Griffin Gallery Announces Move To New Location In Boca Raton And Special Sale

Griffin Gallery has moved to a stunning new location, three miles north of the Boca Raton Museum of Art on Yamato Road on the west side of Federal Highway! You are invited to browse the splendid works of art including magnificent ancient artifacts, contemporary, fine, and tribal art. In addition they have beautiful antiques from centuries past to enhance your home or office. To celebrate, Griffin Gallery is offering price reductions up to 20% on most pieces over $1,000.  The Rickie Report shares the details and some photos of the new exhibit.  Stay tuned for news of the Gallery’s upcoming Grand Opening Gala.

 

 

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Griffin Gallery

NEW LOCATION:
5501 N. Federal Hwy., #4
Boca Raton, FL 33487
561.994.0811, fax: 561.994.1855
www.griffingallery.net   griffingallery18@yahoo.com

 

 

 

 

 

Griffin gallery2Federal gallery collage low res

 

Griffin Gallery specializes in museum quality Ancient Art. Our holdings include over five hundred authentic artifacts that reflect a spectrum of the cultures of Antiquity in addition to contemporary and fine works of art. Among our treasures are pieces from Greece, Rome, Egypt, the Far East, the Near East, the Holy Land, Pre-Columbian cultures, and pre historic Native America.

Griffin Gallery
5501 N. Federal Hwy., #4
Boca Raton, FL 33487
561.994.0811, fax: 561.994.1855
www.griffingallery.net
griffingallery18@yahoo.com

Sponsored by: Beiner,Inkeles & Horvitz, P.A. 2000 Glades Road, Ste. 110, Boca Raton, FL, 33431, (561) 750-1800

 

 

 

For coverage of your events, to place an advertisement, or speak to Rickie about appearing in The Rickie Report, contact:

Rickie Leiter, Publisher

The Rickie Report

P.O.Box 33423

Palm Beach Gardens, FL 33420

Rickie@therickiereport.com

561-537-0291

Time To Submit Unusual Antiques And Ancient Artifacts To Griffin Gallery Of Ancient Art For Consignment

This summer it’s time to dust off that unique antique or ancient artifact in your home or office to see if there is a possible consignment with Griffin Gallery Ancient Art.  Please join Griffin Gallery on Saturday, August 08, 2015 for refreshments as you’ll have the opportunity to submit your unusual antiques and ancient artifacts for consignment. Please note that only accepted submissions will be provided with a retail appraisal. The Rickie Report shares the details of the August 8th event and some sneak peeks of consigned pieces here. 

 

 

 

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YOU ARE INVITED:

Saturday, August 8th

11 am – 4 pm

Accepting Consignments of

Unique Antique and Ancient Art

(Prior to the 20th Century)

Artifacts, Sculpture, Art, Jewelry, Etc.

If you are unable to attend this gala event, please submit your photographs with detailed descriptions to griffingallery18@yahoo.com

 

Griffin Gallery Ancient Art

Gallery Center

608 Banyan Trail  Boca Raton, FL 33431
561.994.0811    fax: 561.994.1855

 

 

 

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Various Consigned Pieces With Griffin Gallery Ancient Art

Griffin Gallery specializes in museum quality Ancient Art. Our holdings include over five hundred authentic artifacts that reflect a spectrum of the cultures of Antiquity in addition to Contemporary Fine Works of Art. Among our treasures are pieces from Greece, Rome, Egypt, the Far East, the Near East, the Holy Land, Pre-Columbian cultures, and pre historic Native America.

Griffin Gallery Ancient Art
Gallery Center, 608 Banyan Trail
Boca Raton, FL 33431
561.994.0811, fax: 561.994.1855
www.griffingallery.net
griffingallery18@yahoo.com

 

 

Sponsored by: Beiner,Inkeles & Horvitz, P.A. 2000 Glades Road, Ste. 110, Boca Raton, FL, 33431, (561) 750-1800

For coverage of your events, to place an advertisement, or speak to Rickie about appearing in The Rickie Report, contact:

Rickie Leiter, Publisher

The Rickie Report

P.O.Box 33423

Palm Beach Gardens, FL 33420

Rickie@therickiereport.com

561-537-0291

Griffin Gallery Explores Ancient Weaponry Dating from 2150 BCE

The Griffin Gallery offers rare opportunities to see ancient artifacts in a personal way.  This month, they explore the role of ancient weaponry in humankind’s evolution as a civilization.  Visitors will see three bronze swords that date to the time of  the Patriarchs, Abraham, Isaac and Jacob; the time of Moses; and then King David.  The Rickie Report urges parents to bring their children to this gallery to explore ancient history in a new and engaging way.

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Griffin Gallery Presents:

THE AGE OF ANCIENT WEAPONRY:

Featuring Three Bronze Swords Found in the Holy Land
Time of the Patriarchs, Abraham, Isaac, & Jacob (2150 – 1550 BCE)
Time of Moses (1550 – 1200 BCE)
Time of King David (930 – 556 BCE)

Public Reception:

Thursday, March 12, 2015  

  5:00 P.M. until 7:00 P.M.

