BARAKAT
Treasures from Ancient Southern Arabia
Saba was an ancient Kingdom in Southern Arabia (now Yemen) but is perhaps better known as Sheba, the Hebrew word for the kingdom, whose famous Queen’s visit to Solomon is recounted in the pages of the Old Testament. Biblical accounts speak of the wealth of this ancient civilization, of traders and merchants, and modern archaeological excavations confirm these reports. Ruins of fortresses and walled towns are evident and remnants of their extensive irrigation system that turned the desert into a paradise still cover the land. Although gold and silver deposits were present, the chief source of their vast wealth was derived from their veritable monopoly of two of the most coveted materials in ancient times: frankincense and myrrh, resinous gums obtained from certain trees that only grow in Southern Arabia and were literally worth their weight in gold. There was not a temple or wealthy house in the ancient world where one would not smell the fragrant scents of these incenses. In addition, a trade route that connected India to Egypt that passed through their capital of Marib was another major source of wealth. However in the 1st Century A.D., the Ptolemaic Greeks discovered a sea route from India directly to the port of Alexandria, eliminating Saba from her lucrative trade and ushering in the decline of Sabean prosperity. As well as being a highly successful nation state in their own right, the Sabeans embraced the multiplicity of cultural influences that they experienced as a trading superpower. Their alphabet, Musnad, was one of the most complex and elegant of the day, while they also had a second, cursive system (Zabur) that was used for day-to-day operations. They mummified their dead, had a pantheon of gods, and possessed liberal attitudes to the deities and traditions of outsiders. There was also had a complex social stratification system, extensive public buildings and ceremonial architecture, and a literary/theatrical heritage that survives in fragmented state. It is for their art, however, that the Sabeans are best remembered; their religion and mythology fuelled the themes of their sculptural works – primarily anthropomorphic and zoomorphic statuary – while their contact with other cultures and nations led to a highly derived and distinctive style.
Sabean Funerary Stone Stelas These stunning sculptures are a testament to the Sabaeans belief in an afterlife as well as the need to venerate one’s ancestors. Many feature inscriptions along the base which name the deceased or the god to whom they had a special devotion to, however, often the identity of the sitter has been lost. Yet, the decision to commission a stone memorial is indicative of the wealth and status of the deceased.
This magnificent stone funerary plaque is a stunning example of the sophistication of Sabean art. The headpiece was originally inserted into a matching rectangular recess, cut into a tall stela (a narrow quadrangular pillar), to form a tombstone with a formal portrait. We can presume the facial tombstone is dedicated to a man named Hamiyu, from the three letter inscription ‘h m y’ seen below the face. The high relief work with top hair-fringe, semi-circular ears, rounded eyes, and arched eyebrows, offer an attractive image dedicated to the deceased. 300 - 100 BC Limestone £18,000 (AM.0139)
200 BC – 200 CE Stone £36,000 (AM. 0328)
Narrower in width than most specimens yet still displaying a moderately high relief, this tombstone shares the same regular features: a thin hair-line across the top of the face, semi-circular ears, curved eyebrows, and a slit mouth between well-formed lips, as well as a thin beard. This tombstone is dedicated to ‘m s k m’, translated as Mashkum. 400 - 200 BC Limestone £24,000 (AM.0140)
In this plaque, our subject is shown in a characteristic pose with her right arm raised and her left held across the chest just beneath her ample breasts; it is likely that the large breasts perform a similar function here. Only the hairline is depicted along the top edge and the rest of the hair may have been lost or it could have been added separately in plaster, which was common on other funerary sculpture from the region. The eyes and eyebrows may have originally been highlighted with red or black pigment.
