these disc-shaped pins is particularly difficult because objects are sometimes kept in shrines for a very long period. The majority probably dates from the 10th to the 8th century BCE. The combination of iron pins with cast bronze heads seems to confirm this. The motifs are very diverse and include scenes with plants, naturalistic and fantastic animals, human heads, human figures and geniuses.

↑ , Disc-headed pin:

Disc-headed pin :

collectionName : Iran
inventoryNb : IR.0649
objectName :
objectTitle : Disc-headed pin
objectCulture : Iranian
geography :
dating : 1000 BC - 701 BC
material :
technique :
dimensions : Dimensions H x D: 17 cm, 5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Votive pin with a human head, flanked by two standing lions. The pins with cast or hammered disc-shaped heads all belong to the former collection of Egbert Graeffe, acquired by the RMAH in 1954. They were purchased by Graeffe in Iran between 1936 and 1945, and probably originate from Surkh Dum-i Luri. In June 1938, a sanctuary was excavated by an American expedition, after the authorities stopped clandestine excavations there. Even though the sanctuary had been largely looted, the expedition still managed to discover hundreds of votive objects hidden in the walls and floors of the building. They found a large amount of similar looking pins, some even identical. Up till now, no such pins have been found during scientific excavations. Although it cannot be excluded that such large, and sometimes heavy, pins were made as votive objects, it is likely that they were worn effectively before they were deposited in the sanctuary. Other types of pins were found in Surkh Dum-i Luri, which are also known from tombs and houses and were known to have a practical function. The dating of these disc-shaped pins is particularly difficult because objects are sometimes kept in shrines for a very long period. The majority probably dates from the 10th to the 8th century BCE. The combination of iron pins with cast bronze heads seems to confirm this. The motifs are very diverse and include scenes with plants, naturalistic and fantastic animals, human heads, human figures and geniuses.

↑ , Disc-headed pin:

Disc-headed pin :

collectionName : Iran
inventoryNb : IR.0662
objectName :
objectTitle : Disc-headed pin
objectCulture : Iranian
geography :
dating : 1000 BC - 701 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Votive pin, person sitting on a lying lion. The pins with cast or hammered disc-shaped heads all belong to the former collection of Egbert Graeffe, acquired by the RMAH in 1954. They were purchased by Graeffe in Iran between 1936 and 1945, and probably originate from Surkh Dum-i Luri. In June 1938, a sanctuary was excavated by an American expedition, after the authorities stopped clandestine excavations there. Even though the sanctuary had been largely looted, the expedition still managed to discover hundreds of votive objects hidden in the walls and floors of the building. They found a large amount of similar looking pins, some even identical. Up till now, no such pins have been found during scientific excavations. Although it cannot be excluded that such large, and sometimes heavy, pins were made as votive objects, it is likely that they were worn effectively before they were deposited in the sanctuary. Other types of pins were found in Surkh Dum-i Luri, which are also known from tombs and houses and were known to have a practical function. The dating of these disc-shaped pins is particularly difficult because objects are sometimes kept in shrines for a very long period. The majority probably dates from the 10th to the 8th century BCE. The combination of iron pins with cast bronze heads seems to confirm this. The motifs are very diverse and include scenes with plants, naturalistic and fantastic animals, human heads, human figures and geniuses.

↑ , Disc-headed pin:

Disc-headed pin :

collectionName : Iran
inventoryNb : IR.0672
objectName :
objectTitle : Disc-headed pin
objectCulture : Iranian
geography :
dating : 1000 BC - 701 BC
material :
technique :
dimensions : Dimensions H x D: 22 cm, 10,2 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Votive pin, woman holding palm branches in both hands, flanked by two lions. The pins with cast or hammered disc-shaped heads all belong to the former collection of Egbert Graeffe, acquired by the RMAH in 1954. They were purchased by Graeffe in Iran between 1936 and 1945, and probably originate from Surkh Dum-i Luri. In June 1938, a sanctuary was excavated by an American expedition, after the authorities stopped clandestine excavations there. Even though the sanctuary had been largely looted, the expedition still managed to discover hundreds of votive objects hidden in the walls and floors of the building. They found a large amount of similar looking pins, some even identical. Up till now, no such pins have been found during scientific excavations. Although it cannot be excluded that such large, and sometimes heavy, pins were made as votive objects, it is likely that they were worn effectively before they were deposited in the sanctuary. Other types of pins were found in Surkh Dum-i Luri, which are also known from tombs and houses and were known to have a practical function. The dating of these disc-shaped pins is particularly difficult because objects are sometimes kept in shrines for a very long period. The majority probably dates from the 10th to the 8th century BCE. The combination of iron pins with cast bronze heads seems to confirm this. The motifs are very diverse and include scenes with plants, naturalistic and fantastic animals, human heads, human figures and geniuses.

↑ , Disc-headed pin:

Disc-headed pin :

collectionName : Iran
inventoryNb : IR.0673
objectName :
objectTitle : Disc-headed pin
objectCulture : Iranian
geography :
dating : 1000 BC - 701 BC
material :
technique :
dimensions : Dimensions H x D: 13,5 cm, 7 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Disc-shaped pin head, decorated with the head of a woman. The pins with cast or hammered disc-shaped heads all belong to the former collection of Egbert Graeffe, acquired by the RMAH in 1954. They were purchased by Graeffe in Iran between 1936 and 1945, and probably originate from Surkh Dum-i Luri. In June 1938, a sanctuary was excavated by an American expedition, after the authorities stopped clandestine excavations there. Even though the sanctuary had been largely looted, the expedition still managed to discover hundreds of votive objects hidden in the walls and floors of the building. They found a large amount of similar looking pins, some even identical. Up till now, no such pins have been found during scientific excavations. Although it cannot be excluded that such large, and sometimes heavy, pins were made as votive objects, it is likely that they were worn effectively before they were deposited in the sanctuary. Other types of pins were found in Surkh Dum-i Luri, which are also known from tombs and houses and were known to have a practical function. The dating of these disc-shaped pins is particularly difficult because objects are sometimes kept in shrines for a very long period. The majority probably dates from the 10th to the 8th century BCE. The combination of iron pins with cast bronze heads seems to confirm this. The motifs are very diverse and include scenes with plants, naturalistic and fantastic animals, human heads, human figures and geniuses.

↑ , Disc-headed pin:

Disc-headed pin :

collectionName : Iran
inventoryNb : IR.0685
objectName :
objectTitle : Disc-headed pin
objectCulture : Iranian
geography :
dating : 1300 BC - 601 BC
material :
technique :
dimensions : Dimensions H x D: 21 cm, 11,3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The pins with cast or hammered disc-shaped heads all belong to the former collection of Egbert Graeffe, acquired by the RMAH in 1954. They were purchased by Graeffe in Iran between 1936 and 1945, and probably originate from Surkh Dum-i Luri. In June 1938, a sanctuary was excavated by an American expedition, after the authorities stopped clandestine excavations there. Even though the sanctuary had been largely looted, the expedition still managed to discover hundreds of votive objects hidden in the walls and floors of the building. They found a large amount of similar looking pins, some even identical. Up till now, no such pins have been found during scientific excavations. Although it cannot be excluded that such large, and sometimes heavy, pins were made as votive objects, it is likely that they were worn effectively before they were deposited in the sanctuary. Other types of pins were found in Surkh Dum-i Luri, which are also known from tombs and houses and were known to have a practical function. The dating of these disc-shaped pins is particularly difficult because objects are sometimes kept in shrines for a very long period. The majority probably dates from the 10th to the 8th century BCE. The combination of iron pins with cast bronze heads seems to confirm this. The motifs are very diverse and include scenes with plants, naturalistic and fantastic animals, human heads, human figures and geniuses.

↑ , Disc-headed pin:

Disc-headed pin :

collectionName : Iran
inventoryNb : IR.0691
objectName :
objectTitle : Disc-headed pin
objectCulture : Iranian
geography :
dating : 1000 BC - 701 BC
material :
technique :
dimensions : Dimensions H x D: 24,5 cm, 11,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The pins with cast or hammered disc-shaped heads all belong to the former collection of Egbert Graeffe, acquired by the RMAH in 1954. They were purchased by Graeffe in Iran between 1936 and 1945, and probably originate from Surkh Dum-i Luri. In June 1938, a sanctuary was excavated by an American expedition, after the authorities stopped clandestine excavations there. Even though the sanctuary had been largely looted, the expedition still managed to discover hundreds of votive objects hidden in the walls and floors of the building. They found a large amount of similar looking pins, some even identical. Up till now, no such pins have been found during scientific excavations. Although it cannot be excluded that such large, and sometimes heavy, pins were made as votive objects, it is likely that they were worn effectively before they were deposited in the sanctuary. Other types of pins were found in Surkh Dum-i Luri, which are also known from tombs and houses and were known to have a practical function. The dating of these disc-shaped pins is particularly difficult because objects are sometimes kept in shrines for a very long period. The majority probably dates from the 10th to the 8th century BCE. The combination of iron pins with cast bronze heads seems to confirm this. The motifs are very diverse and include scenes with plants, naturalistic and fantastic animals, human heads, human figures and geniuses.

↑ , Disc-headed pin:

Disc-headed pin :

collectionName : Iran
inventoryNb : IR.0692
objectName :
objectTitle : Disc-headed pin
objectCulture : Iranian
geography :
dating : 1000 BC - 701 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Votive pin with seated man and bird. The pins with cast or hammered disc-shaped heads all belong to the former collection of Egbert Graeffe, acquired by the RMAH in 1954. They were purchased by Graeffe in Iran between 1936 and 1945, and probably originate from Surkh Dum-i Luri. In June 1938, a sanctuary was excavated by an American expedition, after the authorities stopped clandestine excavations there. Even though the sanctuary had been largely looted, the expedition still managed to discover hundreds of votive objects hidden in the walls and floors of the building. They found a large amount of similar looking pins, some even identical. Up till now, no such pins have been found during scientific excavations. Although it cannot be excluded that such large, and sometimes heavy, pins were made as votive objects, it is likely that they were worn effectively before they were deposited in the sanctuary. Other types of pins were found in Surkh Dum-i Luri, which are also known from tombs and houses and were known to have a practical function. The dating of these disc-shaped pins is particularly difficult because objects are sometimes kept in shrines for a very long period. The majority probably dates from the 10th to the 8th century BCE. The combination of iron pins with cast bronze heads seems to confirm this. The motifs are very diverse and include scenes with plants, naturalistic and fantastic animals, human heads, human figures and geniuses.

↑ , Disc-headed pin:

Disc-headed pin :

collectionName : Iran
inventoryNb : IR.0704
objectName :
objectTitle : Disc-headed pin
objectCulture : Iranian
geography :
dating : 1000 BC - 701 BC
material :
technique :
dimensions : Height: 18 cm, Width: 9,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The pins with cast or hammered disc-shaped heads all belong to the former collection of Egbert Graeffe, acquired by the RMAH in 1954. They were purchased by Graeffe in Iran between 1936 and 1945, and probably originate from Surkh Dum-i Luri. In June 1938, a sanctuary was excavated by an American expedition, after the authorities stopped clandestine excavations there. Even though the sanctuary had been largely looted, the expedition still managed to discover hundreds of votive objects hidden in the walls and floors of the building. They found a large amount of similar looking pins, some even identical. Up till now, no such pins have been found during scientific excavations. Although it cannot be excluded that such large, and sometimes heavy, pins were made as votive objects, it is likely that they were worn effectively before they were deposited in the sanctuary. Other types of pins were found in Surkh Dum-i Luri, which are also known from tombs and houses and were known to have a practical function. The dating of these disc-shaped pins is particularly difficult because objects are sometimes kept in shrines for a very long period. The majority probably dates from the 10th to the 8th century BCE. The combination of iron pins with cast bronze heads seems to confirm this. The motifs are very diverse and include scenes with plants, naturalistic and fantastic animals, human heads, human figures and geniuses.

↑ , Disc-headed pin:

Disc-headed pin :

collectionName : Iran
inventoryNb : IR.0705
objectName :
objectTitle : Disc-headed pin
objectCulture : Iranian
geography :
dating : 1000 BC - 701 BC
material :
technique :
dimensions : Height: 6 cm, Width: 7,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The pins with cast or hammered disc-shaped heads all belong to the former collection of Egbert Graeffe, acquired by the RMAH in 1954. They were purchased by Graeffe in Iran between 1936 and 1945, and probably originate from Surkh Dum-i Luri. In June 1938, a sanctuary was excavated by an American expedition, after the authorities stopped clandestine excavations there. Even though the sanctuary had been largely looted, the expedition still managed to discover hundreds of votive objects hidden in the walls and floors of the building. They found a large amount of similar looking pins, some even identical. Up till now, no such pins have been found during scientific excavations. Although it cannot be excluded that such large, and sometimes heavy, pins were made as votive objects, it is likely that they were worn effectively before they were deposited in the sanctuary. Other types of pins were found in Surkh Dum-i Luri, which are also known from tombs and houses and were known to have a practical function. The dating of these disc-shaped pins is particularly difficult because objects are sometimes kept in shrines for a very long period. The majority probably dates from the 10th to the 8th century BCE. The combination of iron pins with cast bronze heads seems to confirm this. The motifs are very diverse and include scenes with plants, naturalistic and fantastic animals, human heads, human figures and geniuses.

