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Antiquities Collection

CHINA

Chinese antiquities represent one of the world’s longest continuous cultural traditions, marked by innovation, philosophy, and artistic mastery. These objects span dynasties and regions, reflecting shifts in political power and cultural values over thousands of years. Ceramics, jade carvings, bronzes, and calligraphy demonstrate exceptional craftsmanship and symbolic depth. Many works are closely tied to Confucian, Daoist, and Buddhist beliefs, shaping both their function and meaning. Decorative motifs often carry auspicious symbolism, conveying wishes for prosperity, longevity, and harmony. Advances in technology, such as porcelain production, had a lasting global impact. Together, Chinese antiquities offer a rich narrative of continuity, refinement, and cultural resilience.

Stele commissioned by Helian Ziyue

A decisive episode from the Sutra on the Discourse of Vimalakirti is given dramatic and complex treatment on the upper half of this stele. The scene (a debate) takes place in a windblown landscape, as indicated by the trees at center and in the background. Vimalakirti (Weimo) sits in a curtained and tasseled pavilion at right, attended by fourteen figures; Manjushri (Wenshu) is accompanied by thirty attendants. Standing to either side of the two trees at center are the monk Shariputra and a female figure, who together represent the scene's most dramatic moment: Shariputra transforms himself into a woman and then changes back to his original form to demonstrate the impermanence and irrelevance of gender or any other state of being—one of the main points of the sutra. This is also one of the many moments in which the learned Vimalakirti trounces the Bodhisattva of Wisdom. Above the debate scene, a Buddha sits in a columned niche attended by two bodhisattvas; below, two monks kneel to either side of an elaborate incense burner that is supported by a pair of caryatids. The two figures standing between the guardians and the censer-one holding a bird, the other a skull-are standard images in Chinese Buddhist sculpture and represent two Indian ascetics. The long and exceptionally abstruse inscription on the front of the stele indicates that it was commissioned by a devotional society headed by Helian Ziyue (ca. 501–573), who is shown kneeling just right of center in the upper row of figures. He is a rare example of a donor whose name is both mentioned on a work of Buddhist art and identifiable in Chinese historical writings. His family included the chieftain of a tribe originally based in the Ordos region. In the fifth century members of this clan were incorporated into, or possibly married into, the ruling Northern Wei dynasty. After the dissolution of the Northern Wei, Helian Ziyue was placed in charge of a group of subjugated rebels and settled in northern Henan province. The many rubbings taken from the front of the stele have left its surface noticeably darker. It is likely that this side of the stele was recarved at some point in its history, as evidenced by the awkwardly rendered faces of some symbolic portraits and in details such as the lotus pedestal supporting the incense burner at top.

Seal casket with cover

This casket once held the imperial seal. An animated dragon sits on top of its circular lid, on whose wall are the eight auspicious symbols of Tibetan Buddhism, including the wheel of law, conch shell, parasol, canopy, lotus flower, vase, paired fish, and knot of eternity. On the four sides of its square base are the twelve regal emblems, consisting of the sun, moon, constellation, mountain, dragon, pheasant, ritual vessels, water plant, flame, rice, axe, and diagram of polarity.

Funerary jar

Stoneware with incised and carved decoration under celadon glaze The fanciful shape of this jar, with its six tubular spouts, is intriguing and remains difficult to explain. Urns of this shape, which were employed to store rice and other grains used in burial ceremonies, are among the earliest types of ceramics produced in the Longquan kilns located in Zhejiang Province not far from those producing Yue wares The latter are often credited as the first celadon in Chinese history.

Tripod incense burner

Stoneware with molded decoration under celadon glaze This censer demonstrates the continued importance of antiquarianism among patrons of Yaozhou stoneware during the twelfth century, when most of north China was under the rule of the Jurchen Jin dynasty. The form, the decor, and even the pale green glaze recall ancient bronze tripod cauldrons. This finely molded ceramic, however, has been given a new function as an incense burner.

Buddha, Amitabha

The position of the Buddha’s arms indicates that the hands were once held in a gesture of meditation and suggests that this sculpture represents Amitabha, a celestial Buddha who presides over his Western Paradise. Devotion to Amitabha, a major component of Chinese Buddhist practice since the sixth century, promotes the goal of rebirth in Amitabha’s Pure Land, where conditions are conducive to achieving spiritual understanding.