Sabean Alabaster Camel
900 - 300 BC Alabaster £75,000 (FF.25 (LSO))
Despite displaying skill when sculpting works from bronze, precious metals, and other exotic minerals, it is the Sabean’s work in alabaster that they are perhaps most famed for. Sculptures were mostly carved from a fine calcite-alabaster and whereas in most other societies of the ancient world sculptures were coloured, in ancient South Arabia this stone was considered sufficiently beautiful in its own right to be left unpainted. The role of the camel was of course vital to the economy of all Middle Eastern states; they were able to keep the city alive, and without their assistance, the trade routes that brought wealth to the Sabeans would have been unable to function. Therefore it is unsurprising to see one immortalised in this way. It is likely that this camel was either a sacrificial offering to a deity for good economic fortune, or a personal talisman designed to harness good fortune. In our terms, however, it persists as a well-executed and elegant piece, with a certain whimsical quality. Standing still rather than in a dynamic pose, it is thanks to the sinuous nature of its muscular lines that our camel has a strong presence. The eyes, nostrils, ears and feet (cleats) are all incised in clear, well-defined lines, which contrast with the soft curves and golden glow of the patina. The piece has evidently been well-handled, and perhaps has seen the application of libations before it was buried with its owner.
Alabaster Sculpture of a Ram
Once again displaying the artistic prowess and technical skill of the Sabean artists, the forms of this ram are both powerful and true to nature. The sculptor has concentrated his attention on the tall, powerful legs which support a foreshortened body from which rises a majestically detailed head. The snout, eyes, and horns are clearly articulated, and the head is prominently raised and set off from the body. Freestanding representations of animals, such as this ram, are exceeding rare, but recent scholarship has speculated that some of these deities were associated with celestial bodies such as the sun, the moon, and certain stars, making them appropriate sacrificial or burial pieces.
3000 – 2000 BC Alabaster £90,000 (LA.510)
Alabaster Relief of a Horned Bull 200 BC – 100 CE Alabaster $4000 (PF.0083)
Carved from one smooth block of alabaster, this beautiful high relief sculpture signifies an important period of art in the South Arabian region, using bold curves and delicate decoration. Its simplicity demonstrates the skill that was required to carve this piece; purity of line and form is essential to the overall balance of the piece, combining only the purest geometric forms to create a truly unique work of art.
Alabaster Bust of a Woman This piece depicts a feminine head and neck, and appears to have once served as a grave marker, perhaps even as part of a larger alabaster structure. The face is elongated with a broad apex above the eyes narrowing to a firm and pointed chin. It is the linear design and graceful execution of the piece that provide its impact; as in most Sabean pieces, the eyes – under high, arched brows – are exaggerated in terms of size, being wide and almond-shaped with the remains of light-coloured inlay. The nose is very long and delicate, with a high bridge, flaring slightly towards the tip over a nugatory mouth in low relief. Detailing is limited, with incised eyebrows and a single line at the apex of the forehead that seems designed to suggest a headband or similar. The fact that the subject has been commemorated in this way seems to imply they had a certain status in society; on the other hand, it is possible that it refers to a protector spirit or god from the large Sabean pantheon. 200 BC - 100 CE Alabaster £68,000 (PF.0084)
Alabaster Head
This piece depicts a humanoid head and neck; while many such pieces were used as grave markers, the comparatively compact size of this piece counts against such a possibility. It is more likely to have been a commemorative object, or perhaps a deity that was once attached to a larger alabaster object or structure. The whole head is domed from the base up, providing a lugubrious expression that is heightened by the long nose and slightly surprised raise of the double-arched eyebrows. The eyes are roughly diamond-shaped, with indents for inlays, and the lips are raised above the level of the rather flat face, and pursed in a disapproving manner. The features of the face are understated, with more emphasis being paid to the flow and form of the lines that make up the major structural elements. This piece is very rare, as few such well-finished Sabean pieces have survived from antiquity.
Alabaster Male Figure
600 – 100 BC Alabaster £45,000 (MR.006 (LSO))
200 – 100 BC Alabaster £400,000 (HB.005)
Our male figure is stood with his feet parallel on a rectangular plinth, his arms held at his sides with the elbows bent acutely, the forearms projecting forward, with one hand held into a fist where he was holding an object. He is wearing a very simple calf-length garment, his oval face with a small mouth, a broad wellchiseled triangular nose and large almond-shaped eyes, the pupils incised, with arching brows, the crowning of the head roughly finished at the top and back, where most probably hair or a headgear was separately modelled and placed. A regular well-carved inscription on the front panel of the plinth bears the subjects name and was used as to identify him. When studying a range of Sabean sculptures of humans, the variations in detail, the style of their robes, and the facial appearance mostly suggest that there was a real effort in trying to represent real-life individuals but in a general style and using materials and techniques which are typical of the ancient South Arabian art. Such statuettes also provide details of the type of garments and hairstyles used by the locals.