The exhibition continues through April 09, 2015. Gallery hours are Tuesday through Saturday 10:30 A.M. until 5 P.M., Monday by appointment only and closed Sunday.

Griffin Gallery Ancient Art

Gallery Center, 608 Banyan Trail       Boca Raton, FL 33431

Bronze Swords

Bronze Swords

Ancient Weapons: The Game Changers

There is a wide range of ancient weapons from around the globe. They are often advancements on the earlier phase of weapons development, the primitive weapons man first created for hunting and warfare. However, some have no primitive predecessors, like the sword. Swords can only be crafted through a forging process that had not been invented in the earliest phase of weapon construction. Ancient weapons come in three forms, ranged weapons, melee (close combat) and siege weapons. The age of ancient weapons technically ended with the dawn of the medieval period, but these human powered weapons continued to dominate battlefields up until the ascendance of firearms. However, they can still be found on battlefields up to this very day.

Spears: Primitive Weapon of Choice

Spears are one of humankind’s earliest weapons and they reigned supreme for a hundred thousand years. The material culture of our Paleolithic (500,000 BC – 8,000 BC) ancestors covers 99% of the total time that man has been making tools and weapons.  The spear has been credited with creating 450,000 years of peace on earth, as even an outnumbered man holding a spear would be deadly to attack without ranged weapons.

 

 

The spear offers its user a level of protection due to its long reach and found a place in many ancient armies. The simple spear is cheap and effective, as ancient armies often combined it with a shield when equipping the ranks of their heavy infantry units. Spears units were found in many, many ancient armies from around the world.

 

 

Spear warfare hit its pinnacle when used by the Greeks and Macedonians. Spear armed Greek warriors, called Hoplites, mastered this style of warfare as their city states battled each other over hundreds of years. The terrain of Greece is broken up by rough terrain so Greece never developed the Chariot or Cavalry warfare, but instead focused on the use of infantry. During the Bronze Age, Greek warriors battled in the heroic style, each man fighting for his own glory independently. They considered the use of range weapons to be cowardly so their focus was primarily on heavy infantry. By the classical age of Greek civilization they had developed formation tactics. The Phalanx was developed, were rows of hoplites formed a shield wall, the left side of one hoplites shield protecting the man on his right. Heavily armored, spear wielding armies would form up and fight set piece battles. Casualties were generally light until one force’s formation was broken, then slaughter ensued as they fled.

 

 

 

Strategy in Battle

 

The next strategic development took advantage of this when an astute Theban general, Epaminondas (ca. 410 BC – 362 BC), realized that battles between phalanxes were essentially giant shoving matches. Whichever phalanx had the strength to put enough pressure on their opponent caused them to break formation, route and loose the battle. It was correctly reasoned that if he loaded up one side of his line and had his weaker side trailing behind them in an echelon formation that by the time the week side engaged the enemy the strong side would have already broke their formation, winning the battle.

 
The next major development would be made by their neighbors to the North. Phillip of Macedonia, who paid attention to Epaminondas’ innovations, doubled the length the spears of his army (to over 18 feet!) and reduced the size of their shields so his soldiers could hold the long spears with both hands. This allowed the spears of the first five ranks to protrude from the formation instead of just the couple ranks like in a Greek phalanx. Enemies faced an impregnable wall of spear tips. Phillips son, Alexander the Great, then used this formation to conquer the known world (335 BC – 326 BC).

 

 

 

Around the year 315 BC, the Romans adopted the system of the Samnites, called the maniple system, that allowed for more flexibility in the rugged hills of Samnium where the Romans were forced to fight. The maniple system has been called a phalanx with joints, each square maniple, about 120 men, could function as an independent unit. The maniples were arrayed in a checker board pattern; this allowed space for skirmishers to retreat through the gaps when the heavy infantry closed on their enemies. The front two rows of maniples would then form a single line and battle the enemies. When this line tired it could then retreat through the spaces of the maniples behind it without disrupting their formations, and a fresh line of soldiers would take up the fight. Maniples could also be detached to protect flanks or any other task. The Roman heavy infantry was organized into three lines, the first two lines used short, double edged stabbing swords and the last armed with spears. The youngest men formed the first line, the hastati , after they tired they would fall back through gaps in the next line, the principes. The more experienced principes would then continue the fight, if they were having trouble they could then retreat behind the Triarii. The triarii were the final line and most experienced soldiers.

 

 
In the Pyrrhic War (280–275 BC) Rome proved that they were capable of competing with the armies of the Hellenistic kingdoms — the successor kingdoms of Alexander and the dominant Mediterranean powers of the time.  75 years later the Romans fought the Macedonians and their phalanx in the Second Macedonian War (200–197 BC). They employed a variety of tactics to break up the massive formations. They chose uneven ground to fight on, attempting to break the cohesion of the massive phalanx. Before the front lines met in battle the Romans let loose with their pila, harpoon-like throwing spears that caused gaps in the enemy formation that could be exploited. They used a wedge shaped formation to attempt to break through the wall of spear points. The well armed Romans with their large, curved shields were able to exploit the gaps in the wall of spears and get through to the Macedonians in order to break up their formations. Once inside, the spears, the longer swords and better armor of the Romans gave them a distinct advantage over the lightly armored Macedonians whose secondary weapon was a short sword was little more than a dagger.