Female Dancer

This figure vividly captures the moment when, with one long sleeve thrown back and the other trailing down, a dancer gently stoops and flexes her knees as she lifts one heel to advance her step, performing a dance described in Han dynasty poetry.

Pole base in the form of a tiger

This animal themed pole base not only exemplifies the sculptural art of early China but also illustrates the frequent interactions between China and the nomadic cultures from the steppes.

Wine warmer (Jue)

A single character (clan sign) is cast on the body of the vessel beneath the handle.

EGYPT

Classical Egyptian antiquities offer a glimpse into one of the world’s most enduring and symbolically rich civilizations. Spanning millennia, these objects reflect a culture deeply shaped by religion, kingship, and the afterlife. Sculptures, funerary items, and inscribed artifacts reveal a highly developed artistic canon governed by order and permanence. Materials such as stone, gold, and faience were carefully chosen to convey both durability and divine association. Hieroglyphic inscriptions add layers of meaning, preserving names, prayers, and historical records. Many surviving works originate from tombs and temples, underscoring the Egyptian belief in continuity beyond death. Together, these antiquities embody a civilization’s quest for immortality and cosmic balance.

Travelling Boat being Rowed

From Upper Egypt, Thebes, Southern Asasif, Tomb of Meketre This model of a riverboat was found with twenty three other models of boats, gardens, and workshops in a hidden chamber at the side of the passage leading into the rock cut tomb of the royal chief steward Meketre, who began his career under King Nebhepetre Mentuhotep II of Dynasty 11 and continued to serve successive kings into the early years of Dynasty 12. Meketre is seated smelling a lotus blossom in the shade of a small cabin, which on an actual boat would have been made of a light wooden framework with linen or leather hangings. Here the hangings are shown partly rolled up to let the breeze into the cabin. Wooden shields covered with bulls' hides are painted on each side of the cabin roof. A singer, with his hand to his lips, and a blind harper entertain Meketre on his voyage. Standing in front of him is a man, probably the ship's captain, with his arms crossed over his chest. He may be depicted awaiting orders, but he may also be paying homage to the deceased Meketre. As the twelve oarsmen propel the boat, a lookout in the bow holds a weighted line used to determine the depth of the river. At the stern, the helmsman controls the rudder. A tall white post amidship supported a mast and sail (not found in the tomb), which would have been taken down when the boat was rowed downstream—as it is here—against the prevailing north wind. Going south (upstream), with the wind behind it, the boat would have been sailed. The boat is similar to one Meketre might have used in his lifetime. Certain details, however, suggest that on this voyage Meketre is traveling toward the afterlife. For instance the blossom he holds is the blue lotus, a flower the Egyptians associated with rebirth.

Shabti box and shabtis of members of the Sennedjem family

From Upper Egypt, Thebes, Deir el-Medina, Tomb of Sennedjem Essential items of funerary equipment from the New Kingdom on, shabti figures, of which there could be from 1 to over 400 examples in a single tomb, were meant to substitute for the deceased whenever he or she was called upon to perform manual labor in the afterlife. One example here is inscribed with a version of Spell 6 from the Book of Coming Forth by Day (better known as the Book of the Dead): "O, shabti...if I be summoned...to do any work which has to be done in the realm of the dead...you shall act for me on every occasion of making arable the fields, of flooding the banks, or of conveying sand from east to west: 'Here I am,' you will say." (after Faulkner, The Ancient Egyptian Book of the Dead). The others bear the name of the deceased with whom they were associated. The wooden shabti box is inscribed for Paramnekhu, a servant in the Place of Truth (royal artisan) who was a son or grandson of Sennedjem in whose tomb the box was found. The shabti figures, from left to right, are inscribed for Sennedjem's wife Iineferty and her eldest son, Khabekhnet; for another son, Khonsu; for Khabekhnet alone; and for a female relative named Mose. Although Khabekhnet and Khonsu had a separate tomb complex near that of their father, they are depicted with their siblings in the decoration of Sennedjem's burial chamber, and objects inscribed with their names (including Khonsu's coffins and mummy) were buried in the family tomb.