Alabaster Female Figure Standing on a high rectangular integral plinth, wearing a plain calf-length garment, her arms bent at the elbows and forearms outstretched and projecting forward, her face with almond-shaped eyes with inlays with arched incised brows above, a long straight nose and upturned fleshy lips, her hair tucked behind and falling below her small protruding ears. 200 BC - 100 CE Alabaster £18,000 (HB.005)
Alabaster Idol
An ‘idol’, or a ‘cult image’, is a man-made object that is venerated or worshipped for the deity or spirit that it embodies or represents. In the ancient religions it was common for idols to undergo a daily routine of being washed, dressed, and having food left for them. In many contexts an idol specifically means the most important image in a temple, kept in an inner space, as opposed to the many other images decorating a temple.
200 BC - 100 CE Alabaster £60,000 (CB.2945)
Seated Statuette of a Woman The female figure is seated wearing a long dress, her hands held before her with her lower arms projecting horizontally forward at right angles, in a gesture very common in such statuary. A three-letter inscription runs on the front of the base, giving the ladys name: ‘D H R’, or ‘Dhakir’. Djakir translates as proud and noble, and is widely attested across the Old-Arabian dialects. Several similar examples have been unearthed in Main, which share the same seated pose of this figurine, therefore indicating its origin in the south of the region.
Alabaster Head Stylized alabaster head of a man with almondshaped eyes framed by thick lids. The pupils pierced and the small mouth gently smiling. The head on top flat, fitted for the stele, where it was once placed. On the sides the ears are still recognizable.
600 - 100 BC Alabaster £28,000 (LA.550)
100 – 200 CE Alabaster £68,000 (LO.595)
Funerary Head of a Bearded Man Portrait of a bearded man, featuring long incised slightly arched eyebrows, elongated eyes, straight vertical nose and small serrated lips, the beard contouring the face ear to ear, the ears, small and perfectly aligned. On the chest surface below the beard runs a brief five-letter inscription, presumably a personal name, that (despite the poor lettering) could be translated as Sha'wum. 400 – 200 BC Calcite-Alabaster £25,000 (LO.669)
Inscribed Alabaster Funerary Stele The bull, most probably belonging to the Hassawi breed, is represented with short protruding horns, prominent ears, large bulging lidded eyes and a rounded muzzle. A two-line inscription is inscribed at the lower end of the stele, with another line, above the bull’s head.
Funerary Stone Plaque
200 BC - 100 CE Alabaster £90,000 (CB.2944)
In the upper half of the stela, a formal, almost triangular face in shallow bas-relief, of a type known from the Qatabanian Timna cemeteries. In the lower half, one line of text with five letters giving the name of the deceased: 'B—YDC, or Ab-Yadac'. The name is well-known and widely attested in five of the ancient Arabian dialects, mostly within the ancient kingdom of Main (c.600-100 BC), just north of Sheba. With only modest serifs and not overly tall forms, the lettering of this piece suggest a date of the 5th-4th centuries BC. 400 - 300 BC Limestone £ 48,000 (X.0209)
Sabean Funerary Stone Plaque
400 - 100 BC Limestone £ 18,000 (SF.366)
A facial tombstone in high relief: schematic face with curving, dominating eyebrows, natural eyehollows and having semi-circular ears (with lobes merging into the side of the face). Below, a 5letter name, ‘T W B’, or ‘Thawb-il’, a very well-known Old South Arabian name. The letter forms date this piece to the 3rd century BC.