↑ , Disc-headed pin:

Disc-headed pin :

collectionName : Iran
inventoryNb : IR.0716
objectName :
objectTitle : Disc-headed pin
objectCulture : Iranian
geography :
dating : 1000 BC - 701 BC
material :
technique :
dimensions : Height: 6 cm, Width: 9 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The pins with cast or hammered disc-shaped heads all belong to the former collection of Egbert Graeffe, acquired by the RMAH in 1954. They were purchased by Graeffe in Iran between 1936 and 1945, and probably originate from Surkh Dum-i Luri. In June 1938, a sanctuary was excavated by an American expedition, after the authorities stopped clandestine excavations there. Even though the sanctuary had been largely looted, the expedition still managed to discover hundreds of votive objects hidden in the walls and floors of the building. They found a large amount of similar looking pins, some even identical. Up till now, no such pins have been found during scientific excavations. Although it cannot be excluded that such large, and sometimes heavy, pins were made as votive objects, it is likely that they were worn effectively before they were deposited in the sanctuary. Other types of pins were found in Surkh Dum-i Luri, which are also known from tombs and houses and were known to have a practical function. The dating of these disc-shaped pins is particularly difficult because objects are sometimes kept in shrines for a very long period. The majority probably dates from the 10th to the 8th century BCE. The combination of iron pins with cast bronze heads seems to confirm this. The motifs are very diverse and include scenes with plants, naturalistic and fantastic animals, human heads, human figures and geniuses.

↑ , Mask, probably top part of a figurine:

Mask, probably top part of a figurine :

collectionName : Iran
inventoryNb : IR.0741
objectName :
objectTitle : Mask, probably top part of a figurine
objectCulture : Iranian
geography :
dating : 1350 BC - 650 BC (uncertain)
material :
technique :
dimensions : Height: 8,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Godard 1954, Bronzes du Luristan: collection E. Graeffe., n. 242

↑ , Small pendant:

Small pendant :

collectionName : Iran
inventoryNb : IR.0750
objectName :
objectTitle : Small pendant
objectCulture : Iranian
geography :
dating : 1400 BC - 601 BC
material :
technique :
dimensions : Height: 3 cm, Width: 4 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Pendant in the shape of the front half of two horses. These small objects, in the shape of animals, humans or genies, were discovered in large numbers in the Surkh Dim-i Luri sanctuary. Probably they served as votive offerings. They were also found in tombs, and probably held an apotropaic function.

↑ , Bronze beaker:

Bronze beaker :

collectionName : Iran
inventoryNb : IR.0829
objectName :
objectTitle : Bronze beaker
objectCulture : Iranian
geography :
dating : 1100 BC - 901 BC
material :
technique :
dimensions : Dimensions H x D: 13 cm, 7,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Decorated bronze beaker. Between the three braided bands on this cup, friezes run in the opposite direction, each containing three ibexes, touching each other with their front leg. The bottom is decorated with an eight-leaf rosette. The style of the decoration resembles that of objects from the necropolis of Marlik Tepe (N-Iran). Such cups were probably made in northern Iran in the 11th or 10th century BCE.

↑ , Persepolis relief: Mede climbing a staircase:

Persepolis relief: Mede climbing a staircase :

collectionName : Iran
inventoryNb : IR.1034
objectName :
objectTitle : Persepolis relief: Mede climbing a staircase
objectCulture : Achaemenid
geography :
dating : 500 BC - 301 BC
material :
technique :
dimensions : Height: 47 cm, Width: 28 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The man wears a typical Median outfit, with a headgear covering his nose and mouth. In his hands, he holds a dish with a lid. Similar scenes of persons presenting objects, food and even living animals were depicted in Achaemenid palaces. They probably represent servants preparing a banquet, or priests presenting offers during a ritual. Originally, such reliefs were always painted, but no traces of paint have been found on this particular piece. The fragment probably comes from Persepolis. This particular scene is depicted several times in both Persepolis and Susa.

↑ , Lamp glass:

Lamp glass :

collectionName : Iran
inventoryNb : IR.1041
objectName :
objectTitle : Lamp glass
objectCulture : Iranian
geography :
dating : AD 301 - AD 700
material :
technique :
dimensions : Height: 14 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This transparant, greenish glass was blown in a mold, and decorated with 16 blue drop-shaped elements and horizontally engraved lines. The flat edge suggests that it should be identified as a lamp glass, rather than a cup. Numerous identical lamp glasses are located in museums all over the world, all probably originating from northern Iran. This type, however, was widely distributed in the Near East and was also produced in Roman workshops on the Syro-Palestinian coast.

↑ , Bull with four stamps:

Bull with four stamps :

collectionName : Iran
inventoryNb : IR.1092
objectName :
objectTitle : Bull with four stamps
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Bull with four Sassanid seals. Traces of a wire. Impression A: a dog? Impression B: a sitting quadruped, probably winged. Impression C: a sitting quadruped. D: standing quadruped. A deer? Old number: O.03054.

↑ , Halberd:

Halberd :

collectionName : Iran
inventoryNb : IR.1133
objectName :
objectTitle : Halberd
objectCulture : Iranian
geography :
dating : 1500 BC - 1001 BC
material :
technique :
dimensions : Height: 36,9 cm, Depth: 36,9 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This halberd has a blade in the shape of a narrow, stretched triangle and is decorated at the rear of the handle with a row of spikes. So far, only one example of this type has been found during excavations, more specifically in an Iron Age I grave in Marlik Tepe (Northern Iran). Another example probably originates from Khurvin. Other examples are currently preserved in museum collections, such as the Ashmolean Museum in Oxford and the Metropolitan Museum in New York.

↑ , Bronze handle:

Bronze handle :

collectionName : Iran
inventoryNb : IR.1188
objectName :
objectTitle : Bronze handle
objectCulture : Iranian
geography :
dating : 2750 BC - 2250 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Bronze handle. The three tubular cast objects (IR.0509, IR.0512 and IR.1188) belong to a type of which several examples were excavated in Susa. Numerous other examples are said to come from Luristan. They probably date to the mid-third millennium. They probably must be identified as handles, since several examples have been found in connection with axes. The decoration with knobs and wavy lines is often supplemented with figurative elements, such as snakes and people.

↑ , Belt decoration:

Belt decoration :

collectionName : Iran
inventoryNb : IR.1262
objectName :
objectTitle : Belt decoration
objectCulture : Iranian
geography :
dating : AD 591 - AD 700
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : These 13 objects have long pins on the back and were probably once attached to a piece of leather. They are made of openwork silver elements, containing gold plates with gold decorations. The hollow back is filled with bitumen. Belts decorated with similar pendants are depicted on the reliefs of King Khusrow II in Taq-I Bustan (c. 628 AD). They are worn by servants and courtiers, but also by the king himself. This trend originated in Central Asia, but spread to Central Europe, Italy and Byzantium following the migrations in this period. Belts with belt tongues remained popular during the Islamic period.

↑ , Gold rosette:

Gold rosette :

collectionName : Iran
inventoryNb : IR.1288
objectName :
objectTitle : Gold rosette
objectCulture : Iranian
geography :
dating : 1500 BC - 1001 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This rosette is embellished with hammered and incised motifs. These rosettes were probably sewn onto clothing as decoration. A number of nearly identical pendants have been found at Marlik Tepe in northern Iran.

↑ , Gold rosette:

Gold rosette :

collectionName : Iran
inventoryNb : IR.1301
objectName :
objectTitle : Gold rosette
objectCulture : Iranian
geography :
dating : 1500 BC - 1001 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This rosette is embellished with hammered and incised motifs. These rosettes were probably sewn onto clothing as decoration. A number of nearly identical pendants have been found at Marlik Tepe in northern Iran.

↑ , Biconical pot:

Biconical pot :

collectionName : Iran
inventoryNb : IR.3062
objectName :
objectTitle : Biconical pot
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Haerinck & Overlaet 2006, Luristan Excavation Documents VI, p. 74, pl. 33-34, 38

↑ , Fragments of the shoulder of a vase:

Fragments of the shoulder of a vase :

collectionName : Iran
inventoryNb : IR.3063
objectName :
objectTitle : Fragments of the shoulder of a vase
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Haerinck & Overlaet 2008, Luristan Excavation Documents VII, p. 82

↑ , Undecorated shards of pinkish pottery:

Undecorated shards of pinkish pottery :

collectionName : Iran
inventoryNb : IR.3064
objectName :
objectTitle : Undecorated shards of pinkish pottery
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Haerinck & Overlaet 2008, Luristan Excavation Documents VII, p. 77, pl. 7

↑ , Vase with round body and short neck:

Vase with round body and short neck :

collectionName : Iran
inventoryNb : IR.3066
objectName :
objectTitle : Vase with round body and short neck
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Haerinck & Overlaet 2008, Luristan Excavation Documents VII, p. 80, pl.12, 14, 18

↑ , Biconical pot:

Biconical pot :

collectionName : Iran
inventoryNb : IR.3067
objectName :
objectTitle : Biconical pot
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Ceramic pedestal:

Ceramic pedestal :

collectionName : Iran
inventoryNb : IR.3068-1
objectName :
objectTitle : Ceramic pedestal
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Undecorated shards of pink pottery:

Undecorated shards of pink pottery :

collectionName : Iran
inventoryNb : IR.3068-2
objectName :
objectTitle : Undecorated shards of pink pottery
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Biconical pot:

Biconical pot :

collectionName : Iran
inventoryNb : IR.3069
objectName :
objectTitle : Biconical pot
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Biconical pot:

Biconical pot :

collectionName : Iran
inventoryNb : IR.3070
objectName :
objectTitle : Biconical pot
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Vase with cylindrical body:

Vase with cylindrical body :

collectionName : Iran
inventoryNb : IR.3072
objectName :
objectTitle : Vase with cylindrical body
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Shards of greenish pottery with brown decoration:

Shards of greenish pottery with brown decoration :

collectionName : Iran
inventoryNb : IR.3074
objectName :
objectTitle : Shards of greenish pottery with brown decoration
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Fragments of the base and shoulder of a vase:

Fragments of the base and shoulder of a vase :

collectionName : Iran
inventoryNb : IR.3077
objectName :
objectTitle : Fragments of the base and shoulder of a vase
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Biconical pot:

Biconical pot :

collectionName : Iran
inventoryNb : IR.3078
objectName :
objectTitle : Biconical pot
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Biconical pot decorated on the shoulder:

Biconical pot decorated on the shoulder :

collectionName : Iran
inventoryNb : IR.3079
objectName :
objectTitle : Biconical pot decorated on the shoulder
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Fragments of a vessel:

Fragments of a vessel :

collectionName : Iran
inventoryNb : IR.3081
objectName :
objectTitle : Fragments of a vessel
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Fragments of a vessel:

Fragments of a vessel :

collectionName : Iran
inventoryNb : IR.3082
objectName :
objectTitle : Fragments of a vessel
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Biconical pot:

Biconical pot :

collectionName : Iran
inventoryNb : IR.3084
objectName :
objectTitle : Biconical pot
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Fragments of a vessel:

Fragments of a vessel :

collectionName : Iran
inventoryNb : IR.3085
objectName :
objectTitle : Fragments of a vessel
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Fragments of a vessel:

Fragments of a vessel :

collectionName : Iran
inventoryNb : IR.3087
objectName :
objectTitle : Fragments of a vessel
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Haerinck & Overlaet 2010, Luristan Excavation Documents VIII, p. 44, pl. 7, 8

↑ , Fragments of a vessel:

Fragments of a vessel :

collectionName : Iran
inventoryNb : IR.3088
objectName :
objectTitle : Fragments of a vessel
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Haerinck & Overlaet 2010, Luristan Excavation Documents VIII, p. 44, pl. 7, 8

↑ , Vase fragment with geometric decoration:

Vase fragment with geometric decoration :

collectionName : Iran
inventoryNb : IR.3089
objectName :
objectTitle : Vase fragment with geometric decoration
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Haerinck & Overlaet 2010, Luristan Excavation Documents VIII, p. 44, pl. 7- 9, VII

↑ , Vase fragment with red and black decoration:

Vase fragment with red and black decoration :

collectionName : Iran
inventoryNb : IR.3090
objectName :
objectTitle : Vase fragment with red and black decoration
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Haerinck & Overlaet 2010, Luristan Excavation Documents VIII, p. 46, pl. 25, VII