Fragmentary Face of King Khafre

From Egypt; Probably from Memphite Region, Giza, Pyramid Complex of Khafre. Old Kingdom ca. 2520–2494 B.C. Khafre was the son of Khufu, builder of the Great Pyramid. He built his own pyramid, the Second Pyramid, at Giza just to the south of his father's. Khafre's pyramid complex included a mortuary temple on the east side of the pyramid which was connected by a long causeway to a valley temple. To the north and northwest of the valley temple he constructed the Harmakhis Temple and the Great Sphinx. Many statues and fragments of astonishing quality and in a spectrum of fine stones were recovered from these temples or in their vicinity. This fragment was found at Giza and entered the MacGregor collection; its similarity to the faces of statues of the king from his temples and the traces of a royal beard on the chin identify it as a portrait of Khafre. The surface and warmth of the stone and the sensitive indication of fine muscles around the nose and particularly around the mouth are remarkable.

Head of King Seti II

This elegant head originally belonged with the body of a statue that still stands in the great Hypostyle Hall of the Temple of Amun at Karnak whose inscriptions show that the statue had been carved for Seti II. Although resemblances in features are not particularly close, the rather severe tone of the head finds echoes in certain Theban statuary of Merneptah. Two uraei wearing red crowns are carved in relief on the proper left side of the king's crown in front of the ears, and two wearing white crowns are carved on the right side. Since the red crown is associated with Southern (Upper) Egypt and the white crown with Northern (Lower) Egypt, this may indicate that the statue itself was oriented by these coordinates and faced the east. Traces of pigment on the surface of the head indicate that the crown was painted blue, the band where it fits the forehead along with the crown's uraeus were colored with yellow ochre, and the face was red.

Canopic jar with jackal head

From Upper Egypt, Thebes, el-Khokha A set of four canopic jars was an important element of the burial in most periods of Ancient Egyptian history. Canopic jars were containers in which the separately mummified organs would be placed. The best known versions of these jars have lids in the shape of the heads of protective deities called the four Sons of Horus. The human-headed Imseti was the guardian of the liver; the baboon-headed Hapy looked after the lungs; the jackal-headed Duamutef was responsible for the stomach; and the falcon-headed Qebehsenuef cared for the intestines. The lid of the jar here is removable, but the cavity is not large enough to hold an organ. The "dummy" jar dates to a period during which the internal organs were mummified and then placed back into the mummy, but canopic jars continued to be included as part of the burial equipment in order to ensure the protection of the four Sons of Horus.

Head from an Osiride Statue of Hatshepsut

From Upper Egypt, Thebes, Deir el-Bahri This head originally belonged to one of the Osiride statues that were carved in high relief in niches along the rear wall of the upper terrace of Hatshepsut's temple at Deir el Bahri. Hatshepsut wears the Double Crown of Upper and Lower Egypt suggesting that the head was from a figure in one of the niches on the northern side of the terrace. Such Osiride figures were architectural accents rather than freestanding statues and were carved from the same limestone blocks that were used to construct the temple itself. Four Osiride statues decorated the corners of the temple's shrine of Amun, and a series of much larger statues were attached to the pillars at the front of the upper terrace.

Upper part of Isis

From a figure of the goddess nursing Horus.Egypt Egyptian blue was a synthetic pigment used most frequently to add color to objects composed of other materials or for small objects such as scarabs. It was occasionally also used for larger objects, such as this small sculpture representing Isis. Only the upper part of the sculpture is preserved, but in the complete piece, the goddess likely would have been shown seated, with Horus, her son with the god Osiris, on her lap. Traces on the left breast were most likely left by her missing right hand, with which she would have offered milk to her baby.

Shabti of Seniu

The shabti of the chief steward and scribe Seniu is a particularly fine example of this type of funerary figurine from the early New Kingdom. It is inscribed with the spell ensuring that the shabti will perform certain kinds of labor for the deceased in the afterlife. This work included maintenance of irrigation canals, and cultivation of the fields. The shabti was discovered during excavations by the Museum's Egyptian Expedition. It had been broken and mended in antiquity suggesting that it was valued by its owner.

Scarab Inscribed Hatshepsut United with Amun

Scarab from Upper Egypt, Thebes, Deir el-Bahri, Temple of Hatshepsut. Dynasty 18, early Scarabs inscribed with the writing of the extended form of Hatshepsuts personal name, Hatshepsut-united-with-Amun, which sometimes appears, enclosed in a cartouche, as the last element of her titulary as king. By adopting this name, Hatshepsut links herself to the powerful god Amun of Thebes, whom she claimed as her father.

Votive stela of Userhat

In the text on this stela, Userhat testifies to his own good qualities and to his trust in his god, probably Amun. He is shown here with his wife, Nefertari. Userhat was a priest in the mortuary cults of both Amenhotep III and Tutankhamun, so the couple must have lived during later Dynasty 18. The complex layering of relief and the style of the figures demonstrate the influence of the art of Amarna at Thebes.