 

 
The Macedonians’ defeat is often held to have demonstrated that their phalanx, formerly the most effective fighting unit in the ancient world, had been proven inferior to the Roman legion. Others have argued that the loss was actually due to a failure of command on the part of Perseus, the Macedonian king. They also dispute weather the Roman maniples ever succeeded in breaking the Macedonian phalanx by engaging it frontally. We will never get the opportunity to know how a Macedonian phalanx using combined arms tactics in the style of Philip or Alexander would have sized up against the Roman legions.

 

The Roman legions standardized the sword as its main weapon, but they also carried the pila that could be used as spear in certain situations. Pila could be employed in hand to hand combat or as protection from mounted troops.  The legions conquered the Mediterranean world with sword in hand, but spears remained a common weapon throughout the world. 

Adapting to Range Weapons and Calvalry

From around 117 AD to the Western Roman Empire’s collapse around 476 AD the Roman army slowly changed. The sprawling empire was difficult to defend so the Romans became more dependent on barbarian troops. Additionally, a greater emphasis was placed on speed. The Romans concentrated on ranged weapons and cavalry at the expense of the heavy infantry. The infantry became more lightly armored as well and they acquired a heavy thrusting-spear which became the main close order combat weapon. Roman infantry had come full circle. 

 

 

Dark Ages

 

In the years that followed, called the dark ages, spears continued to be used widely. Barbarian armies used shield wall tactics reminiscent of the Greeks as they jostled for their places in the new world order. Spears offered an excellent defense against ascending military power of cavalry, if braced against the ground a charging enemy would impale himself. The Huns had introduced the stirrups to the roman world; this allowed a spear armed man to deliver a blow with the full power of the horse, couching the weapon under their armpit instead of stabbing overhand as was done in antiquity. This was the beginning of the medieval knights, but even if a plate armored knight wanted to charge into a wall of spears, his horse might not share his sentiment. 
During the Viking age and medieval period spears developed into a variety of polearm weapons, such as the bill, the halberd and the lance. The long, two-handed Macedonian style spear also made a comeback during the medieval times. During renaissance and age of exploration Pikes had another heyday and were used extensively by close order infantry formations both for attacks on enemy foot soldiers and as a counter-measure against cavalry assaults. Pike and firearm formations worked together; the pike men defended the slow loading and vulnerable gunners from enemy infantry and the deadly cavalry while the gunners provided a powerful ranged weapon.  Although pikes and spears were still used, usually due to the lacking of quantities of more modern weapons, up through the 1800’s.

 

 

 

The spear had a very long history, from the dawn of man and even into the first several hundred years of the gun powder era. Today spears are manufactured and used for hunting by humans, chimpanzees and orangutans.

Griffin Gallery:

Griffin Gallery specializes in museum quality Ancient Art. Our holdings include over five hundred authentic artifacts that reflect a spectrum of the cultures of Antiquity in addition to Contemporary Fine Works of Art. Among our treasures are pieces from Greece, Rome, Egypt, the Far East, the Near East, the Holy Land, Pre-Columbian cultures, and pre historic Native America.

 

 561.994.0811, fax: 561.994.1855

www.griffingallery.net
griffingallery18@yahoo.com

Sponsored by: Beiner,Inkeles & Horvitz, P.A. 2000 Glades Road, Ste. 110, Boca Raton, FL, 33431, (561) 750-1800

Works Cited By Griffin Gallery from Ancient Military.com

For coverage of your events, to place an advertisement, or speak to Rickie about appearing in The Rickie Report, contact The Rickie Report at:

Rickie Leiter, Publisher

The Rickie Report

P.O.Box 33423

Palm Beach Gardens, FL 33420

Rickie@therickiereport.com

561-537-0291

Griffin Gallery Presents “Idols of Our Fathers”

Griffin Gallery, in Boca Raton, specializes in museum quality Ancient Art. Their holdings include over five hundred authentic artifacts that reflect a spectrum of the cultures of Antiquity in addition to Contemporary Fine Works of Art. Among their treasures are pieces from Greece, Rome, Egypt, the Far East, the Near East, the Holy Land, Pre-Columbian cultures, and pre historic Native America.  On Thursday, November 13th a special program will feature “Idols of Our Fathers” and focus on a monumental pottery idol from the time of Terach, father of Abraham, 2000 BCE. The Rickie Report shares the details and a glimpse.

