|Equestrian Bridle-Harness Ornaments: Catalogue & Plates||J.J. Orchard||1967|
|Ivories in the Assyrian Style||M.E.L. Mallowan & L.G. Davies||1970|
|Furniture from SW 7, Fort Shalmaneser||M.E.L. Mallowan & G. Herrmann||1974|
|Ivories from Room SW 37, Fort Shalmaneser, part I||G. Herrmann||1986|
|Ivories from Room SW 37, Fort Shalmaneser, part 2||G. Herrmann||1986|
|The Small Collections from Fort Shalmaneser||G. Herrmann||1992|
|Ivories from the North West Palace (1845-1992)||G. Herrmann, S. Laidlaw & H. Coffey||2009|
|Ivories from Rooms SW11/12 and T10 Fort Shalmaneser, parts 1-2||G. Herrmann and S. Laidlaw||2013|
Discount for BISI Members
BISI publications are only available from Oxbow Books/The David Brown Book Company.
Members receive 20% off BSAI/BISI publications. There are special discounted prices at OXBOW on some of the older titles.
Equestrian Bridle-Harness Ornaments: Catalogue & Plates
Ivories in the Assyrian Style
Out of print.
Furniture from SW 7, Fort Shalmaneser
Ivories from Room SW 37, Fort Shalmaneser, part I
Text. Out of print.
Ivories from Room SW 37, Fort Shalmaneser, part 2
Plates. Out of print.
The Small Collections from Fort Shalmaneser
Ivories from the North West Palace (1845-1992)
The great, ninth century palace which Ashurnasirpal II (883-859) built at his new capital of Kalhu/Nimrud has been excavated over 150 years by various expeditions. Each has been rewarded with remarkable antiquities, including the finest ivories found in the ancient Near East, many of which had been brought to Kalhu by the Assyrian kings. The first ivories were discovered by Austen Henry Layard, followed a century later by Max Mallowan, who found superb ivories in Well NN. Neither Layard nor Mallowan was able to empty Well AJ: this was achieved by the Iraqi Department of Antiquities and Heritage, who retrieved arguably the finest pieces found at Nimrud. Finally, an interesting collection of ivory and bone tubes was found by Muzahim Mahmud, the discoverer of the famous Royal Tombs, in Well 4.
This volume publishes for the first time the majority of the ivories found in the Palace by location. These include superb examples carved in Assyria proper and across the Levant from North Syria to Phoenicia and provide an outstanding illustration of the minor arts of the early first millennium. In addition ivories found in the Central Palace of Tiglath-pileser III and fragmentary pieces found in the domestic contexts of the Town Wall Houses are also included.
In addition to a detailed catalogue, this book also aims to assess the present state of ivory studies, discussing the political situation in the Levant, the excavation of the palace, the history of study, the various style-groups of ivories and their possible time and place of production. This volume is the sixth in the Ivories from Nimrud series published by BISI.
Ivories from Rooms SW11/12 and T10 Fort Shalmaneser, parts 1-2
The attached PDF contains the text of volume I: Chapters 1-6 and the Appendices. The full contents, including the Catalogue and Colour & Black and White Plates, are available as print only and can be ordered from Oxbow Books for £90.00. BISI members receive a 20% discount.
About Ivories from Nimrud VII - The Lost Art of the Phoenicians
Fifty years have passed since the British School of Archaeology in Iraq raised the last ivory from the soil of Fort Shalmaneser. Literally thousands were found, many of which have already been published in Ivories from Nimrud I-V, while VI recorded the outstanding pieces from the North West Palace. Ivories from Nimrud VII, Ivories from Rooms SW11/12 and T10 completes the publication of the assemblages in the Fort, as far as records permit. The ivories of Room SW11/12 are similar in character to those of Room SW37 and probably represent another consignment of booty, while those of T10 in the Throne Room block include pieces from all four traditions, as well as some entirely new ones.
With the primary publication completed, it is now possible to look at these remarkable ivories as a whole rather than studying them by provenance, as is discussed in detail in the Commentary. Not surprisingly, it immediately becomes apparent that the majority can be assigned to the Phoenician tradition. There are at least twice as many Phoenician ivories than the other Levantine and Assyrian ivories. They form therefore an incredible archive, recording the lost art of the Phoenicians, long famed as master craftsmen.
The Phoenician ivories can be divided into two; the finest, the Classic Phoenician, often embellished with delicate, jewel-like inlays, and the other examples still clearly Phoenician in style and subject. While the Classic pieces were probably carved in a single centre, possibly Tyre or Sidon, the others would have been carved in a variety of different Phoenician centres, located along the Mediterranean seaboard.
Designs on Syrian-Intermediate ivories are versions of some Phoenician subjects, employing different proportions and styles. They may represent the art of the recently-arrived Aramaean kingdoms, copying their sophisticated neighbours, while North Syrian ivories are entirely different in subject and character and derive from earlier Hittite traditions.
The ivories found at Nimrud present a unique resource for studying the minor arts of the Levantine world.