Faience djed-pillar amulet

From the Cesnola Collection Symbolic objects used for amulets include a menat-pendant, the djed-sign, and a papyrus capital, all common in Egyptian architecture. A pectoral used on mummies, a bunch of grapes or other clusters of fruit, and an inscribed bead are also represented.

Ointment Jar

From Upper Egypt, Thebes, Asasif The shape of this tall, flaring jar first appeared during the Pyramid Age, more than 1000 years before this example was made. Originally, it probably had a round, flat lid and was used to store a cosmetic oil or ointment for moisturizing the skin.

Funerary Cone of the Scribe Min

From Upper Egypt, Thebes, Khokha The stamp on this cone is type 222 in A Corpus of Inscribed Egyptian Funerary Cones compiled by Norman de Garis Davies and published by M. F. Laming Macadam in 1957 by Oxford University Press.

Faience Udjat eye amulet

The Egyptian god Horus was usually depicted in human form but with the head of a falcon. His eye was taken to represent the sun, whose setting and rising symbolized loss and recovery—a fitting sign for an amulet.

Jar

This three-handled storage jar has an elongated ovoid body with a rounded base. Traces of paint are still visible on the body. It lost its neck and rim in antiquity.

Goddess of Upper Egypt

GREECE

Classical Greek antiquities capture the intellectual curiosity and artistic brilliance of ancient Greece. Renowned for their pursuit of harmony, proportion, and idealized beauty, Greek artisans created works that continue to influence art today. Sculptures and pottery often depict mythological scenes, athletic achievements, and moments from everyday life. These objects reflect a society deeply engaged with philosophy, democracy, and human potential. The use of materials such as bronze, marble, and painted ceramics highlights both technical skill and aesthetic sensitivity. Many pieces were originally part of temples or public spaces, emphasizing the communal nature of Greek culture. Together, these antiquities embody a legacy of creativity, inquiry, and enduring artistic standards.

Bronze statuette of Aphrodite

Variant of the 4th century B.C. Aphrodite of Knidos by Praxiteles No other sculpture in antiquity enjoyed the renown of Praxiteles' Aphrodite of Knidos. For the Roman author Pliny the Elder (A.D. 23–79), it was not only the finest work by Praxiteles but also the finest statue in the world. Roman coins minted in Knidos that depict the statue provide the general identification of the pose. Aphrodite stands nude, with her weight on her right leg, her head turned to the left, her right hand covering her pubic area, and her left hand holding a fold of drapery that falls onto a hydria (water jar) standing on a pedestal. The statue was erected in a round temple and was meant to be viewed from all sides. The goddess is depicted undressing before (or dressing after) a bath in "heroic nudity" as unconscious and glorious as that of the gods. This magnificent large bronze statuette represents only one variation on the Praxitelean original. While originally an over-life-sized work sculpted in Parian marble, the Aphrodite of Knidos was widely imitated and adapted by artists of the Greek and Roman world in many mediums and on many scales.

Statuette of the Diadoumenos

Copy of a Greek bronze statue of ca. 430 B.C. by Polykleitos Connoisseurship and the origins of the discipline of art history began in the Hellenistic period. Greek statues of the fifth century B.C., notably works by Polykleitos, Phidias, and others, were sought out and frequently replicated. The pose of the famous statue of the Diadoumenos by Polykleitos is recognizable in this statuette, but the slender, graceful forms conform to Late Hellenistic taste. Although terracotta was one of the most abundantly available and inexpensive materials of sculptural production in antiquity, it was used to make miniature copies less widely than might be expected. Apparently, only a few centers of production concentrated on this sculptural genre, and those that did limited their choices of subject considerably. The Greek city of Smyrna on the west coast of Asia Minor was among the most important copying centers, and a number of large- and small-scale replicas or variations of well-known statuary types, from both the Classical and Hellenistic periods, were made there.

Bronze pointed neck-amphora with stand

The gleaming golden color visible on the surface of these bronzes provides a rare glimpse of the original appearance of a bronze from classical antiquity. The quality of the chasing on the amphora is particularly fine; on the shoulder is a tongue pattern in shallow relief, below which are bands and running spirals with a chain of horizontal palmettes in between. The separately cast handles terminate at the shoulder with spotted feline heads fringed with flamelike tufts of hair. A terracotta pointed neck-amphora and its conical stand can also been seen in this gallery.