↑ , Vase fragment decorated with red vertical lines:

Vase fragment decorated with red vertical lines :

collectionName : Iran
inventoryNb : IR.3091
objectName :
objectTitle : Vase fragment decorated with red vertical lines
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Haerinck & Overlaet 2010, Luristan Excavation Documents VIII, p. 17, pl. 1, VI

↑ , Rim of a vase with incised decoration:

Rim of a vase with incised decoration :

collectionName : Iran
inventoryNb : IR.3092
objectName :
objectTitle : Rim of a vase with incised decoration
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Haerinck & Overlaet 2010, Luristan Excavation Documents VIII, p. 123, pl. 55, 62, XIX

↑ , Handle?:

Handle? :

collectionName : Iran
inventoryNb : IR.3093
objectName :
objectTitle : Handle?
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Haerinck & Overlaet 2010, Luristan Excavation Documents VIII, p. 44, pl. 8-9, VI

↑ , Shard with handle:

Shard with handle :

collectionName : Iran
inventoryNb : IR.3094
objectName :
objectTitle : Shard with handle
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Haerinck & Overlaet 2010, Luristan Excavation Documents VIII, p. 44, pl. 8-9, VI

↑ , Vase fragments:

Vase fragments :

collectionName : Iran
inventoryNb : IR.3095
objectName :
objectTitle : Vase fragments
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Bottom of a vessel:

Bottom of a vessel :

collectionName : Iran
inventoryNb : IR.3096
objectName :
objectTitle : Bottom of a vessel
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Shard with moulded decoration:

Shard with moulded decoration :

collectionName : Iran
inventoryNb : IR.3097
objectName :
objectTitle : Shard with moulded decoration
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Shard with moulded decoration:

Shard with moulded decoration :

collectionName : Iran
inventoryNb : IR.3098
objectName :
objectTitle : Shard with moulded decoration
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Shard with moulded decoration:

Shard with moulded decoration :

collectionName : Iran
inventoryNb : IR.3099
objectName :
objectTitle : Shard with moulded decoration
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Fragment of a vessel with incised decoration:

Fragment of a vessel with incised decoration :

collectionName : Iran
inventoryNb : IR.3100
objectName :
objectTitle : Fragment of a vessel with incised decoration
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Shard of pinkish pottery with incised decoration:

Shard of pinkish pottery with incised decoration :

collectionName : Iran
inventoryNb : IR.3101
objectName :
objectTitle : Shard of pinkish pottery with incised decoration
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Shard of yellowish pottery with incised decoration:

Shard of yellowish pottery with incised decoration :

collectionName : Iran
inventoryNb : IR.3102
objectName :
objectTitle : Shard of yellowish pottery with incised decoration
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Fragments of a vase:

Fragments of a vase :

collectionName : Iran
inventoryNb : IR.3103
objectName :
objectTitle : Fragments of a vase
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Shard of pinkish pottery with brown decoration:

Shard of pinkish pottery with brown decoration :

collectionName : Iran
inventoryNb : IR.3106
objectName :
objectTitle : Shard of pinkish pottery with brown decoration
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Haerinck & Overlaet 2010, Luristan Excavation Documents VIII, p. 44, pl. 8, VI

↑ , Fragment of a vase:

Fragment of a vase :

collectionName : Iran
inventoryNb : IR.3107
objectName :
objectTitle : Fragment of a vase
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Haerinck & Overlaet 2010, Luristan Excavation Documents VIII, p. 46, pl. 25, V

↑ , Vase in fragments:

Vase in fragments :

collectionName : Iran
inventoryNb : IR.3108
objectName :
objectTitle : Vase in fragments
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Bottom of a vessel:

Bottom of a vessel :

collectionName : Iran
inventoryNb : IR.3109
objectName :
objectTitle : Bottom of a vessel
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Fragment of the rim of a vase:

Fragment of the rim of a vase :

collectionName : Iran
inventoryNb : IR.3110
objectName :
objectTitle : Fragment of the rim of a vase
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Fragment of the rim of a vase:

Fragment of the rim of a vase :

collectionName : Iran
inventoryNb : IR.3111
objectName :
objectTitle : Fragment of the rim of a vase
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Bottom of a vessel:

Bottom of a vessel :

collectionName : Iran
inventoryNb : IR.3113
objectName :
objectTitle : Bottom of a vessel
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Rim of a pot:

Rim of a pot :

collectionName : Iran
inventoryNb : IR.3114
objectName :
objectTitle : Rim of a pot
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Handle of a vase:

Handle of a vase :

collectionName : Iran
inventoryNb : IR.3115
objectName :
objectTitle : Handle of a vase
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Shard of pinkish pottery with applied decoration:

Shard of pinkish pottery with applied decoration :

collectionName : Iran
inventoryNb : IR.3116
objectName :
objectTitle : Shard of pinkish pottery with applied decoration
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Bottom of a vessel:

Bottom of a vessel :

collectionName : Iran
inventoryNb : IR.3117
objectName :
objectTitle : Bottom of a vessel
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Shards of pinkish pottery with brown decoration:

Shards of pinkish pottery with brown decoration :

collectionName : Iran
inventoryNb : IR.3118
objectName :
objectTitle : Shards of pinkish pottery with brown decoration
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Shards of pinkish pottery with applied decoration:

Shards of pinkish pottery with applied decoration :

collectionName : Iran
inventoryNb : IR.3120
objectName :
objectTitle : Shards of pinkish pottery with applied decoration
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Fragments of a vessel:

Fragments of a vessel :

collectionName : Iran
inventoryNb : IR.3122
objectName :
objectTitle : Fragments of a vessel
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Haerinck & Overlaet 2010, Luristan Excavation Documents VIII, p. 40, pl. 2

↑ , Fragment of a vessel:

Fragment of a vessel :

collectionName : Iran
inventoryNb : IR.3124
objectName :
objectTitle : Fragment of a vessel
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Fragment of a vessel with geometric decoration:

Fragment of a vessel with geometric decoration :

collectionName : Iran
inventoryNb : IR.3126
objectName :
objectTitle : Fragment of a vessel with geometric decoration
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Handle of a vase:

Handle of a vase :

collectionName : Iran
inventoryNb : IR.3127
objectName :
objectTitle : Handle of a vase
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Fragments of a vessel with green slip decoration:

Fragments of a vessel with green slip decoration :

collectionName : Iran
inventoryNb : IR.3130
objectName :
objectTitle : Fragments of a vessel with green slip decoration
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Brick fragments:

Brick fragments :

collectionName : Iran
inventoryNb : IR.3131
objectName :
objectTitle : Brick fragments
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Fragments of a vessel:

Fragments of a vessel :

collectionName : Iran
inventoryNb : IR.3132
objectName :
objectTitle : Fragments of a vessel
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Fragments of a vessel:

Fragments of a vessel :

collectionName : Iran
inventoryNb : IR.3133
objectName :
objectTitle : Fragments of a vessel
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Fragments of a vessel:

Fragments of a vessel :

collectionName : Iran
inventoryNb : IR.3134
objectName :
objectTitle : Fragments of a vessel
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Fragments of a vessel:

Fragments of a vessel :

collectionName : Iran
inventoryNb : IR.3135
objectName :
objectTitle : Fragments of a vessel
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Fragments of a vessel:

Fragments of a vessel :

collectionName : Iran
inventoryNb : IR.3136
objectName :
objectTitle : Fragments of a vessel
objectCulture : Iranian
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Figurine of a lion:

Figurine of a lion :

collectionName : Collection Art of the Islamic World
inventoryNb : IS.5001
objectName :
objectTitle : Figurine of a lion
objectCulture : Islamic
geography :
dating : AD 1600 - AD 1800
material :
technique :
dimensions : Height: 16 cm, Width: 17 cm, Depth: 8 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Figurine of an animal (probably a lion): spherical shape with small short, pointed and upright ears. Very dark, almost human eyes and eyebrows. Wide mouth with moustache. Long tail set along the left side. Wears a chain in relief around the neck. Silicon paste. The decor is painted in cobalt blue and greenish black under a transparent, light blue glaze. On the body: decor of rosettes and black dotted lines on a blue background. Head with white background.

↑ , Cross-shaped wall tile:

Cross-shaped wall tile :

collectionName : Collection Art of the Islamic World
inventoryNb : IS.8621
objectName :
objectTitle : Cross-shaped wall tile
objectCulture : Islamic
geography :
dating : AD 1250 - AD 1350
material :
technique :
dimensions : Height: 20,8 cm, Width: 20,5 cm, Depth: 1,7 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Wall tile in the shape of a four-armed cross. White-grey paste covered with a turquoise, alkaline, transparent and flowing glaze. The decoration has three flowering branches and is underlined with a red stripe on the glaze (probably done in the XXth century).

↑ , Base of a bowl:

Base of a bowl :

collectionName : Collection Art of the Islamic World
inventoryNb : IS.F.1810
objectName :
objectTitle : Base of a bowl
objectCulture : Islamic
geography :
dating :
material :
technique :
dimensions : Diameter: 4,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Rims of bowls:

Rims of bowls :

collectionName : Collection Art of the Islamic World
inventoryNb : IS.F.1812
objectName :
objectTitle : Rims of bowls
objectCulture : Islamic
geography :
dating :
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Rims of bowls:

Rims of bowls :

collectionName : Collection Art of the Islamic World
inventoryNb : IS.F.1813
objectName :
objectTitle : Rims of bowls
objectCulture : Islamic
geography :
dating :
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Underglaze painted ware:

Underglaze painted ware :

collectionName : Collection Art of the Islamic World
inventoryNb : IS.F.1814
objectName :
objectTitle : Underglaze painted ware
objectCulture : Islamic
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Underglaze painted ware:

Underglaze painted ware :

collectionName : Collection Art of the Islamic World
inventoryNb : IS.F.1815
objectName :
objectTitle : Underglaze painted ware
objectCulture : Islamic
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Rims of bowls:

Rims of bowls :

collectionName : Collection Art of the Islamic World
inventoryNb : IS.F.1817
objectName :
objectTitle : Rims of bowls
objectCulture : Islamic
geography :
dating :
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Underglaze painted ware:

Underglaze painted ware :

collectionName : Collection Art of the Islamic World
inventoryNb : IS.F.1818
objectName :
objectTitle : Underglaze painted ware
objectCulture : Islamic
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Underglaze painted ware:

Underglaze painted ware :

collectionName : Collection Art of the Islamic World
inventoryNb : IS.F.1819
objectName :
objectTitle : Underglaze painted ware
objectCulture : Islamic
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Decorative plate:

Decorative plate :

collectionName : Collection Art of the Islamic World
inventoryNb : IS.L.0741
objectName :
objectTitle : Decorative plate
objectCulture : Islamic
geography :
dating : unknown
material :
technique :
dimensions : Height: 24 cm, Width: 21 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Rectangular decorative plate in plaster. Fragmented decoration, deeply engraved. Probably belongs to a set of equal plates forming a large panel. Decoration of white and interwoven rhombuses with fleurons, half palmettes and red plant decoration.

↑ , Fabric (fragment of a turban?):

Fabric (fragment of a turban?) :

collectionName : Collection Art of the Islamic World
inventoryNb : IS.Tx.0115
objectName :
objectTitle : Fabric (fragment of a turban?)
objectCulture : Islamic
geography :
dating : AD 1100 - AD 1200
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The stylized inscriptions probably repeat the phrase 'yumn min Allah' (happiness comes from Allah) and the blessing 'al-yumn wa'l iqbal' (happiness and prosperity).

↑ , Scooping ricefish:

Scooping ricefish :

collectionName : Japan
inventoryNb : JP.00598
objectName :
objectTitle : Scooping ricefish
objectCulture :
geography :
dating : ca. AD 1767 - AD 1768
material :
technique :
dimensions : Height: 27,5 cm, Width: 20,1 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Chûban format. Two young women walk barefoot through the clear waters of a river; one tries to catch a shoal of medaka (Poecilia latipes) in her net, while the other admires her catch of goldfish in a glass jar. According to poems of the period there was surprisingly quite a trade in these tiny medaka. This print does not reveal any literary allusion or cultural influence, both of which were very common in Harunobu's calendar prints. This is a very simple but idealised everyday scene. Note the successful effect of transparency where the fishing woman's summer robes are superimposed on one another. As with the calendar prints this composition has no artist's signature. This allows us to date it as being drawn most probably in 1766. From 1767 onwards the majority of Harunobu's prints bore his signature.

