Neclace with gold sheets with embossed busts of deities (probably Sarapis, Isis, Diana, Cybele, Venus (three times) and female figure)
Simple “coins” made of gold sheet. These simple “coins” were not used to barter with the living. These were placed on the closed eyes of the dead so they could pay their fee to cross the river Styx on Charon’s boat. (Hellenistic)
A golden wreath of myrtle leaves. (Early Hellenistic)
Gold jewels, probably for sewing on clothes. Hammered band-shaped sheet decorated with a loop in loop chain and rosettes in filigree and granulation technique with suspended chains ending on miniature pomegranates. (Early Classical)
Some of this jewellery also adorned the deceased while they were living, but jewellery is usually retrieved from tombs, which also reinforces the idea that when a woman died she took her personal property with her. Especially young women who died before getting married would have been offered all the lavish gifts that they would have received as brides- given that they came from a well off family. Such gifts would be beautifully painted vessels in the type of pyxis, lekanis- which was filled with jewellery, all sorts of little trinkets and perhaps confectionary for the bride- epinetron, nuptial lebes and loutrophoros.
Sigmar Polke (German, 1941–2010) was one of the most voraciously experimental artists of the twentieth century. This retrospective is the first to encompass the unusually broad range of mediums he worked with during his five-decade career, including painting, photography, film, sculpture, drawing, printmaking, television, performance, and stained glass, as well as his constant, highly innovative blurring of the boundaries between these mediums. Masquerading as many different artists—making cunning figurative paintings at one moment and abstract photographs the next—he always eluded easy categorization.