Funerary Stone Plaques Facial tombstone in high relief, with horizontal (but slightly curved) eyebrows above hollowed-out eyes, and a slit mouth between faintly-indicated lips. There is also a fringe of hair across the top of the brow (common in these pieces) and a pair of rectangular ears. Below the face is a five-letter name, ‘H Y W H M’, or ‘Hayuwaham’. 400 – 100 BC Limestone £18,000 (SF.003)
Facial tombstone in high relief and with a slightly less conventional face than most; here, the ears are more lozengeshaped with sharp, not smoothly curved, angles. There’s a strong hairline with a central quiff pointing onto the brow. Other features (brows, eyes, nose) are standard but a small slit mouth is encased by prominent, rounded lips. The three-letter name, ‘S L M’, is a simple ‘Salim’, a very common Arabic name at any time.
Stone Stela Depicting a Woman
400 - 1 BC Limestone £22,000 (SF.002)
200 BC - 200 CE Stone £36,000 (LO.555)
The techniques displayed in the manufacture of this piece suggest that it originally would have had a dedication to its notable subject. The woman is shown in a characteristic pose with her right arm raised and her left held across the chest just beneath her ample breasts. Other surviving pieces depict the woman holding a sheath of wheat in her left hand, a symbol associated with fertility. It is likely that the large breasts perform a similar function here. She wears a high-neck shortsleeve tunic. Only the hairline is depicted along the top edge. The hair may have been lost or it could have been added separately in plaster, which was common on other funerary sculpture from Yemen. The eyes and eyebrows may have originally been highlighted with red or black pigment. Although the identity of the sitter has been lost, the decision to commission a stone memorial is indicative of her wealth and status. The sculpture is a testament to the Sabaeans belief in an afterlife as well as the need to venerate one’s ancestors.
Bronze Sculpture of a Female Figure Standing erect with her arms bent at the elbows and her hand held outwards, this bronze figure likely served as a votive offering left at an ancient temple as a gift for the gods. It is also possible that this figure may have been placed within a household shine and used during intimate personal rituals. Her long hair flows over her shoulders down towards her tapering waist. She wears a long skirt that features a line of inscription along the lower hem, just above her ankles. 900 - 300 BC Bronze £36,000 (CK.0078)
600 - 100 BC Granite £ 60,000 (LK.110)
Granite Head of a Woman
100 BC - 100 CE Alabaster £12,500 (LK.110)
The androgynous human head is carved from a single piece of granite; the head is elongated and framed by two long, wavy blocks denoting long hair reaching to the level of the chin. The face stands proud and is elongated with a long nose and forehead arranged into a T-format. The eyes are rounded ovals, and are heavily indented; it is likely that they once held insets (made from shell and semiprecious stones) to give a startlingly vivid expression to this austere visage. The cheeks are subtly modeled and rounded, giving way to pursed lips and a smoothly rounded chin that runs into the recessed neck area. The nose, while elongated, is also rounded and protuberant at the apex, and nearly flat at the bridge. The eyes are further defined with indented recesses, and framed beneath incised eyebrows. Further detail can be found in the banding at what was presumably the border of the hair. For the most part, however, the sculpture is characterised by fluid, flowing, smooth lines that perfectly express the contours of the human face. The role of this piece is uncertain, although the Sabeans are known to have used commemorative pieces to remember the dead, and also grave markers in this general format. However, the breaks to the top, side and base of this piece suggest that it was architectural in origin, and may have served as a form of caryatid for a structure of social import to the society at the time. As a fragment, it has lost none of its impact.
Idol of the Lady of ad-Dali This bust was originally part of an idol of a goddess, identifiable by her diadem which is designed as two concentric circles and her multi-stranded necklace consisting of a series of beads. In keeping with concerns for modesty, the forms of her breasts are suppressed. Her arms are bent at a right angle at the elbow and held out in front of her body giving the impression that she was holding an attribute of some kind in her hands. Her hair is coiffed in a style popular among Sabaean depictions of women and pulled back behind the ears, drawing attention to her defined cheeks. Incisions articulate her eyebrows and eyes, which are now hollow and would have been inlaid. The design and style of this idol strongly resemble a limestone statuette discovered in the Shuka necropolis of Yemen which is presently in the National Museum of Aden. The excavators named that idol “the Lady of ad-Dali,” and Barakat’s idol is a second example of this type.