↑ , Fūryū goshiki zumi (Five elegant colours of ink): Illustration of a poem by Somaru:

Fūryū goshiki zumi (Five elegant colours of ink): Illustration of a poem by Somaru :

collectionName : Japan
inventoryNb : JP.00606
objectName :
objectTitle : Fūryū goshiki zumi (Five elegant colours of ink): Illustration of a poem by Somaru
objectCulture :
geography :
dating : ca. AD 1769
material :
technique :
dimensions : Height: 26,7 cm, Width: 20,2 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The end of the year is joyously celebrated beyond slicling screens of stretched translucent paper (shôji), upon which the shadows of two male figures are shown. Despite the activity all round him a servant sitting near a brazier has drifted off to sleep, completely unaware of the mean trick that his friend is playing on him. Judging by the women's clothing this scene is set in an ordinary situation rather than a brothel. The print illustrates a hokku, the first stanza in five-seven-five syllables of connected lines, of a haikai in thirty-one syllables by Somaru (1708-1791): Asahiyama looks like a forlorn blind musician forgetting his great age. The print is part of a set entitled Fûryû goshikizumi (The five sticks of ink coloured in the taste of the day), the jacket of which is owned by the Museum of Fine Arts in Boston. Goshikizumi is the name of a circle founded by Somaru when was about twenty years old with four other poets versed in the haikai. There was probably a first private edition of this set, commissioned either by Somaru himself or by his friends, to celebrate his entry into a second sixty-year cycle in the spring of 1769.

↑ , :

:

collectionName : Japan
inventoryNb : JP.00616
objectName :
objectTitle :
objectCulture :
geography :
dating : ca. AD 1765 - AD 1766
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Chûbon format. Two children look at each other in surprise through an enormous amber jar of chinese origin, probably made of blown or cast glass, decorated in enamels, with a stopper covered in a rich brocade. No other examples of this print are known. But all the experts are agreed in attributing this unsigned plate to Harunobu. Comparative studies also show that it is from a second run of a calendar print. Furthermore, this plate bears witness to a revival of the genre foliowing the success of the full polychrome prints that appeared in 1765. This revival expressed itself in the selection of previously unknown subjects and in historical, legendary and literary allusions.

↑ , :

:

collectionName : Japan
inventoryNb : JP.00886
objectName :
objectTitle :
objectCulture :
geography :
dating : ca.
material :
technique :
dimensions : Height: 37,2 cm, Width: 13,8 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Kawaguchiya Shôzô, publisher. Kiwame, censor's stamp. Chûtanzakuban format. The anonymous short poem in seventeen syllables that accompanies this print can be translated as follows: Faced with a vision of autumn, the quails start to sing. The theme of flowers and birds (kachô) constitutes a classic genre of Sino-Japanese painting with a long tradition. It was quite widely, explored in ukiyo-e prints, either in the form of illustrations or on separate sheets, in the second half of the XVIIIth century. Hiroshige began to exploit this subject probably in around 1832 when the publisher Wakasaya Yoichi brought out twenty of his drawings in the large tamzaku format (39 cm x 17.5 cm). Thereafter he seems to have sought to make it his speciality at the expense of other artists. According to research by Ôkubo Jun'ichi Hiroshige drew more than two hundred prints over a long period, most of them accompanied by poems and printed in the long, narrow tanzaku format. This print is part of a group of forty-two published by Kawaguchiya Shôzô in the average tanzaku size (39 x 72 cm). The number of species of birds drawn by Hiroshige, exotic or otherwise, is fairly limited, but the artist shows keen powers of observation which he was able to develop in Edo by working beside the aviaries at some of the larger tea houses.

↑ , :

:

collectionName : Japan
inventoryNb : JP.01021
objectName :
objectTitle :
objectCulture :
geography :
dating :
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Surugaya Sakujirô, publisher. Fan format. Two young women rest in the entrance to a tea house and admire the spring blossoms on the plum trees in the gaiden. This composition makes no allusion to the temple dedicated to the memory of Kôbô daishi (774-835), the posthumous name of the founder of the Shingon school of esoteric Buddhism in Japan; but this is explained in the sub-title Kamata umeyashiki no zu/View of the plum tree residence in Kamata. In the south of Edo, not far from the main Tôkaidô route, the Kamata region was laid out entirely in orchards for the purpose of intensive plum cultivation to supply the administrative capital, nicknamed the capital of the East. One of these orchards, known first as the "Plum Tree Garden", then as the "Plum Tree Residence", was open to the public and had a restaurant and several tea houses. The tradition of making prints into fans dates back to the second quarter of the XVIIIth century. They were used as a means of decoration not on the folding fans (sensu) but on the rigid, oval-shaped fans (uchiwa). Hence they were printed on oblong-shaped sheets, using colour blocks with rounded-off corners and a cut-off base, and then glued onto a framework of bamboo strips. In the XIXth century artists, Hiroshige in particular, were very interested in the challenges presented by this specific form. Hiroshige probably produced more than five hundred print drawings for fans. But as they were in daily use printed fans were soon spoilt, and were then simply thrown away. Hence very few such prints have survived.

↑ , Untitles series of triptychs: Nightly panorama of the eight views of Kanazawa in the Musashi province (Buyō kanazawa hosshō yakei):

Untitles series of triptychs: Nightly panorama of the eight views of Kanazawa in the Musashi province (Buyō kanazawa hosshō yakei) :

collectionName : Japan
inventoryNb : JP.01053
objectName :
objectTitle : Untitles series of triptychs: Nightly panorama of the eight views of Kanazawa in the Musashi province (Buyō kanazawa hosshō yakei)
objectCulture :
geography :
dating :
material :
technique :
dimensions : Dimensions H x Lo: 33,8 cm, 75,1 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Okasawaya Taheiji, publisher. Arotome, censor's stamp. Ôban triptych. On a calm night a full moon pours its light on the coastal landscape of Kanazawa, near Edo. In around 1835-1836 Hiroshige had already treated this same landscape in a set of eight prints. Here he seems to have wished to condense these eight views, by no means all identifiable, into a single triptych. The publisher's seal that appears on each leaf of the three triptychs in the set "Snow-moon-flowers" is generally thought to be the seal of Tsutaya Kichizô, while according to M. Forrer, it is in fact that of Okasawaya Talneiji, a practically unknown publisher. M. Forrer sees this as proving that in the 1850s some publishing houses of no great repute were also able to procure the services of well-known artists and to produce some excellent prints, probably sub-contracting the carving and printing to highly specialised workshops.

↑ , :

:

collectionName : Japan
inventoryNb : JP.01387
objectName :
objectTitle :
objectCulture :
geography :
dating :
material :
technique :
dimensions : Height: 31,6 cm, Width: 14,7 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Tsutaya Jûsaburó, publisher. Kiwame, censor's stamp. Hosoban format. Grey background. Ichikawa Komazô III is seen here playing Sagami Jirô taking the identity of Mida Jirô in the play Matsu wa misao onna Kusunoki (A Kusunoki woman as unshakeable as the pine tree), performed at the Kawarazaki-za theatre at the opening of the theatre season. This play, the text of which has been lost, seems to consist of a series of vaguely connected episodes. Inspired by the epic Taiheiki (Chronicle of the Great Peace), it deals with the rebellion by Ashikaga Takauji (1305-1358) in 1333 against the Emperor Godaigo. This led to an imperial rift in 1336, with two courts existing in parallel until 1392, and the establishment of a second mllitary government by Ashikaga Takauji ín 1338. But most of all the play draws attention to the female character. It is about the wife and sister of Kusunoki Masashige (1294-1336), a valiant general in the imperial party and a model of loyalty and devotion. According to the programme Ichikawa Komazô was playing live different roles in the play, four of which were illustrated by Sharaku. This print probably shows the nighttime scene in which Sagami Jirô, disguised as a pilgrim, kills the wife of the wicked Oyamada Tarô in a small chapel at a crossroads. Immediately afterwards he meets Kikusui, the wife of Kusunoki Masashige, and challenges her in combat - expressed on the stage in pantomime (danmari). Note that among his many roles Ichikawa Komazô III was playing both the wicked Oyamada Tarô and his assassin Sagami Jirô at the same time. As the scene in which Oyamada Tarô is decapitated takes place between a transparent screen, the actor would have been able to make a quick change of costume and reappear on stage as Sagami Jirô. This print, the only example known today, was part of a triptych. The Royal Albert I Library owns another leaf of it, the only one found, portraying the actor Iwai Hanshirô IV in the role of Kikusui. The third leaf seems to have been lost for ever.

↑ , :

:

collectionName : Japan
inventoryNb : JP.01392
objectName :
objectTitle :
objectCulture :
geography :
dating :
material :
technique :
dimensions : Height: 36,7 cm, Width: 23,9 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Tsutaya Jûsaburô, publisher. Kiwame, censor's stamp. Ôban format. Dark grey micaceous background; embossed. Here the actor plays one of the two main heroes, the elder brother Ishii Genzô, in the play Hana ayame Bunroku Soga (Meadow irises in flower: the Soga brothers of tbe Bunroku period) at the Miyako-za theatre. One detail in this print has gone unnoticed by critics but is worthy of note. Against all the rules Bandô Mitsugorô II is unsheathing his katana-type sword with the sharp edge of the blade facing downwards. Such an anomaly should probably be ascribed to Sharaku. It cannot be simply an actor's whim. In fact Utagawa Toyokuni also drew a full length portrait of Bandô Mitsugorô II playing the same role in the same play, and in this portrait the actor adopts the correct grip to unsheathe his sword. The anomaly in this print seems all the more curious because if the hypothesis of some experts is correct, Sharaku was actually Saitô Jûrôbei, a nô actor from the troupe belonging to the lord of Awa. This is quite plausible moreover: the lord of Awa absented himself from Edo from the twenty-first day of the fourth month of 1794 to the second day of the fourth month of 1796, leaving the nô actor free to devote himself to print drawing all the while he remained in the administrative capital.

↑ , :

:

collectionName : Japan
inventoryNb : JP.01756
objectName :
objectTitle :
objectCulture :
geography :
dating : ca. AD 1770
material :
technique :
dimensions : Height: 26,9 cm, Width: 21,1 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Chûban format. Black background, embossed. Using all his weight a warrior pins his adversary to the ground and prepares to slay him. This is probably an episode from the war between 1180 and 1185 started by the powerful Minamoto clan, led by Minamoto no Yoritomo (1147-1199), against the rival clan who controlled the state at that time, the Taira. Eventually emerging victorious from this war, Yoritomo went on to institute the first shôgunate or military government, officially sanctioned by the Emperor in 1192, beginning a new era in Japan's political history. According to B.W. Robinson, the print relates to the battle of Ishibayama (1180), in which Yoritomo suffered a defeat. The figure on the ground can probably be identified as Sanada Yoichi Yoshitada, one of Yoritomo's vassals, who defeated the champion of the Taira, Matano Gorô Kagehisa, shortly before being killed by Taira troops. However, the helmet decorated with deer antlers is generally attributed to Kajiwara Kagetoki ( + 1200) who was a vassal of the Taira but came over to the Minamoto side in this same battle.

↑ , :

:

collectionName : Japan
inventoryNb : JP.02372
objectName :
objectTitle :
objectCulture :
geography :
dating : ca. AD 1784
material :
technique :
dimensions : Height: 36,3 cm, Width: 25,3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Ôban format. Embossed. The princess Nyosan no Miya stands in a room of the palace in the company of her servant, looking at the cat she is holding on a lead, which has hidden itself in the train of her long robes. This princess is one of the characters in the Genji monogatari (Tale of Genji), the most famous novel in classic Japanese literature, written by a woman, Murasaki Shikibu, probably in the first decade of the XIth century. The print alludes to a key event in the life of the princess, second wife of the principal hero. While she was looking down from her bedroom window at the nobles playing with a ball in the garden, her cat escaped from her arms and raised the bamboo blind that hid her from view. One of the players, Kashiwagi saw her and fell in love with her. The ensuing affair ended tagically: Nyosan no Miya went into a nunnery after giving birth to their child and Kashiwagi died tormented by remorse.

↑ , Half length portrait of actor Segawa Rokō (?), probably as Fukakusa no Shōshō:

Half length portrait of actor Segawa Rokō (?), probably as Fukakusa no Shōshō :

collectionName : Japan
inventoryNb : JP.02814
objectName :
objectTitle : Half length portrait of actor Segawa Rokō (?), probably as Fukakusa no Shōshō
objectCulture :
geography :
dating : (uncertain)
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Kozyreff, Chantal 1989, Japanse prenten: verzameling van de Koninklijke Musea voor Kunst en Geschiedenis, Brussel, n. 547

↑ , Fugaku sanjūrokkei (Thirty-six views of Mount Fuji): Shower below the summit (Sanka hakuu):

Fugaku sanjūrokkei (Thirty-six views of Mount Fuji): Shower below the summit (Sanka hakuu) :

collectionName : Japan
inventoryNb : JP.03181
objectName :
objectTitle : Fugaku sanjūrokkei (Thirty-six views of Mount Fuji): Shower below the summit (Sanka hakuu)
objectCulture :
geography :
dating : ca. AD 1830 - AD 1832
material :
technique :
dimensions : Dimensions H x Lo: 25,2 cm, 37 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Ôban format. Blue outline. The tip of Mount Fuji stands out against a sky which is clear but for a few low clouds in Europeanised style, while at a lower altitude a violent storm breaks out and plunges the slopes of the mountain into darkness. Three versions of this print are known. This is an example of the first version which was, according to R. Lane, the only one drawn by Hokusai. The last version, with black outlining and a noticeabiy different range of colours, shows a row of pine trees behind the lightning flash in a light patch above a green band. The original set was probably finished in 1832; the seal of the publisher Nishimuraya Yohachi (Eijûdô) and the Kiwame censor's stamp appear on rhe majority of the prints. After the thirty-six views announced in advance and outlined in blue, ten further plates were produced, all outlined in black. These constitute a group commonly known as the Ura Fuji, (Fuji seen from behind) after the title of one of them. Simply speaking the plates in the set can be divided into several groups by their craftmanship and also by the signatures.