Terracotta stemless kylix (drinking cup)

Greek, South Italian, Campanian, Calenian Silver cups with medallions in low relief on the interior were favored luxury items in antiquity. Terracotta versions such as these suggest their appearance. One tondo shows the Eleusinian god Triptolemos in his snake-drawn chariot. The other cup features the head of the nymph Arethusa, taken from the reverse of a celebrated coin of Syracuse in Sicily. "Arethusa cups" were made and found principally in Campania.

Terracotta funerary plaque

In the latter sixth century B.C., the elaborate series of funerary plaques set into the walls of rectangular tombs were replaced by single plaques with holes for attachment. The chariot race, a recurring theme in Attic funerary art, may evoke the funeral games held in honor of legendary heroes, such as those in book 23 of the Iliad, when Achilles honored his deceased friend Patroklos.

Terracotta statuette of a siren

Sirens are mythical creatures famous in antiquity for their song, which lured sailors to their death. Sanctuaries to the sirens are known to have existed in parts of South Italy and Sicily, as the geographer Strabo and other ancient writers tell us. This large, hand-modeled sculpture with applied decoration may well have been a votive offering at such a sanctuary.

Terracotta vase

Astragals were popular toys in antiquity. As each side of an astragal is distinctive, what mattered in a game was how the pieces fell. Such games of chance also acquired prophetic or erotic aspects. The poet Anacreon wrote about the astragals of Eros—the dice of Love. It is entirely appropriate that this large example is decorated with a lyre-playing Eros.

Bronze kylix (drinking cup)

The number of metal vases that has survived since antiquity is minimal because they were melted down to serve other purposes. The extant pieces are mainly of the Classical and Hellenistic periods, luxury tableware in bronze and silver. The shapes of drinking cups are particularly varied.

Marble funerary lekythos

The monument was presumably erected in memory of the young long-haired girl who clasps her father's hand while her seated mother presents a bird to her little sister.

Bronze bit

This bit is of a distinctive type attested in Northern Greece and used for horses that are ridden rather than driven.

Terracotta bell-krater

Fragmentary terracotta

ROMAN

Classical Roman antiquities reflect the power, ambition, and cultural diversity of an empire that spanned three continents. These objects reveal a society that valued engineering, governance, and the visual expression of authority. Marble sculptures, mosaics, and everyday items demonstrate both artistic refinement and practical innovation. Roman art often drew inspiration from earlier Greek traditions while adapting them to convey imperial ideals and realism. Inscriptions and coins provide valuable insight into political life, social hierarchy, and economic systems. Domestic artifacts offer a more intimate view of daily routines across different classes. Collectively, Roman antiquities illustrate a civilization that shaped much of the Western world’s cultural and institutional foundations.

Porphyry vessel with bearded masks

Porphyry vessel shaped like a situla but without the two handles above. Outsplayed rim, with molding decoration and one groove on interior shoulder below rim; low neck with concave profile; narrow shoulder, sloping downwards; cylindrical body with side curving in at bottom; low base with molding decoration and three curving feet around bottom edge; flat bottom with raised central disk; two horizontal ear-shaped handles; below each handle, a Silenus mask. Each Silenus wears a wreath with leaves and berries and a fillet across his forehead; he has pointed ears, projecting forwards, a broad nose, a bushy moustache, parted lips, and long, flowing beard with drilling between the wavy locks. In antiquity, porphyry was highly regarded as a royal stone, because its color was associated with the regal and, in Roman times, imperial use of purple to symbolize rank and authority. Since the stone is very hard, making its extraction and transport extremely difficult and costly, its use in sculpture and architecture was very limited. This piece, probably used as a cinerary urn, is one of the finest porphyry vessels to have survived from Classical Antiquity. In shape and decoration, especially with the striking masks of Silenus, it resembles bronze situlae but lacks the two handles above.

Marble portrait of the emperor Augustus

This over life-size fragment may have been part of a seated statue of the emperor made during the reign of his step-son and successor, Tiberius. Over two hundred and fifty portraits of Augustus, including numerous full-length statues, are known today. In antiquity, there were probably as many bronze statues of the emperor as there were marble ones, but relatively few of the former have survived. Augustus himself claimed to have removed eighty silver statues that had been set up in his honor in the city of Rome alone. Although Augustus’ features are individualized, he is represented in an idealized, ageless way. When he died in A.D. 14, he was seventy-seven years old, but no portraits of him in old age are known.