 

 

 

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PRESENTS:

IDOLS OF OUR FATHERS

 

Featuring a Monumental Syro-Hittite Pottery Idol

Time of Terach, Father of Abraham

Middle Bronze Age, ca. 2000 BCE

Found in the Holy Land

 

 

Public Reception:

 

Thursday, November 13, 2014

5:00 P.M. until 7:00 P.M.

The exhibition continues through December 10, 2014.

Gallery hours are Tuesday through Saturday 10:30 A.M. until 5 P.M.,

Monday by appointment only and closed Sunday.

 

 

Syro Hittite

Syro Hittite Pottery Idol

According to the Jewish Virtual Library, Abraham (ca. 1813 – 1638 BCE) was born under the name Abram in the city of Ur in Babylonia. He was the son of Terach, an idol merchant. From his early childhood, Abram questioned the faith of his father and sought the truth. He came to believe that the entire universe was the work of a single Creator, and he began to teach this belief to others.

 

Abram tried to convince his father Terach of the folly of idol worship. One day when Abram was left alone to mind the store, he took a hammer and smashed all of the idols except the largest one. He placed the hammer in the hand of the largest one. When his father returned and asked what happened, Abram said, “The idols got into a fight and the big one smashed all the other ones.” His father said, “Don’t be ridiculous. These idols have no life or power. They can’t do anything!” Abram replied, “Then why do you worship them?”

 

 

 

When, according to tradition, Abram rejected the idols that Terach, his father, had made, he established the foundation for a belief in a single monotheistic, all powerful, omniscient God.  “They have mouths, but they speak not; eyes have they, but they see not; they have ears, but they hear not; neither is there any breath in their mouths.” (Psalm 135).

What was the appearance of the gods and idols that Abram rejected and that the prophets railed against? Please join us at Griffin Gallery Ancient Art to view these spectacular artifacts. The idols in this exhibition are Syro-Hittite deities from the Middle Bronze Age (1950 – 1539 BCE), Persian deities from the Elamite Period (1500 – 1000 BCE) and Roman deities from first through the fourth centuries.

 

 

 

Griffin Gallery specializes in museum quality Ancient Art. Our holdings include over five hundred authentic artifacts that reflect a spectrum of the cultures of Antiquity in addition to Contemporary Fine Works of Art. Among our treasures are pieces from Greece, Rome, Egypt, the Far East, the Near East, the Holy Land, Pre-Columbian cultures, and pre historic Native America.

SAVE THE DATES:

 

The Original Miami Beach Antique Show
Miami Beach Convention Center
January 30, 2015 – February 03, 2015
Booth 3008

Boca Raton Fine Jewelry, Art & Antique Show
February 07 – 09, 2015
Boca Raton Marriott
5150 Town Center Circle
Boca Raton, FL
Booth 13

Griffin Gallery Ancient Art
Gallery Center, 608 Banyan Trail
Boca Raton, FL 33431
561.994.0811, fax: 561.994.1855  

www.griffingallery.net   or  griffingallery18@yahoo.com

Sponsored by: Beiner,Inkeles & Horvitz, P.A. 2000 Glades Road, Ste. 110, Boca Raton, FL, 33431, (561) 750-1800

For coverage of your events, to place an advertisement, or speak to Rickie about appearing in The Rickie Report, contact The Rickie Report at:

Rickie Leiter, Publisher

The Rickie Report

P.O.Box 33423

Palm Beach Gardens, FL 33420

Rickie@therickiereport.com

561-537-0291

Griffin Gallery Shares Southwest Artifacts and Addresses Safe Collecting Tips from Dennis Gaffney of Antique’s Roadshow

The Griffin Gallery Ancient Art proudly invites you to its newest exhibition, “The Ceramics of Our Native Land” which will offer Southwest artifacts, including some Tularosa Basin pottery pieces.  This event is FREE and Open to the Public.  Griffin Gallery also shares some safety tips for collecting artifacts, written by Dennis Gaffney (Antique’s Roadshow).  The Rickie Report shares the details.

 

 

 

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“CERAMICS OF OUR NATIVE LAND”

FEATURING TULAROSA BASIN POTTERY

& OTHER SOUTHWEST ARTIFACTS

 

Thursday, October 9, 2014

5:00 P.M. until 7:00 P.M.

The exhibition continues through November 13, 2014.

 

Gallery Center, 608 Banyan Trail

Boca Raton, FL 33431

561.994.0811

 

 

 

 

 

 

 

Tularosa Grouping from Griffin Gallery

Tularosa Grouping from Griffin Gallery

 

The Griffin Gallery is open Tuesday through Saturday 10:30 A.M. until 5 P.M., Monday by appointment only and closed Sunday.

 

 

Tips of the Trade:  Safely Collecting Indian Artifacts
By Dennis Gaffney  Antique’s Roadshow    February 26, 2001

 

 

For new and seasoned collectors alike, a simple primer on the legal and ethical issues that surround Native American collecting.  Collectors with an eye for beauty and history have long been lured by the power of Native American artifacts. People have brought examples of these to ANTIQUES ROADSHOW, including pre-historic objects once placed in ancient graves as burial offerings, such as Southwest Anasazi pots.