↑ , Fugaku sanjūrokkei (Thirty-six views of Mount Fuji): Mild breeze on a fine day (Gaifū kaisei):

Fugaku sanjūrokkei (Thirty-six views of Mount Fuji): Mild breeze on a fine day (Gaifū kaisei) :

collectionName : Japan
inventoryNb : JP.03182
objectName :
objectTitle : Fugaku sanjūrokkei (Thirty-six views of Mount Fuji): Mild breeze on a fine day (Gaifū kaisei)
objectCulture :
geography :
dating : ca. AD 1830 - AD 1832
material :
technique :
dimensions : Dimensions H x Lo: 26 cm, 37,9 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Ôban format. Outlined in blue. Mount Fuji, tinged with red at dawn in the late summer or early autumn, stands out against a sky of fluffy clouds treated in the European style. This is one of the most famous prints from this very well-known set of forty-six plates. The oldest known document about this masterly work is an announcement issued by the publisher, Nishimuraya Yohachi (Eijûdô), which appeared at around the time of the New Year in 1831 and can be translated as follows: "The thirty-six views of Fuji" - By the venerable litsu, formerly called Hokusai - Prints on separate sheets, printed in Prussian blue - One scene to each leaf, now being published - These views show the shape of Fuji from different locations - For example, its shape from the beach at Shichiri or as seen from the Island of Tsukuda-jima - All these shapes, in their infinite variety, for the instruction of those who wish to master the art of landscape painting - Such that if they are carved quickly enough the set will probably exceed one hundred compositions - it will not be restricted to thirty-six plates". This advertisement gives us to understand that the carving of the woodblocks, if not the printing, must have begun in the autumn of 1830, and tells us that the publisher did not expect the set to be restricted to the thirty-six views announced in the title. It also seeks to attract the interest of the public by mentioning that the set would be in Prussian blue. According to R. Lane, Prussian blue was used experimentally from the 1790s, but only began to be imported in large quantities in around 1828-1829; it was first used only in prints for private circulation (surimono), ancl then in fan prints, before spreading to portraits and finally, with this set by Hokusai, to landscapes. In this set Prussian blue was used mainly for outlining on all the thirty-six plates. But only nine or ten of them can really be called "blue" prints (aizuri-e) for the predominant if not exclusive use of Prussian blue.

↑ , Ryūkyū hakkei (Eight views of the Ryūkyū Islands): The sacred source at Jōgaku (Jōgaku reisei):

Ryūkyū hakkei (Eight views of the Ryūkyū Islands): The sacred source at Jōgaku (Jōgaku reisei) :

collectionName : Japan
inventoryNb : JP.03211
objectName :
objectTitle : Ryūkyū hakkei (Eight views of the Ryūkyū Islands): The sacred source at Jōgaku (Jōgaku reisei)
objectCulture :
geography :
dating : ca. AD 1832 - AD 1833
material :
technique :
dimensions : Dimensions H x Lo: 25,9 cm, 28,3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Moriya Jihei, publisher. Kiwame, censor's stamp. Ôbon format. This landscape in vivid shades resembles an idyllic postcard with its waterfall flowing into a pool near ricefields, its wooded hills, its drifts of snow -layered to render depth - and its red mountain in the background. As Hokusai had never been to this remote archipelago he takes inspiration here directly from illustrations in the Abridged history of the Ryûkyû (Ryûkyû kokushi ryaku), a work published under the auspices of the government in 1831. This book merely transposed a Chinese publication brought out in 1757. This set was probably produced to mark the arrival in Edo of an official delegation from the court of the Ryûkyû, a realm still semi-independent at the time, in the tenth month of 1832. Certainly this was a sensational event that could not fail to be exploited by the publishers in order to please a public avid for novelty and exoticism.

↑ , Seirō bijin rokkasen (Beauties of the Green Houses and Six Immortal Flowers): The courtesan Hanaōgi of Ōgiya:

Seirō bijin rokkasen (Beauties of the Green Houses and Six Immortal Flowers): The courtesan Hanaōgi of Ōgiya :

collectionName : Japan
inventoryNb : JP.03657
objectName :
objectTitle : Seirō bijin rokkasen (Beauties of the Green Houses and Six Immortal Flowers): The courtesan Hanaōgi of Ōgiya
objectCulture :
geography :
dating : ca.
material :
technique :
dimensions : Dimensions H x Lo: 37,1 cm, 25 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Nishimuraya Yohachi, pubrisher. Kiwame, censor's stamp. Ôban format. Yellow background; pink mica. Embossed. Seated at a table, Hanaôgi prepares to write a poem in calligraphy on a fan. The name of this very highranking courtesan is in fact a hereditary name handed down from one generation to another. In the prestigious Ôgiya brothel it was given to courtesans who had reached a recognized level of excellence. The Hanaôgi - this is probably the third of the name - were famed for their great beauty. Hanaôgi II and Hanaôgi III also shone in the arts of poetry, koto, the tea ceremony and especially calligraphy. After them the name Hanaogi was only bestowed intermittently, disappearing towards the middle of the XIXth century when the ôgiya name was sold to another, lower-class brothel. Eishi drew two sets of prints with this title that plays on the homophony rokkasen, a common reference to the six Immortal Poets, poets consecrated as such at the beginning of the Heian period. This print belongs to the first set, and its technical refinement accords perfectly with Eishi's very individual style of drawing. It is considered to be one of his masterpieces.

↑ , Actors Nakamura Matsue III (probably) as the courtesan Agemaki, Ichikawa Danjūrō VII as Sukeroku and Onoe Kikugorō III as the shirosake seller Shinbei:

Actors Nakamura Matsue III (probably) as the courtesan Agemaki, Ichikawa Danjūrō VII as Sukeroku and Onoe Kikugorō III as the shirosake seller Shinbei :

collectionName : Japan
inventoryNb : JP.04533
objectName :
objectTitle : Actors Nakamura Matsue III (probably) as the courtesan Agemaki, Ichikawa Danjūrō VII as Sukeroku and Onoe Kikugorō III as the shirosake seller Shinbei
objectCulture :
geography :
dating :
material :
technique :
dimensions : Height: 21 cm, Width: 54,6 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Kozyreff, Chantal 1989, Japanse prenten: verzameling van de Koninklijke Musea voor Kunst en Geschiedenis, Brussel, n. 944 Vandeperre, Nathalie (éd./red.) 2016, Ukiyo-e. Les plus belles estampes japonaises des Musées royaux d’Art et d’Histoire (Bruxelles), p. 164-165, n. 168

↑ , Actor Sanogawa Ichimatsu III as the Gion prostitute Onayo:

Actor Sanogawa Ichimatsu III as the Gion prostitute Onayo :

collectionName : Japan
inventoryNb : JP.05111
objectName :
objectTitle : Actor Sanogawa Ichimatsu III as the Gion prostitute Onayo
objectCulture :
geography :
dating :
material :
technique :
dimensions : Height: 37,7 cm, Width: 24,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Tsutaya Jûsaburô, publisher. Kiwame, censor's stamp. Ôban format. Dark grey micaceous background. Sanogawa Ichimatsu III is shown here playing Onayo, an unlicensed prostitute from the Gion district of Kyôto, in the play Hana ayame Bunroku Soga (Meadow irises in flower: tbe Soga brothers of the Bunroku period) at the Miyako-za theatre. This is probably one of the cruellest portraits in the actor genre, and one of the most disturbing. Flouting all idealisation, Sharaku's keen eye looks beyond the character of the flirtatious young courtesan to portray the personality of the actor, who is advanced in years both physically and mentally. Looking at this portrait it is hard to believe that the actors specialising in female roles (onnagata) were considered to be the very incarnation of femininity and were held up to contemporary women as models of female behaviour.

↑ , Actor Ichikawa Komazō II as Chihara Sakon probably:

Actor Ichikawa Komazō II as Chihara Sakon probably :

collectionName : Japan
inventoryNb : JP.06065
objectName :
objectTitle : Actor Ichikawa Komazō II as Chihara Sakon probably
objectCulture :
geography :
dating :
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Actor Nakayama Raisuke II as Ashikaga Jijūnosuke probably:

Actor Nakayama Raisuke II as Ashikaga Jijūnosuke probably :

collectionName : Japan
inventoryNb : JP.06406
objectName :
objectTitle : Actor Nakayama Raisuke II as Ashikaga Jijūnosuke probably
objectCulture :
geography :
dating :
material :
technique :
dimensions : Dimensions H x Lo: 31 cm, 14,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Kozyreff, Chantal 1989, Japanse prenten: verzameling van de Koninklijke Musea voor Kunst en Geschiedenis, Brussel, n. 580 Vandeperre, Nathalie (éd./red.) 2016, Ukiyo-e. Les plus belles estampes japonaises des Musées royaux d’Art et d’Histoire (Bruxelles), p. 235, 303, n. 290

↑ , styro-mandoline 1973/1977:

styro-mandoline 1973/1977 :

collectionName : Collection LOGOS
inventoryNb : LOGOS1977.01
objectName :
objectTitle : styro-mandoline 1973/1977
objectCulture :
geography :
dating :
material :
technique :
dimensions :
legalRightOwner : Stichting Logos

objectDescription : * cfr. LOGOS2014.01 * https://www.logosfoundation.org/godfried/instrum-god.html

↑ , Orgue de l’église paroissiale de Ninove.:

Orgue de l’église paroissiale de Ninove. :

collectionName : Iconography MIM
inventoryNb : MIMICO.ACP.140
objectName :
objectTitle : Orgue de l’église paroissiale de Ninove.
objectCulture :
geography :
dating : ca. AD 1930
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Cuneiform tablet with cylinder-seal impression:

Cuneiform tablet with cylinder-seal impression :

collectionName : Near East
inventoryNb : O.00058
objectName :
objectTitle : Cuneiform tablet with cylinder-seal impression
objectCulture : Mesopotamia
geography :
dating : 2150 BC - 2000 BC
material :
technique :
dimensions : Height: 4,1 cm, Width: 3,5 cm, Depth: 1,3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Letter order. The imprint shows a standing figure holding a mace and a naked cavalier on a donkey. Three-line framed inscription with the last line indented. ab-ba-kal-la dub.sar ˹dumu lú-dnin-/gír-su˺ “Abba-kala, scribe, son of Lu-Ningirsu”. Only the upper part of the depiction is visible. Same seal on O.69 and O.836 ; most probably the same individual on the seal of O.71 but the seal is different.

↑ , Cuneiform tablet with cylinder seal impression:

Cuneiform tablet with cylinder seal impression :

collectionName : Near East
inventoryNb : O.00069
objectName :
objectTitle : Cuneiform tablet with cylinder seal impression
objectCulture : Mesopotamia
geography :
dating : 2037 BC - 2029 BC
material :
technique :
dimensions : Height: 5,5 cm, Width: 4,4 cm, Depth: 1,9 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Account of livestock. Seal of Abkalla. A standing figure holding a mace and a rider on a donkey. 9nd year of Šu-Sîn. Three-line framed inscription with the last line indented. ab-ba-kal-la dub.sar dumu lú-dnin-/gír-su “Abba-kala, scribe, son of Lu-Ningirsu”. Same seal on O.58 and O.836 ; most probably the same individual on O.71 but the seal is different.

↑ , Cuneiform tablet with cylinder seal impression:

Cuneiform tablet with cylinder seal impression :

collectionName : Near East
inventoryNb : O.00071
objectName :
objectTitle : Cuneiform tablet with cylinder seal impression
objectCulture : Mesopotamia
geography :
dating : 2037 BC - 2029 BC
material :
technique :
dimensions : Height: 6 cm, Width: 4,5 cm, Depth: 1,7 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Account of livestock sacrificed in Lu-ha ma-si (?)-ki. Year eight of Gimil-Sin (Shu-Suen). Three-line framed inscription. ab-ba-kal-la dub.[sar] dumu lú-dnin-˹gír˺-[su] “Abba-kala, scribe, son of Lu-Ningirsu”. Most probably the same individual on the seal of O.58, O.69 and O.836 but the seal is different.