Bronze Inscribed Plaques
900 – 500 BC Bronze £7000 (LO.674)
Just as it is common in today’s society to name or dedicate buildings after wealthy donors or companies, the Sabeans relied on wealthy merchants, religious leaders or a kings and emperors to funds and open their buildings. This stunning bronze plaque is a testament to the belief that one can achieve immortality through building a structure that lasts longer than us all. One such wealthy donor had this drive when he paid for this plaque, although in this case the dedication outlasted the building. The large holes in the plaque are not from the nails, as one might suspect, but would have been covered with gems and jewels, further suggesting the exorbitant wealth of the patron, Bariqum.
Marble Fertility Goddess This fertility goddess stands with her arms crossed underneath her bust. Her pronounced single eyebrow, which is common in Sabean art, gives the fertility goddess an air of maternal wisdom. Her sympathetic eyes greet us with a mother’s welcoming spirit. Although her facial structure seems rather masculine, her femininity is accentuated through her defined breasts and wide hips.
1200 - 600 BC Marble £80,000 (LO.1379)
900 – 500 BC Stone £80,000 (LM.11)
30 BC - 130 CE Bronze £30,000 (PF.5530)
Stone Bull Head
Bronze Bust of a Man
The piece depicts the youth with a long face, high cheekbones, and what was considered to be fashionable apparel. He has large eyes with raised rims and traces of inlay around protruding pupils. His straight nose and brows are shaped into a ‘T’, above finely-chiseled protruding lips and a chin that curves gently into the neck profile. He wears two or three neck rings, and his fashionably coiffed hair is surmounted with a helmet-like piece of headwear with incised grape decoration. The naturalistic rendering of the features betrays a Classical influence that was present all across Western and Central Asia at that time. The expense involved in producing such a piece indicates that the sitter was a socially important. 300 – 100 BC Bronze $75,000 (X.0027 (LSO))
500 - 100 BC Bronze £25,000 (SK.055)
Bronze Incense Stand with Inscription Large numbers of incense burners and stands have been excavated in the Southern Arabian region displaying an extraordinary variety of shape and form, which reflects the importance of incense to the society. Metal burners were undoubtedly the most costly but the majority that survive are made of stone or pottery. Local aromatics including frankincense and myrrh and were famous across the Mediterranean and Middle Eastern world, and in 450 BC, the Greek historian Herodotus remarked that ‘Arabia is the only the place that produces frankincense, myrrh, cassia, cinnamon and the gum called ledanon…the whole country exhales a more than earthly fragrance’. The neck is cylindrical with a wide narrow band above a flared base. The circular platform has a ridged exterior from which protrudes a spectacular bull head, whose bulging eyes, wide nostrils and short ears are all portrayed with great naturalism. A stand of this quality would have been a luxury item, perhaps donated to a temple or interred in a richly furnished tomb.
Gold Seals Gold signet featuring at the triangular extremities two romping quadrupeds, possibly does, separated by finely drilled lines. In the two broad central lines an Old Arabian inscription consisting of four characters each line reading 'Arzan, of the (clan) Kharif'. The personal name 'Arzan' occurs in Sabaean and in turn Kharif is attested both in Safaitic (in northern Arabia) and in Sabaean and Hadramatic. 100 BE Gold £60,000 (LO.1200)
100 BE Gold £60,000 (LO.1200)
Bronze Head of a Bull with Inscription 30 BC - 130 CE Bronze £12,000 (RP.227)
Bronze Furniture Attachment 900 - 300 BC Bronze £18,000 (SF.109)
Green Jasper Idol 2000 - 1200 BC Green Jasper $15,000 (P.2333)
Bronze Bull Head
Bronze Bull 700 - 400 BC Bronze £175,000 (X.0026)
900 - 300 BC Bronze £18,000 (PH.0188) 700 - 600 BC Bronze $180,000 (X.0152)
Bronze Standing Man
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