 

 

While Indian artifacts old and new are among the most sought-after collectibles on the market today, the controversial selling of funereal objects leads ANTIQUES ROADSHOW appraiser Bruce Shackelford, an independent San Antonio appraiser and consultant who deals with Indian art and culture, to call it “a dangerous field to collect in.” That’s because laws on the books—and ethical issues brought to the fore by Native American groups—have raised important legal and moral issues about collecting Native American objects. Here we’ve put together a simple primer on the laws governing Native American collecting to help new and seasoned collectors alike navigate legally and ethically in this field.

 

 

Illegal Goods

A series of laws passed in 1906, 1966, 1979, and 1992 forbid the taking of Native American artifacts from federal land, including national forests, parks and Bureau of Land Management land, unless granted a permit to do so. Over the years, states have passed their own laws that restrict the taking of Native American objects from state land, echoing the federal laws. There are also laws that deal with pre-Columbian art and taking native works out of other countries.
Ed Wade is senior vice president at the Museum of Northern Arizona, a private institution in Flagstaff that has a repository of over 2 million Native American artifacts. Ed explains that these laws were enacted to restrict “pot hunting,” the illegal excavation and sale of Native American objects. Under these laws, those who dig up artifacts from federal or state lands can be fined hundreds of thousands of dollars and can also be prosecuted and sent to jail.

If someone knowingly or even unknowingly purchases these illegally excavated objects, Ed says federal or state officials might seize them without giving any financial compensation.

 

Expensive Art Breeds Shady Sellers

Bruce says that enforcement of these laws has been stepped up in recent years because the potential to make money from these archaeological treasures has expanded. “Pieces that have once sold for $50 now sell for thousands,” Bruce says. “There’s a large market for Indian artifacts in the decorator crowd. A lot of people who grew up with little Anasazi bowls on the coffee table now want bigger bowls to fill up large Southwest-style houses.”
Ed notes that prices on Indian artifacts above $5,000 are commonplace, with some of the rarest objects selling routinely for half-a-million dollars. Unfortunately, jacked up demand for these beautiful objects has created an incentive for people to excavate them illegally.

 

Grave Robbing

Pot hunters know that they are likely to find the best objects at Indian graves. “Pieces from the graves tend to be the more spectacular ones,” Bruce says. “Native Americans buried their better pieces in graves, so they are often protected from use and tend to survive in a more complete state.” At the Austin ANTIQUES ROADSHOW Bruce saw two Anasazi pots that were between 800 and 1,200 years old. One of the pots had what is called a “kill hole,” made in a pot when it was buried in order to release the spirit from the pot. The existence of this hole in a pot indicates that it was ritually buried.

 

If artifacts such as the two Anasazi pots were to be dug up on federal lands today, under existing law, it would certainly be illegal to sell them. But even if bought prior to the 1906 passage of the first federal law restricting removal of Indian property from federal lands—as these were in the late 1800s—it should not be assumed that such artifacts are legally marketable today. In many cases they are not. Legal or illegal, moreover, buying and selling artifacts that were originally taken from burial sites also raises serious ethical issues. “All cultures have taken part in grave robbing,” Ed explains. “The question is, ‘Is it ethical?’ If we saw people digging in our family plots we’d probably be very upset.” Ed adds that by digging up the burial grounds we’re “damaging someone’s last wish” and also interfering with the Native American expectation that they will “arrive at a better place.”

 

How To Protect Yourself

Whatever one decides is ethical, collectors need to protect themselves from the law. Bruce recommends you check the laws with your local museum, if it has a major Native American collection, or with reputable dealers, scholars and appraisers before you make a purchase. Ed suggests buyers always make sure to get a letter of certification that authenticates where an object came from and when it was found.  “That way, if someone lies, you can sue them,” says Ed, who emphasizes that it is worth getting these for less expensive objects as well, because they will inevitably appreciate in value. “If your son inherits a piece and wants to sell it in 20 years,” Ed explains. “A museum won’t be able to take it if there’s no documentation.” Ed says that buying these objects blind is the equivalent of “buying a car or a house without a title.”

 

Bruce emphasizes the importance of dealing with reputable dealers. He gives the lover of Native American artifacts clear advice. “If someone can’t tell you where an object came from and how it was acquired, don’t buy it,” he says. Bruce also notes that there are plenty of beautiful—and safe—Native American materials on the market, such as clothing, or pottery made by contemporary Native American craftsmen.

 Note: This article was updated on May 30, 2003, to clarify information in the “Grave Robbing” section about burial artifacts excavated from U.S. federal land prior to 1906.

 

Griffin Gallery specializes in museum quality Ancient Art. Our holdings include over five hundred authentic artifacts that reflect a spectrum of the cultures of Antiquity in addition to Contemporary Fine Works of Art. Among our treasures are pieces from Greece, Rome, Egypt, the Far East, the Near East, the Holy Land, Pre-Columbian cultures, and pre historic Native America.

