Keros is a small, mountainous, and now-deserted island situated between Naxos, Amorgos, and Ios in the southeast Cyclades. Keros became widely known after a series of extensive and clandestine excavations in the 1950s and early 1960s, which concentrated on a particularly rich deposit of material at the site of Kavos, situated at its barren western extremity. These major lootings resulted in the illegal export from Greece of a large number of Early Cycladic objects - mostly fragmentary marble figurines - that flooded the international antiquities market under the general name the Keros Hoard. The cache was said to have included at least 350 Cycladic objects and is now widely dispersed. This study features a review of the archaeological investigations on Keros; a discussion of the so-called Keros Hoard; an extensive account of the various aspects of Cycladic figurines; and a catalogue of the objects identified as coming from the Hoard. Also included are an analysis of the data derived form the Hoard, the results of the study comparing the fragments in the Museum of Cycladic Art with those discovered at Kavos during official archaeological investigations; an interpretation of the Ho

Annotation "Personal Styles in Early Cycladic Sculpture represents the culmination of thirty-five years of study. Pat Getz-Gentle offers here much new material and many fresh insights into a tradition, rooted in the Neolithic period, that spanned most of the third millennium B.C. She begins with a review of this tradition, placing particular emphasis on the stages leading to the reclining figure with folded arms that is the unique and quintessential icon of the early Bronze Age culture at the center of the Aegean. She then focuses on the styles of fifteen sculptors, several of whom are identified and discussed for the first time in this volume. By introducing little-known pieces attributable to these sculptors, she illuminates various phases of their artistic development."--BOOK JACKET. Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

This textbook offers an up-to-date academic synthesis of the Aegean islands from the earliest Palaeolithic period through to the demise of the Mycenaean civilization in the Late Bronze III period. The book integrates new findings and theoretical approaches whilst, at the same time, allowing readers to contextualize their understanding through engagement with bigger overarching issues and themes, often drawing explicitly on key theoretical concepts and debates. Structured according to chronological periods and with two dedicated chapters on Akrotiri and the debate around the volcanic eruption of Thera, this book is an essential companion for all those interested in the prehistory of the Cyclades and other Aegean islands.

The J. Paul Getty Museum Journal 12 is a compendium of articles and notes pertaining to the Museum's permanent collections of antiquities and decorative arts. This volume includes a supplement introduced by John Walsh with a fully illustrated checklist of the Getty’s recent acquisitions. Volume 12 includes articles written by Pat Getz-Preziosi, Brunilde Sismondo Ridgway, Guntram Koch, Jiří Frel, Reynold Higgins, Alain Pasquier, Birgitta Lindros Wohl, Mario A. Del Chiaro, David Ball, Frank Bommer, Hille Kunckel, Anna Manzoni Macdonnell, Georges Daux, Stanley M. Burstein, Jaan Puhvel, Marit Jentoft-Nilsen, Gillian Wilson, Adrian Sassoon, and Charissa Bremer-David.

First published in 1985, this ground-breaking book surveys the development of Cycladic sculpture produced by unidentified artists who worked in the Aegean islands forty-five hundred years ago. Illustrated with numerous objects from American collections—with particular emphasis on some two dozen pieces in the Getty Museum—this volume surveys the typological development of Early Cycladic sculpture and identifies, where possible, the work of individual sculptors. Newly revised and updated, this book is a concise introduction to the field.

This book reconsiders how we can understand archaeology on a grand scale by abandoning the claims that material remains stand for the people and institutions that produced them, or that genetic change somehow caused cultural change. Our challenge is to understand the worlds that made great projects like the building of Stonehenge or Mycenae possible. The radiocarbon revolution made the old view that the architecture of Mycenae influenced the building of Stonehenge untenable. But the recent use of 'big data' and of genetic histories have led archaeology back to a worldview where 'big problems' are assumed to require 'big solutions'. Making an animated plea for bottom-up rather than top-down solutions, the authors consider how life was made possible by living in the local and materially distinct worlds of the period. By considering how people once built connections between each other through their production and use of things, their movement between and occupancy of places, and their treatment of the dead, we learn about the kinds of identities that people constructed for themselves. Stonehenge did not require an architect from Mycenae for it to be built, but the builders of Stonehenge and Mycenae would have shared a mutual recognition of the kinds of humans that they were, and the kinds of practices these monuments were once host to.

Proceedings of the 7th International Conference of the Association for the Study of Marble and Other Stones in Antiquity organized by the French School of Athens, the National Center for Schientific Research DIMOKRITOS, the 18th Ephoreia of Prehistoric and Classical Antiquities (Kavala) and the Institute of Geology and Mineral Exploration, Thassos, September 15-20, 2003.

38 papers on Aegean Bronze Age pottery in honour of Jeremy Rutter. They range from specific site reports, to technical reports, and issues of chronology, to analysis of the social and religious functions of particular vessel types, and studies of trade and cultural contacts.

This handbook showcases studies on art theft, fraud and forgeries, cultural heritage offences and related legal and ethical challenges. It has been authored by prominent scholars, practitioners and journalists in the field and includes both overviews of particular art crime issues as well as regional and national case studies. It is one of the first scholarly books in the current art crime literature that can be utilised as an immediate authoritative reference source or teaching tool. It also includes a bibliographic guide to the current literature across interdisciplinary boundaries. Apart from legal, criminological, archeological and historical perspectives on theft, fraud and looting, this volume contains chapters on iconoclasm and graffiti, underwater cultural heritage, the trade in human remains and the trade, theft and forgery of papyri. The book thereby hopes to encourage scholars from a wider variety of disciplines to contribute their valuable knowledge to art crime research.