Antiques & Collectibles

New insights from the archaeology and pottery of the sanctuary of Hermes and Aphrodite at Syme Viannou, Crete

The Sanctuary of Hermes and Aphrodite at Syme Viannou VII: The Greek and Roman Pottery presents in two volumes the Greek and Roman pottery recovered from the excavation of the sanctuary of Syme Viannou, one of the most long-lived and important cult sites of ancient Crete and the Aegean. The site, which is known as the Cretan Delphi, was dedicated to Hermes and Aphrodite for much of its history. The present study analyzes and catalogs 865 pieces, dating from across the early first millennium BCE to the mid-first millennium CE. Kotsonas integrates traditional typological and chronological inquiries with contextual considerations, macroscopic and petrographic analyses of ceramic fabrics, and quantitative studies. The resulting work provides detailed documentation of the pottery from Syme Viannou and explores its ritual and other roles within the diachronic panorama of cultic and other activities at the site. It also supports a broader understanding of the role of ceramics in sanctuary contexts by introducing systematically comparative perspectives on the evidence of pottery from other Cretan and Greek sanctuaries.

Volume 1 provides an introduction to the site of the sanctuary of Syme Viannou and its history, and contains an analytical catalog of the ceramic remains.

New insights from the archaeology and pottery of the sanctuary of Hermes and Aphrodite at Syme Viannou, Crete

The Sanctuary of Hermes and Aphrodite at Syme Viannou VII: The Greek and Roman Pottery presents in two volumes the Greek and Roman pottery recovered from the excavation of the sanctuary of Syme Viannou, one of the most long-lived and important cult sites of ancient Crete and the Aegean. The site, which is known as the Cretan Delphi, was dedicated to Hermes and Aphrodite for much of its history. The present study analyzes and catalogs 865 pieces, dating from across the early first millennium BCE to the mid-first millennium CE. Kotsonas integrates traditional typological and chronological inquiries with contextual considerations, macroscopic and petrographic analyses of ceramic fabrics, and quantitative studies. The resulting work provides detailed documentation of the pottery from Syme Viannou and explores its ritual and other roles within the diachronic panorama of cultic and other activities at the site. It also supports a broader understanding of the role of ceramics in sanctuary contexts by introducing systematically comparative perspectives on the evidence of pottery from other Cretan and Greek sanctuaries.

Volume 2 presents synthetic studies of the material, exploring the use of different ceramic fabrics, the relationship between the form and function of the vessels, and the place of ceramic items in the cultic practice and daily life at the sanctuary in Greek and Roman antiquity.

This authoritative work was, at the time of its first publication, the first full-length book to cover in detail the collecting of Pennsylvania "Dutch" furnishings and crafts. It was subsequently redesigned and enlarged, to make it again available in this more ample format it deserves.

The Pennsylvania Dutch country may be said to have been "discovered" by collectors in the 1920s and 1930s. These unique people, with their old-world customs and colorful folk art, have created in America an authentic genre, with a flavor much in vogue among experienced decorators, as well as amateur collectors.

Earl F. Robacker, a native Pennsylvanian and a collector himself, introduces this volume with a general discussion of characteristic Dutch country art forms and craftsmanship, emphasizing its authentic "peasant" quality in contrast to the more elegant styles of other early American furnishings. Chapter by chapter he discusses typical pieces of furniture, china, kitchenware and other articles, giving careful descriptions of each important piece, its availability, and most important, the rules for a collector to keep in mind when on the trail of real Pennsylvania Dutch "stuff."

This volume offers a thorough orientation in Pennsylvania Dutch country antiques and makes fascinating reading for anyone interested in the general subject of old furnishings. As the first volume to assemble the scattered and fragmentary information on the subject, it is an invaluable guide for those who merely want to achieve authentic atmosphere in home decoration. Many fine illustrations supplement the text, and a partial list of museum collections gives additional guidance. The book contains a full discussion of the basic principles of Pennsylvania Dutch decoration, and an appraisal of the quality of reproductions available on the market.

An article pub. in 1952 on early foreign printers in Burgos mentioned the existence in that city’s archives of a 1556 document concerning the shop of the printer-bookseller, Juan de Junta, an Italian by birth, son of the famous Florentine publisher Filippo di Giunta. The document is a legal contract written in 1556 by the notary Pedro de Espinosa for the lease of the Junta bookstore and print-shop in Burgos and also contains “a very interesting inventory of everything which was in the shop in that year.” Few contemporary documents give us as much primary evidence for the kinds of materials a 16th-cent. Spanish bookstore contained as this document does, for it provides the titles of all the books in the stock, the number of copies of each title, the costs of the individual books, in most cases the format of the book, and, in many cases, the city of publication or the name of the publisher.