Sponsored by: Beiner,Inkeles & Horvitz, P.A. 2000 Glades Road, Ste. 110, Boca Raton, FL, 33431, (561) 750-1800  

Works cited: http://www.pbs.org/wgbh/roadshow/tips/indianartifacts.html

 

For more information about the Griffin Gallery Ancient Art located at Gallery Center, 608 Banyan Trail Boca Raton, FL 33431  please call: 561.994.0811  or fax: 561.994.1855  or visit www.griffingallery.net   or email: griffingallery18@yahoo.com

 

For coverage of your events, to place an advertisement, or speak to Rickie about appearing in The Rickie Report, contact The Rickie Report at:

Rickie Leiter, Publisher
The Rickie Report
P.O.Box 33423
Palm Beach Gardens, FL 33420
Rickie@therickiereport.com
561-537-0291

Griffin Gallery Presents “Prized Possessions” and Presentation by Steven Maklansky

Steven Maklansky, Director of the Boca Raton Museum of Art will be the featured Guest Speaker at Griffin Gallery’s Open House this week.  “Prized Possessions”  will feature a pair of multicolored Balustrade Porcelain Vases (China, 1940)as well as other Chinese Porcelain, Pottery and Cloisonné samples.  The Rickie Report urges you to attend the Public Reception to hear the speaker and see pieces of history close-up.  More details are in this article.

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PRIZED POSSESSIONS

CHINESE PORCELAIN, POTTERY, & CLOISONNE’

Featuring a Pair of Multicolored

Balustrade Porcelain Vases

China, 1940

 

Opening Reception

Thursday, January 09, 2014

6:00 P.M. until 8:00 P.M.

 

Gallery Center608 Banyan Trail

Boca Raton, FL 33431

The prominent Director of the Boca Raton Museum of Art, Steven Maklansky will be guest speaker addressing the merits of gifting artwork to museums. The informative topic begins at 6:00 P.M.  The PRIZED POSSESSIONS exhibition continues through February 12, 2014. Gallery hours are Tuesday through Saturday 10:30 A.M. until 5 P.M., Monday by appointment only and closed Sunday.
Chinese Baluster Vases

Chinese Baluster Vases

THE PORCELAIN TRADE
By Mary Murphy-Gnatz, University of Minnesota, James Ford Bell Library
In his writings Juan de Mendoza of Spain described the Chinese porcelain found in many of China’s shops in 1586:  “There be also shops full of earthen vessels of divers making: redde, greene, yellow, and gilt … they made them of very strong earth … they put them into their kilns and burne them … and … [they are] brought into Portugal and carried into Peru and Nova Espana, and into other parts of the world.”
By the time Mendoza observed these wares, the Chinese had been exporting pottery for at least thirteen hundred years and had been making it for at least 5500 years. Estimates are that painted pottery was first made in China in approximately 4000 B.C.  Specimens of Chinese pottery were found in the Malay Archipelago dating back to the third century A.D., T’ang Dynasty (621-907 A.D.) pottery, of the white ware, high-fired, porcelain type, was found at an archaeological dig in Samarra, (836-883 A.D.) Mesopotamia. Speculations are that this high-fired ware originated in China around 500 B.C.
imari

19th Century Japanese Imari Porcelain Charger

In China high-fired ware is known as T’zu as opposed to low-fired ware known as T’ao. The type of clays used in pottery determines the temperature at which it can be fired. The finest T’zu or porcelain as we know it is a composite of kaolin clay, which fires white, and a feldspathic stone called pe-tun-tse; both these materials are found in abundance throughout China. When mixed at specific proportions, and fired at a minimum of 1300 C, a vitreous, translucent porcelain is produced. Some other advantages of this ware are that it can be shaped thin, into very intricate designs, and it “rings well” (similar to crystal). Fired, unglazed, pottery is known as “biscuit,”and is not considered as aesthetically pleasing as glazed porcelain. The glaze is usually made from some combination of limestone, quartz, feldspar, clay or woodash.
T’zu seems to have been first produced during the T’ang dynasty in Kiangsi province either at Ching te Chen, Jao-chou, or Chi-chou on the Kan river. China kept the secret of making fine porcelain for at least a thousand years. During that time, Chinese porcelains traveled via ship along China’s eastern coast to the Malay Archipelago, and overland via the Silk Road. During the Middle Ages, it was shipped to Japan, India, Arabia, and Africa via the Philippines. However, the very finest pieces were reserved for the Emperor’s private use, for his own household or for redistribution to worthy subjects and important visitors.
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Monumental Chinese Cloisonne’ Urn Avian Motif