Brooch in the Form of a Panther

This brooch is exceptional in its naturalistic rendering of a panther. The spots were created not with enamels but by the niello process, in which incisions in the silver were filled with an alloy of black sulphur that was then heated. Small brooches, often in whimsical animal forms, were worn both by Roman soldiers stationed in the provinces and by the native population. Though brooches in these forms appear throughout the Roman world, the distribution of finds and the archaeological remains of workshops suggest that the major centers of production were Britain and Gaul.

Marble cinerary chest

The Latin inscription was copied from a Roman funerary plaque and added to this chest during the 17th century. As such it bears witness to the growing awareness of and interest in epigraphy among scholars and collectors in Renaissance Italy. Until the cataloguing of ancient inscriptions began to be systematic and comprehensive in the early 19th century it was quite common for antiquities to be enhanced by the addition of false inscriptions. Indeed, examples of epigraphic forgeries are known even today.

Silver plate

The plate, originally part of a larger set of silver tableware, was clearly used over a prolonged period, since repeated polishing in antiquity has worn away the details of the rim decoration. On the underside are Latin inscriptions giving the names of two different owners. It was common for Romans to mark their valuable possessions in this way as a precaution against theft. The use of masks, symbols, and animals as decoration seen here was popular throughout the Imperial period.

Marble plaque with funerary inscription

The Latin inscription probably comes from a columbarium, a communal chamber tomb. It reads: "To the spirits of the dead. For C. Porcius Dionysius, who lived 8 years, 10 months, and 13 days. C. Porcius Dionysius made [this] for the sweetest of sons." The boy, who was clearly named after his father, died first, exemplifying the high rate of child mortality in antiquity.

Terracotta wine amphora

The amphora comes from a shipwrecked cargo vessel that was explored by Capt. Cousteau and Prof. Benoît in 1952-3. The ship’s hold contained some 1,200–1,500 Roman wine amphorae made at or near Cosa in Etruria. The cargo was evidently destined for markets in Gaul, where Celtic chieftains had developed a taste for wine and tableware supplied by Roman merchants.

Zoomorphic Brooch

Small brooches, often in whimsical animal forms, were worn both by Roman soldiers stationed in the provinces and by the native population. Though brooches in these forms appear throughout the Roman world, the distribution of finds and the archaeological remains of workshops suggest that the major centers of production were Britain and Gaul.

Ivory die

Dice were popular throughout antiquity for playing games and gambling. In addition, some cities in Roman Pisidia (southern central Turkey) had dice oracles, set up on stelae in the main square or forum, where citizens by the throw of the dice could gain advice from the gods about their public or private affairs.

Marble funerary relief

Funerary reliefs in the shape of a circular tondo, depicting a man and a woman or, as in this case, the whole family, are known principally from Thrace, northern Greece, and the Danube provinces. Some are inscribed, but this example leaves the man, his wife, and his two sons unnamed.

Terracotta jug

Footed jug with raised dot design. Much of the lead-glazed pottery of the Early Imperial period was produced in the Roman East at various sites on the western and southern coasts of Asia Minor.

Bronze relief of a Roman soldier and a barbarian

Group, in high relief, representing a warrior standing over a prostrate opponent.

VIKING

Viking antiquities provide insight into the dynamic and far-reaching world of Norse seafarers and traders. Originating from Scandinavia, these objects reflect a culture defined by exploration, craftsmanship, and storytelling. Items such as weapons, jewelry, and ship fittings reveal both practical skill and intricate decorative styles. Norse mythology and symbolic motifs often appear in carvings and metalwork, expressing beliefs about gods, fate, and the cosmos. Trade networks extended across Europe and beyond, bringing diverse influences into Viking material culture. Many artifacts have been recovered from burial sites, offering clues about social status and ritual practices. Together, these antiquities illuminate a society that balanced fierce independence with rich cultural expression.

Round Box Brooch

Made in Gotland, Sweden Women on the Scandinavian island of Gotland wore box brooches to secure their shawls at the collarbone; the brooches doubled as a container to hold small objects. This example is decorated with tiny beasts, which inhabit the interlace patterns on the top and sides. Viking art generally eschews figural decoration in favor of lively patterns based on stylized animals.

Earring

Made in Scandinavia

Sword

Antiquities Collection