↑ , Cuneiform tablet with cylinder seal impression:

Cuneiform tablet with cylinder seal impression :

collectionName : Near East
inventoryNb : O.00108
objectName :
objectTitle : Cuneiform tablet with cylinder seal impression
objectCulture : Mesopotamia
geography :
dating : 2094 BC - 2004 BC
material :
technique :
dimensions : Height: 5 cm, Width: 4,7 cm, Depth: 1,9 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Payment of weavers in barley, in the new house, from the 54th year of Bur-sin, with the seal of the chef of the weavers. The imprint shows a figure with his hand lifted, at face-height. He holds a client, whom he is introducing, by the wrist. The imprint, however, does not show a deity seated on a cubic chair, as is generally expected on presentation scenes. Another figure probably belongs to a different seal. He stands and wears a many-horned mitra. His right leg is on an elevated platform. One hand rests on an object, the other near his belt. Seal 1 (left) – rather faded. Four-line framed inscription and part of two standing figures (worshipper and king with mace?). Line 3: an alternative reading would be lugal-˹du10?˺-ga. lugal-˹ú˺-šim-˹e˺ dub.˹sar˺ dumu lú?-˹du10?˺-ga šabra l[ugal?] “Lugal-ušim, scribe, son of Lu-duga the chief administrator of the king”. Seal 2 (right) – very faded. Four-line framed inscription and part of a presentation scene. According to the text, it should belong to Ur-Baba the second scribe, but the traces are too faint to read the expected ur-(d)ba-ba6. ˹x-(x-)x-x˺ dub?-[sar] dumu [x x]-x [x x (x)] “… scribe (?), son of …, (profession)”.

↑ , Cuneiform tablet with cylinder seal impression:

Cuneiform tablet with cylinder seal impression :

collectionName : Near East
inventoryNb : O.00139
objectName :
objectTitle : Cuneiform tablet with cylinder seal impression
objectCulture : Mesopotamia
geography :
dating : 1792 BC - 1750 BC
material :
technique :
dimensions : Height: 8,5 cm, Width: 5,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Record of a payment of barley to the palace near the dock of Adab. 36th year of Hammurabi. Faint traces of one or two inscribed seals on the edge. A single line from the first seal – probably the name of owner of the seal – is preserved. Traces of a second seal, impressed in the other direction, are the remains of a three-line inscription. Seal 1: [ ]-˹x˺-d[x (x)] Seal 2: […] ˹DUMU x˺-[x (x)] ARAD ˹d?˺[x (x)] “…, son of …, slave of …”.

↑ , Cuneiform tablet with cylinder seal impression:

Cuneiform tablet with cylinder seal impression :

collectionName : Near East
inventoryNb : O.00143
objectName :
objectTitle : Cuneiform tablet with cylinder seal impression
objectCulture : Mesopotamia
geography :
dating : 1749 BC - 1712 BC
material :
technique :
dimensions : Height: 6 cm, Width: 4 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Cuneiform tablet, loan of barley “until the harvest”, Old Babylonian period, Samsu-iluna 6, seal imprint The tablet is poorly preserved and deteriorated since Speleers’s copy. Faint traces of three lines of an inscribed seal are visible on the edges and on the reverse but are almost illegible. This was probably the seal of the buyer, read by Speleers as “Nin-kī-ilišu” (probably Damqi-ilišu). A NI-sign is visible on the second line, below ì or lí (line 1). ˹dam?-x-ì-lí?-x˺ ˹DUMU? x-(x)-dx˺-[(x)] [x-(x)]-˹x˺ “…-ili…, [son of?] …”.

↑ , Cuneiform tablet:

Cuneiform tablet :

collectionName : Near East
inventoryNb : O.00173
objectName :
objectTitle : Cuneiform tablet
objectCulture : Mesopotamia
geography :
dating : 2430 BC - 2400 BC
material :
technique :
dimensions : Height: 7 cm, Width: 7,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Stone tablets with administrative and legal reports or business transactions are rather uncommon. In this case, the use of stone is explained by the fact that the inscription, written by the Prime Minister Shuna-muge, relates to the inauguration of a temple for king En-Shakush-ana. It is probably a list of the spoils of war, offered by the king to the temple of Enlil, god of the wind, after his conquest of the neighbouring city-state Kish.

↑ , Mask of the giant Humbaba:

Mask of the giant Humbaba :

collectionName : Near East
inventoryNb : O.00381
objectName :
objectTitle : Mask of the giant Humbaba
objectCulture : Mesopotamia
geography :
dating : 2004 BC - 1600 BC
material :
technique :
dimensions : Height: 9 cm, Width: 8,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Mask with the grim features of the giant Humbaba, guardian of the Cedar Mountain in the Epic of Gilgamesh. His long mustache resembles that of a wild animal, probably to emphasize his wild and untamed nature. References to the local fauna were often made in the ancient Near Eastern art and literature. Gods, heroes and kings were often depicted with horns or cattle tails, or associated with lions to symbolize their supreme power. Masks such as this example, found during the excavations of de Genouillac in Sippar (near the Euphrates, north-east of Babylon), were intended to decorate walls and cult furniture of shrines. A younger example found in the same site, shows that these masks were also used with the predictions derived from the intestines of slaughter animals. A similar mask contains a report of a liver analysis on its back.

↑ , Cylinder seal with sitting deity:

Cylinder seal with sitting deity :

collectionName : Near East
inventoryNb : O.00441
objectName :
objectTitle : Cylinder seal with sitting deity
objectCulture : Akkadian
geography :
dating : 2350 BC - 2154 BC
material :
technique :
dimensions : Height: 2,1 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : A deity sits on a cubic chair and raises a hand to two approaching figures. Some attributes were probably visible in the background.

↑ , Foundation nail:

Foundation nail :

collectionName : Near East
inventoryNb : O.00511
objectName :
objectTitle : Foundation nail
objectCulture : Mesopotamia
geography :
dating : 2155 BC - 2142 BC
material :
technique :
dimensions : Dimensions H x D: 11 cm, 4 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The father-in-law and predecessor of the famous Gudea mentions in this text the restoration of the Eninnu temple of Ningirsu. Since he always refers to himself in inscriptions as "son of (the goddess) Ninagala", he probably usurped the throne.

↑ , Foundation nail:

Foundation nail :

collectionName : Near East
inventoryNb : O.00690
objectName :
objectTitle : Foundation nail
objectCulture : Mesopotamia
geography :
dating : 1934 BC - 1924 BC
material :
technique :
dimensions : Height: 11 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Little is known from the reign of Lipit-Enshar. This foundation nail refers to the construction of a pair of vase stands in front of the entrance of the palace of Isin, in honour of the gods Enlil and Ninlil. Although many Sumerian copies of this inscription are known, this is the only inscription of Lipit-Enshar written in Akkadian. His titles emphasize the importance of the city of Nippur. The epithet "humble shepherd of Nippur" is used to introduce his other titles "king of Isin, king of the lands of Sumer and Akkad". The archaeological mission of the University of Munich has probably discovered the remains of the palace mentioned in this inscription. Other foundation nails refer to a "House of Justice", which is probably connected to the legal texts written by Lipit-Eshtar, two centuries before the famous Codex Hammurabi.

↑ , Stone macehead:

Stone macehead :

collectionName : Near East
inventoryNb : O.00709
objectName :
objectTitle : Stone macehead
objectCulture : Mesopotamia
geography :
dating : 2700 BC - 2450 BC
material :
technique :
dimensions : Dimensions H x D: 5,2 cm, 3,1 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Mace heads were regarded as a symbol of power, representing not only the earthly command, but also the power shared with the gods. Several types of mace heads, richly decorated or in a miniature version, have been found in temples in Mesopotamia as votive offerings. This example is very remarkable, since it is dedicated to Gilgamesh by a still unidentified king (Lugal-KAL.EŠ2.NE.URUDU), probably belonging to the dynasty of Uruk.

↑ , Miniature relief:

Miniature relief :

collectionName : Near East
inventoryNb : O.00711
objectName :
objectTitle : Miniature relief
objectCulture : Mesopotamia
geography :
dating : ca. 3100 BC
material :
technique :
dimensions : Height: 6,5 cm, Width: 5,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The scene depicted on this relief is closely related to the motifs found on cylinder seals, but also to the architecture of Temple D, excavated in the ceremonial Eanna district of the city of Uruk. Ancient votive plaques of this type are extremely rare, and therefore, the interpretation of their iconography is still under discussion. Probably in this scene, the ruler of the city-state of Kish inaugurates a shrine by making a libation on the head of the high priestess. The entrance of the Sumerian temple evokes the typical architecture with indented niches.

↑ , Cuneiform tablet with cylinder seal impression:

Cuneiform tablet with cylinder seal impression :

collectionName : Near East
inventoryNb : O.00836
objectName :
objectTitle : Cuneiform tablet with cylinder seal impression
objectCulture : Mesopotamia
geography :
dating : 2112 BC - 2004 BC
material :
technique :
dimensions : Height: 4,1 cm, Width: 3,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Account of oxen and sheep, year of the temple of Sahar. Three-line framed inscription with the last line indented, with part of the iconography (a rider on a donkey). Same seal on O.58 and O.69; most probably the same individual on the seal of O.71 but the seal is different. ab-ba-kal-la dub.sar dumu lú-dnin-/gír-su “Abba-kala, scribe, son of Lu-Ningirsu”.

↑ , Silver earrings:

Silver earrings :

collectionName : Near East
inventoryNb : O.01326
objectName :
objectTitle : Silver earrings
objectCulture : Mesopotamia
geography :
dating : 2550 BC - 2400 BC
material :
technique :
dimensions : Height: 3,3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The discovery of the Royal Tombs of Ur by C. L. Woolley was not only a very important archaeological discovery, they also caused a major stir in the press at that time due to the rich grave goods and the macabre character of the burial. In the tomb of Pu-abi, the second wife of king Meskalamdug, the remains of several male and female servants were found, who had followed their mistress in death, either by strangulation or suicide by poison. The bodies of 10 female courtiers with richly trimmed headdresses were lying in two rows of five under reed mats, next to several objects, such as a harp and a lyre. Several gold sheets were placed crisscross on and next to the skulls. Two silver rings were probably part of a hair chain, comparable to the golden example on the head of the queen herself.

↑ , Silver earrings:

Silver earrings :

collectionName : Near East
inventoryNb : O.01327
objectName :
objectTitle : Silver earrings
objectCulture : Mesopotamia
geography :
dating : 2550 BC - 2400 BC
material :
technique :
dimensions : Height: 2,6 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The discovery of the Royal Tombs of Ur by C. L. Woolley was not only a very important archaeological discovery, they also caused a major stir in the press at that time due to the rich grave goods and the macabre character of the burial. In the tomb of Pu-abi, the second wife of king Meskalamdug, the remains of several male and female servants were found, who had followed their mistress in death, either by strangulation or suicide by poison. The bodies of 10 female courtiers with richly trimmed headdresses were lying in two rows of five under reed mats, next to several objects, such as a harp and a lyre. Several gold sheets were placed crisscross on and next to the skulls. Two silver rings were probably part of a hair chain, comparable to the golden example on the head of the queen herself.

↑ , Gold earrings:

Gold earrings :

collectionName : Near East
inventoryNb : O.01328
objectName :
objectTitle : Gold earrings
objectCulture : Mesopotamia
geography :
dating : 2550 BC - 2400 BC
material :
technique :
dimensions : Height: 7 cm, Width: 6 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The discovery of the Royal Tombs of Ur by C. L. Woolley was not only a very important archaeological discovery, they also caused a major stir in the press at that time due to the rich grave goods and the macabre character of the burial. In the tomb of Pu-abi, the second wife of king Meskalamdug, the remains of several male and female servants were found, who had followed their mistress in death, either by strangulation or suicide by poison. The bodies of 10 female courtiers with richly trimmed headdresses were lying in two rows of five under reed mats, next to several objects, such as a harp and a lyre. The weight of the earrings composed of hammered crescent-shaped elements was probably supported by a lock of hair behind the ear. Originally, these earrings were filled with bitumen, which made them too heavy for a pierced ear lobe.