The Portuguese were the first to carry Chinese porcelain directly to Europe, in the sixteenth century, after they entered Asia via the sea route around the Cape of Good Hope in 1498. The first Portuguese ship arrived in Canton, China in 1513. The Dutch later expanded the export in porcelain in the seventeenth century. As a result of the capture of two Portuguese ships carrying large consignments, the European wo/man on the street was to see Chinese porcelain for the first time. For example, in 1604 when the Catherina was captured, she was carrying 100,000 pieces of porcelain. These goods were sold to buyers from all over Western Europe at a public sale in Holland. Some of the buyers represented Henry IV of France and James I of England. This sale presumably started the European craze for Chinese porcelain. Between 1604 and 1657 over 3 million pieces of Chinese porcelain reached Europe. In 1700 “East Indiamen” ships unloaded 146,748 pieces in a European port in one day alone as the market for porcelain grew insatiable.
The growing demand for porcelain spawned a desire for Europeans to produce their own “china.” A French Jesuit missionary, Pere D’Entrecolles, as a result of a little industrial espionage inside the Chinese porcelain factories at Ching-te-chen, sent a report back to Europe. His report of the process and needed materials was accurate, but he inadvertently mixed up the names of the clays. Fortunately, prior to the circulation of D’Entrecolles’ letters in Europe, Johann Friedrich Bottger and Walther Von Tschirnhaus had produced the formula in Germany on their own. Shortly after, a large source of kaolin was found near Meissen in Saxony. Porcelain was being produced in Europe by 1710 under the patronage of Augustus of Saxony that was so hard it could be “cut and polished like a jewel.”
Decorative Chinese Porcelain Dogs

Decorative Chinese Ceramic Foo Dogs

 

Despite Europe’s success at producing its own porcelain, trade in Chinese porcelain continued to thrive. Orders for 305,000 pieces to be carried by two ships, the Essex and the Townsend were placed in 1717. Four British ships delivered over 800,000 pieces in 1721. In the year 1741 French, British, Swedish, and Danish ships brought approximately 1,200,000 pieces of Chinese porcelain to Europe.
Chinese porcelain did find a European rival in Louis XV’s France. Through a series of royal decrees and restrictions in France and the employment of master artists including goldsmiths, Vincennes orSevres porcelain started to be produced in 1750. The color quality could not be equaled by any porcelain producer including those of China and Japan, and many pieces were lavishly decorated with gold. Early Sevres made of “soft paste,” a glass composite and not true porcelain, and fired at lower temperatures, absorbed colors better, produced dazzling whites and more brilliant glazes. This was the Sevres porcelain that was in such great demand by kings, emperors and princes. Catherine the Greats’ service cost an equivalent of £375,000 (value in pounds in 1971). To produce such exquisite beauty, there was much wastage of materials (soft paste is much harder to handle and the King wanted perfection). Even after the Sevres works turned to production of “true” porcelain, the production process was a heavy consumer of human life. Many workmen died of silicosis and lead poisoning in Louis XV’s porcelain factories. Little thought was given to such “hidden” costs, then or now.
Works of art disentangle themselves from their age and live serenely for other times and other men.  Ancient and modern porcelain from China, Japan, and Europe is still sold worldwide, still commands exorbitant prices; hopefully not as exorbitant as Sevres under Louis XV, and is still found as prized possessions in museums (including that found in the historic home of George Washington), fine restaurants, and in the homes of “commoners” as well as royalty.
Griffin Gallery specializes in museum quality Ancient Art. Our holdings include over five hundred authentic artifacts that reflect a spectrum of the cultures of Antiquity in addition to Contemporary Fine Works of Art. Among our treasures are pieces from Greece, Rome, Egypt, the Far East, the Near East, the Holy Land, Pre-Columbian cultures, and pre historic Native America.
SAVE THE DATE
The Original Miami Beach Antique Show
Miami Beach Convention Center     Booth 3008
January 30, 2014 – February 03, 2014

 

Griffin Gallery Ancient Art  is located at  Gallery Center608 Banyan Trail  in Boca Raton, FL 33431.  For more information please contact:  561.994.0811, fax: 561.994.1855  www.griffingallery.net
Sponsored by: Beiner,Inkeles & Horvitz, P.A. 2000 Glades Road, Ste. 110, Boca Raton, FL, 33431, (561) 750-1800

 

 

 

Griffin Gallery Begins 2015 with a Spectacular Exhibit, “Chamá Cylinder Vases of Maya Highlands”, Featuring a Rare Polychrome Chama Pottery Cylinder Vase

The Griffin Gallery begins 2015 with a spectacular exhibit, “Chamá Cylinder Vases of Maya Highlands”, Featuring a Rare Polychrome Chama Pottery Cylinder Vase!  The Rickie Report is pleased to share this information because it is an opportunity for the public to see rare antiquities and have a dialogue with informative personnel.  The Griffin Gallery Ancient Art invites you to our SECOND THURSDAY exhibition opening, January 08, 2015. This event is from 5:00 P.M. until 7:00 P.M. Admission is FREE and we are Open to the Public, so please join us and bring a friend or two. Save the Date of the SECOND THURSDAY exhibition opening each month on your calendar from October until April.