Following the death of St. Louis, a new court fashion of ostentatious display was introduced into French stained glass with the advent of Queen Marie de Brabant, who in 1274 became the second wife of St. Louis's heir Philippe le hardi. Little stained glass in this new style survives, since the very motifs that made it different -- large donor ‘portraits,' elaborate heraldry, lavish name-inscriptions -- were targets of vandalism. This study reconstructs two ensembles in the new style, at Mussy-sur-Seine in southern Champagne & at the medieval hospital of Tonnerre in Burgundy. Both can be connected with the extraordinary figure of Marguerite de Bourgogne. Titled the Queen of Sicily, she was a revered agent of Christian charity of the Gothic era. 50+ illustrations.

This is a print on demand edition of a hard to find publication.

This vol. evolved from a tiny segment of the author’s study of the Cabinet of Curiosities of the Am. Philosophical Soc. (APS). One of the divisions of this Cabinet is “Objets d’Art” and he included furniture in this division. As time passed, awareness grew of several fascinating and valuable antiques in the Soc., begining with 1769. Most of the “objets” pertain to various presidents of the Soc., although a few are from members whose activity in the Soc. was memorable. Some items were purchased, also, or made, for the Soc. No work has been done hitherto on this furniture as a unitl. Several pieces are well known and have been researched at various times: Franklin’s library chair, the Rittenhouse astronomical timepiece, the chair which Jefferson purchased in Philadelphia in 1776 and used while he wrote the Declaration of Independence, for example. Little is known of most of the various artifacts, however, or their provenance. Photos.

The first comprehensive study of the life and times of colonial Philadelphia clockmaker Edward Duffield

Edward Duffield (1730–1803) was a colonial Philadelphia clockmaker, whose elegant brass, mahogany, and walnut timekeepers stand proudly in major American museums and collections. Duffield, unlike other leather-apron ‘mechanics,’ was born rich and owned a country estate, Benfield, and many more properties. He was deeply involved in civic and church affairs during crucial years in American history—his lifelong close friend, Benjamin Franklin, was staying at Duffield’s Benfield estate when Franklin, Thomas Jefferson, and John Adams first discussed the Declaration of Independence. Sally, Franklin’s daughter, brought her family there for extended periods during the Revolution and Franklin’s wife, Deborah, was best friends for fifty years with Duffield’s mother-in-law. Duffield was even one of three executors of Franklin’s will.

In this lavishly illustrated book, Bob Frishman catalogs and describes seventy-one known Duffield clocks and instruments and reveals how, during the mid-eighteenth century, they largely were not fabricated from scratch by isolated individuals. He contends that Duffield and his fellow clockmakers were not furniture-makers; they were mechanical artisans whose complex metal machines rang the hours and steadily ticked inside wooden cases made by others. Existing books on Philadelphia clocks have focused on these artifacts as furniture, including their woodwork, cabinetmakers, and decorative aspects. However, Frishman, a professional horologist for nearly four decades, brings his vast expertise to bear on this first comprehensive study of Duffield’s life and work.

Far more than a treatise on pre-industrial horological timekeeping, this book tells the compelling stories of a man, a city, and an era, while deepening our appreciation for Duffield’s stately sentinels—often a colonial American family’s most valuable possession—and the times and places in which their makers lived.

Illuminated manuscripts are among the more intimate works of art surviving from the medieval period. The Queen Mary Psalter (c. 1316?-21) has long been recognized as one of the most outstanding English Gothic manuscripts. Its devotional texts are framed by an encyclopedic series of narrative images painted in a delicate and courtly style. The psalms are introduced by an Old Testament preface in which tinted drawings are explained by French captions. The psalm decoration incorp. a combination of framed illuminations of the life of Christ at the beginnings of important psalms, and tinted drawings in the bottom margin of every page that tell stories ranging from the bestiary to the lives of the saints. Winner of the 2000 Millennium Award. 100+ illus.

During the years of 1767-1770 David Rittenhouse designed and produced two orreries, one for Princeton Univ. and one for the Univ. of PA. During the last two years of this interval he also produced two 30-day musical tall-cased clocks. The first clock, built in 1769, is currently owned by the PA Hospital. The following year (1770) Rittenhouse made a second tall-case musical clock, which was more elaborate than the first. This clock, currently owned by Drexel Univ., is a very good example of Rittenhouse’s work as it has experienced only minor changes over the years. This was the masterpiece of his clock-making career and is a national historical treasure. Here is a detailed analysis of the various gears in the clock. 100+ drawings and full-color photos.