↑ , Gold earrings:

Gold earrings :

collectionName : Near East
inventoryNb : O.01329
objectName :
objectTitle : Gold earrings
objectCulture : Mesopotamia
geography :
dating : 2550 BC - 2400 BC
material :
technique :
dimensions : Height: 7 cm, Width: 6 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The discovery of the Royal Tombs of Ur by C. L. Woolley was not only a very important archaeological discovery, they also caused a major stir in the press at that time due to the rich grave goods and the macabre character of the burial. In the tomb of Pu-abi, the second wife of king Meskalamdug, the remains of several male and female servants were found, who had followed their mistress in death, either by strangulation or suicide by poison. The bodies of 10 female courtiers with richly trimmed headdresses were lying in two rows of five under reed mats, next to several objects, such as a harp and a lyre. The weight of the earrings composed of hammered crescent-shaped elements was probably supported by a lock of hair behind the ear. Originally, these earrings were filled with bitumen, which made them too heavy for a pierced ear lobe.

↑ , Necklace with cylindrical beads:

Necklace with cylindrical beads :

collectionName : Near East
inventoryNb : O.01331
objectName :
objectTitle : Necklace with cylindrical beads
objectCulture : Mesopotamia
geography :
dating : 2550 BC - 2400 BC
material :
technique :
dimensions : Height: 110 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The discovery of the Royal Tombs of Ur by C. L. Woolley was not only a very important archaeological discovery, they also caused a major stir in the press at that time due to the rich grave goods and the macabre character of the burial. In the tomb of Pu-abi, the second wife of king Meskalamdug, the remains of several male and female servants were found, who had followed their mistress in death, either by strangulation or suicide by poison. The bodies of 10 female courtiers with richly trimmed headdresses were lying in two rows of five under reed mats, next to several objects, such as a harp and a lyre. This necklace alternates small cylindrical beads in carnelian (66), lapis lazuli (77) and gold (37). It is probably an element of a headdress, originally decorated with golden leaves.

↑ , Hair ornament:

Hair ornament :

collectionName : Near East
inventoryNb : O.01334
objectName :
objectTitle : Hair ornament
objectCulture : Mesopotamia
geography :
dating : 2550 BC - 2400 BC
material :
technique :
dimensions : Height: 34 cm, Width: 0,8 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The discovery of the Royal Tombs of Ur by C. L. Woolley was not only a very important archaeological discovery, they also caused a major stir in the press at that time due to the rich grave goods and the macabre character of the burial. In the tomb of Pu-abi, the second wife of king Meskalamdug, the remains of several male and female servants were found, who had followed their mistress in death, either by strangulation or suicide by poison. The bodies of 10 female courtiers with richly trimmed headdresses were lying in two rows of five under reed mats, next to several objects, such as a harp and a lyre. Several gold sheets were placed crisscross on and next to the skulls. They probably served as hair ornaments.

↑ , Hair ornament:

Hair ornament :

collectionName : Near East
inventoryNb : O.01335-1
objectName :
objectTitle : Hair ornament
objectCulture : Mesopotamia
geography :
dating : 2550 BC - 2400 BC
material :
technique :
dimensions : Height: 25,7 cm, Width: 0,8 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The discovery of the Royal Tombs of Ur by C. L. Woolley was not only a very important archaeological discovery, they also caused a major stir in the press at that time due to the rich grave goods and the macabre character of the burial. In the tomb of Pu-abi, the second wife of king Meskalamdug, the remains of several male and female servants were found, who had followed their mistress in death, either by strangulation or suicide by poison. The bodies of 10 female courtiers with richly trimmed headdresses were lying in two rows of five under reed mats, next to several objects, such as a harp and a lyre. Several gold sheets were placed crisscross on and next to the skulls. They probably served as hair ornaments.

↑ , Hair ornament:

Hair ornament :

collectionName : Near East
inventoryNb : O.01336-1
objectName :
objectTitle : Hair ornament
objectCulture : Mesopotamia
geography :
dating : 2550 BC - 2400 BC
material :
technique :
dimensions : Height: 24,1 cm, Width: 0,9 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The discovery of the Royal Tombs of Ur by C. L. Woolley was not only a very important archaeological discovery, they also caused a major stir in the press at that time due to the rich grave goods and the macabre character of the burial. In the tomb of Pu-abi, the second wife of king Meskalamdug, the remains of several male and female servants were found, who had followed their mistress in death, either by strangulation or suicide by poison. The bodies of 10 female courtiers with richly trimmed headdresses were lying in two rows of five under reed mats, next to several objects, such as a harp and a lyre. Several gold sheets were placed crisscross on and next to the skulls. They probably served as hair ornaments.

↑ , Hair ornament:

Hair ornament :

collectionName : Near East
inventoryNb : O.01337-1
objectName :
objectTitle : Hair ornament
objectCulture : Mesopotamia
geography :
dating : 2550 BC - 2400 BC
material :
technique :
dimensions : Height: 2,1 cm, Width: 0,8 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The discovery of the Royal Tombs of Ur by C. L. Woolley was not only a very important archaeological discovery, they also caused a major stir in the press at that time due to the rich grave goods and the macabre character of the burial. In the tomb of Pu-abi, the second wife of king Meskalamdug, the remains of several male and female servants were found, who had followed their mistress in death, either by strangulation or suicide by poison. The bodies of 10 female courtiers with richly trimmed headdresses were lying in two rows of five under reed mats, next to several objects, such as a harp and a lyre. Several gold sheets were placed crisscross on and next to the skulls. They probably served as hair ornaments.

↑ , Hair ornament:

Hair ornament :

collectionName : Near East
inventoryNb : O.01338-1
objectName :
objectTitle : Hair ornament
objectCulture : Mesopotamia
geography :
dating : 2550 BC - 2400 BC
material :
technique :
dimensions : Height: 0,6 cm, Width: 0,1 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The discovery of the Royal Tombs of Ur by C. L. Woolley was not only a very important archaeological discovery, they also caused a major stir in the press at that time due to the rich grave goods and the macabre character of the burial. In the tomb of Pu-abi, the second wife of king Meskalamdug, the remains of several male and female servants were found, who had followed their mistress in death, either by strangulation or suicide by poison. The bodies of 10 female courtiers with richly trimmed headdresses were lying in two rows of five under reed mats, next to several objects, such as a harp and a lyre. Several gold sheets were placed crisscross on and next to the skulls. They probably served as hair ornaments.

↑ , Hair ornament:

Hair ornament :

collectionName : Near East
inventoryNb : O.01339-1
objectName :
objectTitle : Hair ornament
objectCulture : Mesopotamia
geography :
dating : 2550 BC - 2400 BC
material :
technique :
dimensions : Height: 0,5 cm, Width: 0,1 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The discovery of the Royal Tombs of Ur by C. L. Woolley was not only a very important archaeological discovery, they also caused a major stir in the press at that time due to the rich grave goods and the macabre character of the burial. In the tomb of Pu-abi, the second wife of king Meskalamdug, the remains of several male and female servants were found, who had followed their mistress in death, either by strangulation or suicide by poison. The bodies of 10 female courtiers with richly trimmed headdresses were lying in two rows of five under reed mats, next to several objects, such as a harp and a lyre. Several gold sheets were placed crisscross on and next to the skulls. They probably served as hair ornaments.

↑ , Cylinder seal with deer, a gate and tree:

Cylinder seal with deer, a gate and tree :

collectionName : Near East
inventoryNb : O.01406
objectName :
objectTitle : Cylinder seal with deer, a gate and tree
objectCulture : Mesopotamia
geography :
dating : 4000 BC - 2950 BC
material :
technique :
dimensions : Height: 3,7 cm, Width: 3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Two deer standing before a tree and gate. Two quadrupeds before a monumental gate (probably a temple) and a tree. This theme became very popular by the end of the 4th millennium.

↑ , Cylinder seal with deer and a gate:

Cylinder seal with deer and a gate :

collectionName : Near East
inventoryNb : O.01407
objectName :
objectTitle : Cylinder seal with deer and a gate
objectCulture : Mesopotamia
geography :
dating : 4000 BC - 2950 BC
material :
technique :
dimensions : Height: 3 cm, Width: 2,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Two deer standing before a monumental gate (probably a temple). This theme became very popular by the end of the 4th millennium.

↑ , Cylinder seal with deer and a gate:

Cylinder seal with deer and a gate :

collectionName : Near East
inventoryNb : O.01408
objectName :
objectTitle : Cylinder seal with deer and a gate
objectCulture : Mesopotamia
geography :
dating : 4000 BC - 2950 BC
material :
technique :
dimensions : Height: 3,6 cm, Width: 3,3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Two deer standing before a monumental gate (probably a temple). This theme became very popular by the end of the 4th millennium.

↑ , Cylinder seal with deer and a gate:

Cylinder seal with deer and a gate :

collectionName : Near East
inventoryNb : O.01409
objectName :
objectTitle : Cylinder seal with deer and a gate
objectCulture : Mesopotamia
geography :
dating : 4000 BC - 2950 BC
material :
technique :
dimensions : Height: 4,3 cm, Width: 3,4 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Two deer standing before a monumental gate (probably a temple). This theme became very popular by the end of the 4th millennium.

↑ , Cylinder seal with deer and a gate:

Cylinder seal with deer and a gate :

collectionName : Near East
inventoryNb : O.01410
objectName :
objectTitle : Cylinder seal with deer and a gate
objectCulture : Mesopotamia
geography :
dating : 4000 BC - 2950 BC
material :
technique :
dimensions : Height: 3,4 cm, Width: 2,9 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Two deer standing before a monumental gate (probably a temple). This theme became very popular by the end of the 4th millennium.

↑ , Cylinder seal with deer before a gate:

Cylinder seal with deer before a gate :

collectionName : Near East
inventoryNb : O.01414
objectName :
objectTitle : Cylinder seal with deer before a gate
objectCulture : Mesopotamia
geography :
dating : 4000 BC - 2950 BC
material :
technique :
dimensions : Height: 3,1 cm, Width: 2,7 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Two deer before a monumental gate (probably a temple). This theme became very popular by the end of the 4th millennium.

↑ , Cylinder seal with quadruped, gate and tree:

Cylinder seal with quadruped, gate and tree :

collectionName : Near East
inventoryNb : O.01416
objectName :
objectTitle : Cylinder seal with quadruped, gate and tree
objectCulture : Mesopotamia
geography :
dating : 3100 BC - 2900 BC
material :
technique :
dimensions : Height: 3,6 cm, Width: 3,1 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : A quadruped before a monumental gate, which is flanked by the Holy Tree. Stars in the background. This theme became very popular by the end of the 4th millennium. Even though the scene appears to be very realistic, it contains a religious connotation (e.g. the libation vase). The building is probably a temple, so the scene might be a representation of a royal/religious domain. The tree might also be a representation of the Tree of Life, referring to cosmological stability and worldly authority.

↑ , Cylinder seal with battle scene:

Cylinder seal with battle scene :

collectionName : Near East
inventoryNb : O.01576
objectName :
objectTitle : Cylinder seal with battle scene
objectCulture : Akkadian
geography :
dating : 2350 BC - 2154 BC
material :
technique :
dimensions : Height: 3 cm, Width: 1,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Battle scene with four animals, probably lions. A vertical line, with two smaller, horizontal lines, is visible behind them.

↑ , Cylinder seal with god:

Cylinder seal with god :

collectionName : Near East
inventoryNb : O.02784
objectName :
objectTitle : Cylinder seal with god
objectCulture : Phoenician
geography :
dating : 550 BC - 450 BC
material :
technique :
dimensions : Dimensions H x D: 2,8 cm, 1,3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Bust of a god in solar disk with four wings (Ahura Mazda?), followed by the title and name of the Egyptian sailor (or fleet commander?) Padiaset, in hieroglyphs. Probably a transcription of a Phoenician name with theonym Asiti, a goddess worshipped in Sidon. His seal is Oriental in purpose, his name is Egyptian and the inscription is composed in provincial late Egyptian hieroglyphs, and displays the symbol of the Persian god Ahura-Mazda. This cylinder seal illustrates perfectly well the intercultural nature of the Persian era.

↑ , Cylinder seal with human figure, fire and two gods:

Cylinder seal with human figure, fire and two gods :

collectionName : Near East
inventoryNb : O.03530
objectName :
objectTitle : Cylinder seal with human figure, fire and two gods
objectCulture : Assyrian
geography :
dating : 605 BC - 539 BC
material :
technique :
dimensions : Height: 3,2 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : A bearded, human figure stands before a fire between two deities. To the right stands a god on a bull (probably Adad), to the left a goddess in a man’s clothes, on a lioness (Ishtar).

↑ , Rattle in baked clay:

Rattle in baked clay :

collectionName : Near East
inventoryNb : O.04643
objectName :
objectTitle : Rattle in baked clay
objectCulture : Syrian
geography :
dating : 1800 BC - 1600 BC
material :
technique :
dimensions : Height: 10 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Rattles were used during cult and profane festivals. Probably they were also used to calm newborns and toddlers. These rattles are usually shaped as fruits. In one case, the handle of the rattle ends in an animal head.