 

 

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Griffin Gallery Presents

 

 

Chamá Cylinder Vases of Maya Highlands
Featuring a Rare Polychrome Chama Pottery Cylinder Vase 

With

Elaborate Dancing Lords

Guatemala, ca. 600 – 800 CE
Ex: John Fulling collection, Florida

Public Reception:

Thursday, January 08, 2015

5:00 P.M. until 7:00 P.M.

The exhibition continues through February 11, 2015


Gallery hours are Tuesday through Saturday 10:30 A.M. until 5 P.M., Monday by appointment only and closed Sunday.

 

 

In the essay “A Reinterpretation of the Chamá Vase”, Elin C. Danien writes that painted ceramic cylinders made by the Maya during the Late Classic (A.D. 700-900) form a special category highly appreciated by archaeologists, art historians, artists and connoisseurs alike. Many of these polychrome masterpieces have been excavated intact from the tombs and palaces of the elite, and are recognized as among the finest expressions of Maya artistic genius. Indeed, their presence is often an indicator of Classic “Maya-ness” (Reents Budet 1994.) The function and significance have been topics of debate, and the meaning of the painted scenes has been the subject of widely divergent arguments.

 

 

 

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Rare Polychrome Chama Pottery Cylinder Vase

Chamá Polychromes are named for the type site in southern Guatemala, which lies in a fertile valley in the Alta Verapáz, Guatemala’s hilly middle country, situated between the great Classic Era cities of the Petén in the Lowlands, and the more sparsely populated highlands to the west and south. The region lies on one of the major Precolumbian trade routes, but is peripheral to the prominent lowland Maya cities, and its architectural remains are not spectacular. That, and the political unrest of the past twenty years have contributed to the long archaeological hiatus in the region. Thus pottery, always a significant element of the material record in any archaeological investigation of Maya civilization, is of paramount importance when attempting to understand cultural development and change in the geographically marginal Chamá region, where no archaeologists have worked for the past 80 years. Such vessels are almost all we have from which to infer a history of the region and to open avenues of inquiry into questions of trade, politics, craft specialization, and iconography.

 

 

 

Chamá-style cylindrical vases have distinctive black-and-white chevron motif bands painted around the rim and base, with a bright white, and strong red-and-black palette, applied to a distinctive yellow to yellow-orange background. The preferred decorative template is either a static scene or individual repeated on each half of the vessel surface, or a continuous scene wrapped around the cylinder, such as on the well-known Ratinlinxul Vase.

 
Where hieroglyphs are present, they are usually short phrases, personal names, or calendrical day names. Because highland ceramics used fewer and frequently more sketchily drawn glyphs than those used on the well- known lowland ceramics, modern epigraphers at first believed they were merely decorative motifs, or else imitative pseudo-glyphs placed there by illiterate artists. This is no longer a credible theory, although many of the inscriptions remain poorly understood.

 
One of the reasons for the interest in these ceramics is the unorthodox sudden appearance of this sophisticated style in the equivalent of the Maya boondocks. The Chamá style emerged suddenly, flowered briefly and, with equal rapidity, ceased abruptly, as the potters turned back to their local traditions. Although generally ascribed to the Late Classic, Reents-Budet suggests an even tighter temporal frame: “Based on the scant archaeological data available for Chamá-style vessels, they probably date from the late seventh or early eighth centuries A.D.” (Reents Budet 1994). She estimates that no more than two or three generations of potters, working in an extremely circumscribed geographical area of Guatemala’s Hilly Middle Country, far from the great Classic centers of the Maya lowlands, were responsible for all of this pottery.

 

Griffin Gallery specializes in museum quality Ancient Art. Our holdings include over five hundred authentic artifacts that reflect a spectrum of the cultures of Antiquity in addition to Contemporary Fine Works of Art. Among our treasures are pieces from Greece, Rome, Egypt, the Far East, the Near East, the Holy Land, Pre-Columbian cultures, and pre historic Native America.

SAVE THE DATES

 

The Original Miami Beach Antique Show
Miami Beach Convention Center
January 30, 2015 – February 03, 2015
Booth 3008

 

 

Boca Raton Fine Jewelry, Art & Antique Show
February 07 – 09, 2015
Boca Raton Marriott
5150 Town Center Circle
Boca Raton, FL
Booth 13

For more information:

Griffin Gallery Ancient Art
Gallery Center, 608 Banyan Trail
Boca Raton, FL 33431
561.994.0811, fax: 561.994.1855
www.griffingallery.net
griffingallery18@yahoo.com

 

Sponsored by: Beiner,Inkeles & Horvitz, P.A. 2000 Glades Road, Ste. 110, Boca Raton, FL, 33431, (561) 750-1800

Works Cited: FAMSI – The Kerr Articles – A Reinterpretation of the Chamá Vase

 

 

 

For coverage of your events, to place an advertisement, or speak to Rickie about appearing in The Rickie Report, contact The Rickie Report at:

Rickie Leiter, Publisher

The Rickie Report

P.O.Box 33423

Palm Beach Gardens, FL 33420

Rickie@therickiereport.com

561-537-0291