↑ , Rattle in baked clay:

Rattle in baked clay :

collectionName : Near East
inventoryNb : O.04725
objectName :
objectTitle : Rattle in baked clay
objectCulture : Syrian
geography :
dating : 1800 BC - 1600 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Rattles were used during cult and profane festivals. Probably they were also used to calm newborns and toddlers. These rattles are usually shaped as fruits.

↑ , Rattle in baked clay:

Rattle in baked clay :

collectionName : Near East
inventoryNb : O.04726
objectName :
objectTitle : Rattle in baked clay
objectCulture : Syrian
geography :
dating : 1800 BC - 1600 BC
material :
technique :
dimensions : Height: 10 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Rattles were used during cult and profane festivals. Probably they were also used to calm newborns and toddlers. These rattles are usually shaped as fruits.

↑ , Rattle in baked clay:

Rattle in baked clay :

collectionName : Near East
inventoryNb : O.04728
objectName :
objectTitle : Rattle in baked clay
objectCulture : Syrian
geography :
dating : 1800 BC - 1600 BC
material :
technique :
dimensions : Height: 10,8 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Rattles were used during cult and profane festivals. Probably they were also used to calm newborns and toddlers. These rattles are usually shaped as fruits. In this case, the handle of the rattle ends in an animal head.

↑ , Statue of a worshipper:

Statue of a worshipper :

collectionName : Near East
inventoryNb : O.04754
objectName :
objectTitle : Statue of a worshipper
objectCulture : Mesopotamia
geography :
dating : 2550 BC - 2350 BC
material :
technique :
dimensions : Height: 8 cm, Width: 5,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : During the Early Dynastic period, statues of private individuals emerged. Usually, these were small statues of men or woman with their hands clasped together. They sometimes hold a bowl or animal, probably symbolizing an offer to the gods. These statues were left in temples, in order to repeat the daily offer to the gods. This particular worshipper, his head was already lost in antiquity, wears the famous kaunakes, a garment of which it is still unknown whether it was worn daily or only during religious ceremonies. The quality of this statue is rather poor, and it cannot match the standards of statues found in the Diyala or Mari. It does nevertheless contain some interesting features. The hairstyle with two long strands ending in a curl is very exceptional, especially when compared to other regional types.

↑ , Bowl on foot:

Bowl on foot :

collectionName : Collection Siret
inventoryNb : PG.2000.101
objectName :
objectTitle : Bowl on foot
objectCulture : Argaric culture
geography :
dating : 2300 BC - 1600 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : It concerns a type 7 bowl on foot in the typology of the Siret brothers of the El Argar culture, excavated in the southeast of Spain. These hand shaped vessels are associated with funerary contexts and were probably reserved for females. This type of ceramic is characterized by a dark, polished, metallic surface.

↑ , Bowl on foot:

Bowl on foot :

collectionName : Collection Siret
inventoryNb : PG.2000.1109
objectName :
objectTitle : Bowl on foot
objectCulture : Argaric culture
geography :
dating : 2300 BC - 1600 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : It concerns a type 7 bowl on foot (missing) in the typology of the Siret brothers of the El Argar culture, excavated in the southeast of Spain. These hand shaped vessels are associated with funerary contexts and were probably reserved for females. This type of ceramic is characterized by a dark, polished, metallic surface.

↑ , Bowl on foot:

Bowl on foot :

collectionName : Collection Siret
inventoryNb : PG.2000.1544
objectName :
objectTitle : Bowl on foot
objectCulture : Argaric culture
geography :
dating : 2300 BC - 1600 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : It concerns a type 7 bowl on foot in the typology of the Siret brothers of the El Argar culture, excavated in the southeast of Spain. These hand shaped vessels are associated with funerary contexts and were probably reserved for females. This type of ceramic is characterized by a dark, polished, metallic surface.

↑ , Bowl on foot:

Bowl on foot :

collectionName : Collection Siret
inventoryNb : PG.2000.1548
objectName :
objectTitle : Bowl on foot
objectCulture : Argaric culture
geography :
dating : 2300 BC - 1600 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : It concerns a type 7 bowl on foot in the typology of the Siret brothers of the El Argar culture, excavated in the southeast of Spain. These hand shaped vessels are associated with funerary contexts and were probably reserved for females. This type of ceramic is characterized by a dark, polished, metallic surface.

↑ , Foot of beaker:

Foot of beaker :

collectionName : Collection Siret
inventoryNb : PG.2807.1192
objectName :
objectTitle : Foot of beaker
objectCulture : Argaric culture
geography :
dating : 2300 BC - 1600 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : It concerns a fragment of a type 7 bowl on foot in the typology of the Siret brothers of the El Argar culture, excavated in the southeast of Spain. These hand shaped vessels are associated with funerary contexts and were probably reserved for females. This type of ceramic is characterized by a dark, polished, metallic surface.

↑ , Foot of vase:

Foot of vase :

collectionName : Collection Siret
inventoryNb : PG.2807.1218
objectName :
objectTitle : Foot of vase
objectCulture : Argaric culture
geography :
dating : 2300 BC - 1600 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : It concerns a foot of a type 7 bowl in the typology of the Siret brothers of the El Argar culture, excavated in the southeast of Spain. These hand shaped vessels are associated with funerary contexts and were probably reserved for females. This type of ceramic is characterized by a dark, polished, metallic surface.

↑ , Foot of a vase:

Foot of a vase :

collectionName : Collection Siret
inventoryNb : PG.2807.1226
objectName :
objectTitle : Foot of a vase
objectCulture : Argaric culture
geography :
dating : 2300 BC - 1600 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : It concerns a foot of a type 7 bowl in the typology of the Siret brothers of the El Argar culture, excavated in the southeast of Spain. These hand shaped vessels are associated with funerary contexts and were probably reserved for females. This type of ceramic is characterized by a dark, polished, metallic surface.

↑ , Foot of a vase:

Foot of a vase :

collectionName : Collection Siret
inventoryNb : PG.2807.1231
objectName :
objectTitle : Foot of a vase
objectCulture : Argaric culture
geography :
dating : 2300 BC - 1600 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : It concerns a foot of a type 7 bowl in the typology of the Siret brothers of the El Argar culture, excavated in the southeast of Spain. These hand shaped vessels are associated with funerary contexts and were probably reserved for females. This type of ceramic is characterized by a dark, polished, metallic surface.

↑ , Foot of a vase:

Foot of a vase :

collectionName : Collection Siret
inventoryNb : PG.2807.1233
objectName :
objectTitle : Foot of a vase
objectCulture : Argaric culture
geography :
dating : 2300 BC - 1600 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : It concerns a foot of a type 7 bowl in the typology of the Siret brothers of the El Argar culture, excavated in the southeast of Spain. These hand shaped vessels are associated with funerary contexts and were probably reserved for females. This type of ceramic is characterized by a dark, polished, metallic surface.

↑ , Foot of a vase:

Foot of a vase :

collectionName : Collection Siret
inventoryNb : PG.2807.1235
objectName :
objectTitle : Foot of a vase
objectCulture : Argaric culture
geography :
dating : 2300 BC - 1600 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : It concerns a foot of a type 7 bowl in the typology of the Siret brothers of the El Argar culture, excavated in the southeast of Spain. These hand shaped vessels are associated with funerary contexts and were probably reserved for females. This type of ceramic is characterized by a dark, polished, metallic surface.

↑ , Foot of a vase:

Foot of a vase :

collectionName : Collection Siret
inventoryNb : PG.2807.1246
objectName :
objectTitle : Foot of a vase
objectCulture : Argaric culture
geography :
dating : 2300 BC - 1600 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : It concerns a foot of a type 7 bowl in the typology of the Siret brothers of the El Argar culture, excavated in the southeast of Spain. These hand shaped vessels are associated with funerary contexts and were probably reserved for females. This type of ceramic is characterized by a dark, polished, metallic surface.

↑ , Bowl without foot:

Bowl without foot :

collectionName : Collection Siret
inventoryNb : PG.2807.1445
objectName :
objectTitle : Bowl without foot
objectCulture : Argaric culture
geography :
dating : 2300 BC - 1600 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : It concerns a type 7 bowl in the typology of the Siret brothers of the El Argar culture, excavated in the southeast of Spain. These hand shaped vessels are associated with funerary contexts and were probably reserved for females. This type of ceramic is characterized by a dark, polished, metallic surface.

↑ , Bowl on foot:

Bowl on foot :

collectionName : Collection Siret
inventoryNb : PG.41.1.046
objectName :
objectTitle : Bowl on foot
objectCulture : Argaric culture
geography :
dating : 2300 BC - 1600 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : It concerns a type 7b bowl on foot in the typology of the Siret brothers of the El Argar culture, excavated in the southeast of Spain. These hand shaped vessels are associated with funerary contexts and were probably reserved for females. This type of ceramic is characterized by a dark, polished, metallic surface. In this case the foot is missing.

↑ , Bowl on foot:

Bowl on foot :

collectionName : Collection Siret
inventoryNb : PG.41.1.047
objectName :
objectTitle : Bowl on foot
objectCulture : Argaric culture
geography :
dating : 2300 BC - 1600 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : It concerns a type 7b bowl on foot in the typology of the Siret brothers of the El Argar culture, excavated in the southeast of Spain. These hand shaped vessels are associated with funerary contexts and were probably reserved for females. This type of ceramic is characterized by a dark, polished, metallic surface. In this case the foot is missing.

↑ , Bowl on foot:

Bowl on foot :

collectionName : Collection Siret
inventoryNb : PG.41.1.063
objectName :
objectTitle : Bowl on foot
objectCulture : Argaric culture
geography :
dating : 2300 BC - 1600 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : It concerns a type 7 bowl on foot in the typology of the Siret brothers of the El Argar culture, excavated in the southeast of Spain. These hand shaped vessels are associated with funerary contexts and were probably reserved for females. This type of ceramic is characterized by a dark, polished, metallic surface. In this case the pot was found just outside of a cist grave.

↑ , Bowl on foot:

Bowl on foot :

collectionName : Collection Siret
inventoryNb : PG.41.1.084
objectName :
objectTitle : Bowl on foot
objectCulture : Argaric culture
geography :
dating : 2300 BC - 1600 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : It concerns a type 7 bowl on foot in the typology of the Siret brothers of the El Argar culture, excavated in the southeast of Spain. These hand shaped vessels are associated with funerary contexts and were probably reserved for females. This type of ceramic is characterized by a dark, polished, metallic surface. In this case the foot is not placed precisely in the center of the base.

↑ , Bowl on foot:

Bowl on foot :

collectionName : Collection Siret
inventoryNb : PG.41.1.223
objectName :
objectTitle : Bowl on foot
objectCulture : Argaric culture
geography :
dating : 2300 BC - 1600 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : It concerns a type 7b bowl on foot in the typology of the Siret brothers of the El Argar culture, excavated in the southeast of Spain. These hand shaped vessels are associated with funerary contexts and were probably reserved for females. This type of ceramic is characterized by a dark, polished, metallic surface. In this case the foot has broken off.

↑ , Bowl on foot:

Bowl on foot :

collectionName : Collection Siret
inventoryNb : PG.41.1.250
objectName :
objectTitle : Bowl on foot
objectCulture : Argaric culture
geography :
dating : 2300 BC - 1600 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : It concerns a type 7 bowl on foot in the typology of the Siret brothers of the El Argar culture, excavated in the southeast of Spain. These hand shaped vessels are associated with funerary contexts and were probably reserved for females. This type of ceramic is characterized by a dark, polished, metallic surface. In this case the foot of the pot is broken off and reground around the edges. A single shard of another vessel is found within the bowl.

↑ , Glass plate of a magical lantern: four scenes (probably taken from fairy tales):

Glass plate of a magical lantern: four scenes (probably taken from fairy tales) :

collectionName : Historical photographs
inventoryNb : PH 0004070
objectName :
objectTitle : Glass plate of a magical lantern: four scenes (probably taken from fairy tales)
objectCulture :
geography :
dating : unknown
material :
technique :
dimensions : Height: 10 cm, Width: 30 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Fragment of silk:

Fragment of silk :

collectionName : Textile
inventoryNb : Tx.0466
objectName :
objectTitle : Fragment of silk
objectCulture :
geography :
dating : AD 1301 - AD 1400 (uncertain)
material :
technique :
dimensions : Height: 21,5 cm, Width: 13,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Textile
inventoryNb : Tx.0467
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1301 - AD 1500
material :
technique :
dimensions : Height: 24,5 cm, Width: 28,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , Band of silk:

Band of silk :

collectionName : Textile
inventoryNb : Tx.0468
objectName :
objectTitle : Band of silk
objectCulture :
geography :
dating : AD 1301 - AD 1500
material :
technique :
dimensions : Height: 46 cm, Width: 9 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption

↑ , :

:

collectionName : Textile
inventoryNb : Tx.0469
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1301 - AD 1500
material :
technique :
dimensions : Height: 21 cm, Width: 46,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : item has no descption
  • current item:
  • item title: