Worship scene of three figures: Ishtar ascends left with her foot on the forepart of a lion, her head facing; she holds a harpe-sword down in her left hand, and a sceptre consisting of a mace and two lion-headed harpe-swords in her outstretched right hand. Before her stands an utukku wearing a tall conical hat. Behind him stands a lamassu. In the sky before Ishtar is a crescent; in the sky before the lamassu is a 'horned toad'; in the lower field, a fly.

{f} š i - i t - t a - n i D A M {m} q i š t i ( N I G . B A ) n i n - š u b u r G E M E ₂ š a {d} E n - k i, "Šittani, wife of Qišti-Ninšubur, servant of Enki" A woman in a long robe stands left, both arms raised in salutation.

{d} U T U {d} a - a "Šamaš, Aya" Salutation scene: the primary figure is a standing man wearing a fringed garment and a conical headdress; perhaps he represents the king. Before him stands the worshipper, who makes the gesture of salutation with his right hand while holding the other at his waist. A kilted man approaches behind him, carrying a bent stick (throwstick? bow?) in his left hand. Sufficient space for a three line inscription remains, but only one line was inscribed; the remaining spae was filled with a monkey over a 'bow-legged dwarf'. In the lower field before the primary figure, a ball-and-staff; above that, (?); in the lower field behind the worshipper, a scorpion.

Contest scene composed of five figures; at the left, two bulls flank a nude man in a manner similar to the master-of-animals scene, but the man faces right; the bull on the left faces the viewer while the other faces right, where he is attacked by a lion; another human figure, his face towards the viewer, pulls the lion away from behind.

Slightly concave shape. Salutation scene; a god wearing a flounced garment and holding a cup in his outstretched right hand sits left on a two-niched throne with a low back, an astral symbol consisting of star-disc crescent; before him stands a man wearing a mantle and kilt; behind the god stands another man, wearing a fringed garment; his headdress seems to have a single horn in front. In the terminal space, two rampant gazelles, crossed; above them, a rampant lion left, turning his head back towards a bird standing left.

Frieze of figures; left to right: Kusarikku standing right holds a mace-standard; an erect lion attacks a goat sitting on a low conical structure, between them a fly; an erect liongriffin fights a lahmu, between them a fish; in the sky behind the liongriffin, a crescent.

Offering scene: Shamash ascending, his right foot on a stylized mountain, holds a saw in his right hand; in the sky, an astral symbol. Before him, the king approaches carrying a ram; behind him a lamassu and an utukku wearing a tall conical cap.

a - w i - i l - l a d u m u i - d i - i a - t u m I R ₃ {d} I M Worship scene with three figures: Adad stands holding a thunderbolt; before him a spade symbol; a man in the pose of the utukku; and a nude female figure. In the space behind the man, a crook; above that, a crescent.

A beardless male figure wearing a tall conical hat and a long fringed mantle, his right hand raised in salutation, stands left before a taller bearded male figure wearing a round cap with upturned brmi, a kilt and a long fringed mantle, who reaches out his left hand; behind the former stands a supporting goddess. In the sky between the male figures is a sun-disc with crescent between a tiny scorpion and ...; below it a tiny vessel and a human head; below those, a leaf; below that; a beardless male figure, half-kneeling left, apparently wearing a kilt; over the head of the shorter male figure, a bird standing left; behind that bird flying left; below that a scorpion, below which a (nude?) beardless male figure standing left with both hands at his waist. The terminal is neatly divided into two registers by a guilloche bracketed by a line above and below. Above that four beardless (male?) figures, wearing long robes and conjoined at the shoulder, stand left; the leading figure carries a short stick in his hand; the last figure holds his hand upwards; behind him is a tiny ???. The border line below them connects at the left to an upright element, perhaps a human arm (?). Below the guilloche a winged liongriffin attacks a seated lion from behind. Above that, a small throwstick (?). The whole seal is bordered top and bottom by a single line.

Two beardless (male?) figures face one another, each holding up one hand in salutation. In the sky between them, a bird, a "mongoose" below it; in the terminal area, a seated lion holds up one paw over the back of a seated ibex, which turns its head back to the lion; over the lion, a hare; over the ibex, a human hand, a human head, and an eight-pointed star. Behind the hare, a fly.

Worship scene consisting of four figures; a deity standing left holds up one arm, but is otherwise lost; approaching from the left is an unusual utukku, who wears a long fringed mantle; behind him a lamassu; and behind her another man in an usual garment. A terminal design, which may have consisted of a vertical row of small figures, is almost completely worn away.

A bearded man grasps a bull by one horn; behind the former, a winged scorpion-man.

This seal presents many difficulties. The positioning of the arms of the standing figures at the left of the scene is unusual;they hold one arm downward. The seated figure holds both hands in front of himself, which is also unusual or unheard of. The inscription does not appear to make sense and is inverted. The seal itself is unusually short for its diameter and the hole is unusually wide. See also Garrett 18 and 20, and Balken 76, all very possibly by the same manufacturer.

Devotional scene; an utukku stands between two lamassu; a god sits l. on a throne with one niche, holding up an implement in his outstretched hand. Before the utukku is an astral symbol; behind him a star, below which is a forked thunderbolt (?). The seated figure is rminiscent of a figure that appears on seals from Mari, holding up a knife or saw like that of Shamash.

Worship scene with three participants: Shamash ascending, a priest with pail and sprinkler, and a king pouring a libation. Traces of an erased inscription of three lines. The carving of the scene appears to have been very fine, but the surface of the seal is now very eroded.

Worship scene with four figures: a figure sits left on a niched throne with a low back holds a cup; before him, a deity ( lamassu?) stands left facing an utukku; between them, a crescent and a spear (?); a final figure standing right in salutation posture.

Worship scene of three figures: an uncertain primary figure, utukku and lamassu. The primary figure is apparently a goddess, but she wears a fringed garment.

Salutation scene of three figures: Shamash, the worshipper, and utukku. Behind Shamash, a large shepherd's crook; in the sky before him, a crescent, below which a monkey; in the sky behind the worshipper is a vessel(?), below which a ball-and-staff. A ground line runs below the whole scene. The carving is schematic to the point of simplification; Shamash's saw, for example, becomes little more than a stick.

Perhaps a carnelian (?). Three figures standing; in the upper field, a bird; in the field several uncertain marks. Terminal: a bird l. between borders of scrolls? The carving is extremely crude and rough. The seals appears to be an imitation of a seal very much like Garrett 28. "Uncertain. Unfinished." (Frankfort)

{d} [ D U ₃ ] U T U / {d} a - a "Shamash, Aya" Salutation scene: a god holds a harpe-sword in his l. hand, dropped behind his body; before him stands a worshipper with one hand raised in salutation; behind the latter stands a figure, possibly kilted, holding a staff before his body.

Worship scene of three figures; a male (?) figure wearing a long skirt stands left before an utukku; between them a crescent and the crook of Amurru; behind the utukku stands the nude female figure; between them, a ball-and-staff below a ...

A seated figure drinks through a straw from a vessel placed at his feet; the straw is held by an attendant; behind the seated figure is another attendant. In the terminal space are two circles with center dots and wedge. The seal is bordered by a line at the top and the bottom; the whole scene is divided by four vertical dividing lines.

A human figure and an antelope approach a double-headed eagle; to the left of the latter is an inverted worshipper, before whom an inverted bird (?) Three irregular pellets occupy the field around the eagle.

Reversed presentation scene. The primary figure sits on a simple throne; both figures before him appear to be worshippers, both have hair and salute with their right hand while holding the left to the waist. In the upper field before the primary figure is a large, shallow crescent, below which is an uncertain form apparently representing an offering stand or a table. In the lower field between the worshippers is a six-pointed star. A staff or standard with a star or cross at the top serves as a terminal.

Two winged genii advance right; in the lower fields between them a plant and three uncertain marks. One of the genii has four wings, and raises his hands on either side of his body; the other has three wings and only one arm, which he raises before his body.

A bearded priest with long hair stands facing right before an altar surmounted by a crescent; on either side of the altar stands a divine emblem; in the upper field before the priest is a radiant star; in the field behind him is a winged sun disk; below which a rhomb and a fish. Line borders at both ends of the seal.

Contest scene of master-of-animals variety: a bearded man grasps one foreleg of each of two gazelles, both of which face away from him; in the upper field between them, a star with eight rays.

Bead shaped. A bearded man grasps a gazelle by one horn.

Worship scene involving four figures; the primary figure is a kilted god(?) holding a mace in his left hand and an axe in his right; before him stands "the Syrian woman" and a lion-demon; behind the primary figure is an attendant figure in a fringed garment, whose head is lost to a chip.

N U . U H ₂ . D I N G I R g a l a - m a h u r u - s a g - { . . . } Contest: a man fights a lion.

The great king standing left, holding a rampant lion by the neck with his right hand, about to strike him with a dagger held in his left hand which is dropped at his side.

A bearded priest wearing a long robe stands right before three divine symbols, all placed on an altar; overhead, a star.

A bearded priest wearing a long robe stands left before three divine symbols.

A bearded priest wearing a long robe stands right before three divine symbols on an altar.

A bearded priest wearing a long robe stands right before three divine symbols, a crescent above.

A bearded priest wearing a long robe stands left before a divine symbol.

A winged sundisk, a crescent above it.

A lion walking right, a star above its back and another before it.

(not hematite? All the same stone: Pyne 108, 116, 117, 118) A standard surmounted by a crescent, flanked by leaves from a plant.

A goat crouching right.

A fowl standing right, a star over its back, a pseudo-inscription before it.

A tulip flower, its stem placed between broad leaves.

A standard surmounted by a crescent, placed between leaves.

A quadruped crouching right, three symbols above it.

A standard surmounted by a crescent, a Pahlevi inscription on both sides.

Contest scene: two man-headed bulls stand crossed with one another; the further of the two is attacked from the right by a rampant lion, its head shown as if from above; the lion is in turn attacked by a kusarikku. To the left an antelope standing left, its head back, is attacked by a panther which is in turned attacked by a man wearing a long robe who holds an axe in his right hand. The seal is beautifully carved and the style is superficially convincing. A number of details, however, are poorly understood by the seal carver. In particular the man-headed bulls are problematic. Strictly speaking, man-headed bulls do not occur on the seals of the Akkad period. Bison, however, are common on genuine seals throughout that period. Relatively early in the period, the bison is typically shown with its head shown frontally, and bearing almost human features (as on Princeton Art Museum 70-26 and Garrett 3, shown below). Later in the period the bison's head is shown in profile, as on Balken 15. Note that on Garrett 3 the bison has two horns, as we would expect on a bison; but on Garrett 2 they wear an elaborate headdress apparently intended as that worn by gods, featuring multiple tiers of horns, though poorly understood here. The headdress intended by the seal carver was common from the late Akkad period through the Old Babylonian, but it should not appear on a bison. The kusarikku on this seal wears the same headdress; indeed the heads of the bison and of the kusarikku are indistinguishable. The kusarikku may wear such a headdress on seals, but not before the Old Babylonian period (see Pyne 42).

Contest scene involving eight figures. At the right are two lions, each held by a lahmu who grasps one of the lions' hind legs and rests his own foot on the lion's neck. To the left, a bison is held by a bearded human figure wearing a kilt and a fez-like headdress; behind the latter is a god who holds another figure, perhaps a bison or more likely a kusarikku, in similar fashion. The proportions of the figures are in many places rather irregular; note in particular the left lahmu, whose head seems unusually small and whose left leg is completely out of proportion to the rest of his body.

Introduction scene; four standing deities approach a deity seated r. Plants grow from the primary figure's shoulders; the primary figure wears a flounced garment, all the standing ones wear pleated garments. The details of all figures are obscured by the poor condition of the material.

Uninscribed; an inscription has probably been erased. Introduction scene. The primary figure wears a flounced garment, but all other details are lost due to the condition of the material. Before the primary figure is an uncertain symbol; behind the introducing goddess is a ball-staff below a comb. In the terminal space, which probably once held an inscription, two figures stand on a ground line over a large dog standing r. The two figures are probably a lahmu half-kneeling r. facing a kusarikku standing l. holding a standard.

u r - b a - k u g - g a / d u m u l u ₂ - n i n - š u b u r . Introduction scene; the primary figure is a goddess wearing a flounced garment and seated on a two-niched throne placed on a dais; the introducing figure is a goddess wearing a pleated garment; the worshipper wears a fringed garment. In the sky between the goddesses is a crescent.

{d} U T U Contest of two symmetrical pairs, each consisting of a kusarikku fighting a human-faced bison. The latter are arranged in the center of the scene, their bodies facing away from one another, their heads side-by-side shown frontally. Between them is an ornamental mace-standard; in the space before the bison are a ball-staff and comb. The inscription serves as a terminal but is not enclosed in a frame.

Devotional scene consiting of three figures: at l., a nude female figure shown frontally but her head turned r. toward the other two, who stand facing one another; in the center a kilted man stands in the posture of an utukku, facing another figure, probably a god, wearing a pleated garment. He appears to hold something in his hand, but this is more probably a 'fly' in the field. Above this is a crescent. In the terminal space are two or more abraded symbols, probably a bow-legged dwarf and another figure above it as well as a standard of some kind. These have perhaps been erased in preparation for an inscription.

e - r i - i b - {d} E N . Z U D U M U k u - . . . - b i I R ₃ w a - i - u m An utukku and a lamassu stand on a ground line facing one another. The last lines of inscriptions of this type normally name either one or two deities or the king. Though no king of the name Wayyum is known at present, it is quite possible that he was the king of some minor city-state in the 19th or 18th century BC.

Inscription (bungled). Utukku and lamassu stand facing one another. The seal, if genuine at all, has been completely recarved, probably by the manufacturer of Garrett 20, Balken 76, and Pyne 56.

{d} U T U / {d} a - a Utukku (?) stands between two lamassu. Fake, probably by the same maker as Garrett 18, Balken 76, Pyne 56 etc.

A jumble of various motifs drawn from a wide range of Mesopotamian glyptic; the main scene seems to be a worship scene, with a worshipper standing before a seated deity whose throne rests on the back of a lion crouching left, behind which is another lion crouching right. The worshipepr stands on the head of a sphinx crouching right. As a terminal, two antelopes rear up against a tree, over which is a star. In the field are two birds, a scorpion, a crescent, and an unusual figure, apparently a pazuzu, standing on a pedestal and holding an animal by the feet in each hand. The upper edge of the seal has an elaborate guilloche-like border; the lower edge has a border of four lines.

Devotional scene: two 'king' figures stand facing one another, a lamassu standing r. between them. The l. 'king' holds his arms in salutation posture, the other salutes with one hand while in the other carrying a rabbit which hangs head-downward before him. A terminal in two registers divided by a guilloche between linear borders; upper register: a bird-demon half-kneels r. holding in each hand the tail of a goat which tries to escape; both goats turn their heads back toward the demon. Lower register: two lions sit facing one another, holding up one paw as if in greeting.

Devotional scene: a god who is nude except for a double belt stands r. holding a filetl (?) in his outstretched l. hand. Before him stands a 'king' figure, wearing a mantle with rolled hems, a kilt and a rounded headdress. He holds a plant motif in his outstretched r. hand. Between these figures is an offering stand, above which an astral symbol. Behind the 'king' is a male worshipper wearing a fringe garment and short hair, no beard, holding a trident in his outstretched hand. Terminal in two registers: above, an antelope recumbent l. with one of its forelegs raised; below, a hare crouches l. A guilloche between linear borders divides the registers of the terminal; linear borders at both ends of the seal.

Devotional scene. Three figures, left to right: a worshipper holding a palm frond stands r.; before him two figures, a man wearing an open pleated robe who strides r. holding a doubled staff, and a man wearing the dress of the 'king' but no headdress, also holding a staff, stand facing one another; between them is a tall stylized tree motif. Terminal: a large game bird or vulture flies l. between two plants; above and below, short scroll motifs set off with single lines. Linear borders.

Contest scenes. Two male figures wearing rounded headdresses and open robes fight a lion; the r. figure holds the lion by its jaw and one foreleg while the other pulls its nose and tail while resting one foot on the lion's legs. This design is then repeated, the only difference being that the r. figure now holds a harpe at his side rather than holding the lion's foreleg.

Worship scene; a god sits l. on a throne placed on the back of a dog or lion; before him a worshipper stands r. holding out both hands. Between the figures is a table on which rests an uncertain device, perhaps an offered animal. Over this is a winged sundisk. In the field, a crescent, a balance, and a rhomb. Linear borders.

Master of animals scene; a man wearing an open robe stands l. holding the forelegs of two demons, each a winged lion with human head; in the field, rhombs. Terminal: a bull recumbent l. with a fish l. below it, a pellet and a crescent between them. Fake?

Contest scene: the king stands r. holding with his l. hand a monster by the horn on its head and preparing to strike it with a dagger held in his r. hand. The monster is a lion with wings and a horn. The action takes place on a ground line.

Ring-shaped. Two horned animals crouching r.

Gable shaped. A stag stands r. with his head turned back; behind him, the forepart of another animal, probably a doe, in the same posture. The design appears to be incomplete, as if it was intended to show both the stag and a complete doe; but from the orientation of the gabled back it does not appear that the seal is broken.

A fawn crouching r.; above it, a plant motif.

Hemispherical shape with suspension knob. An ibex or goat stands l.

Uncertain design consisting of a quadruped and other motifs.

The glaze is dark brown wher it fills the crevasses of the seal design, but a lighter amber color elsewhere. Cartouches filled with designs intended to resemble Egyptian hieroglyphic writing.

No description available.

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Introduction to goddess on two-niched throne on dais; in the sky, a crescent; in the field before the primary figure, a scorpion. The terminal space, reserved for an inscription, has been filled with a bull crouching l. above which is a mongoose (?) l. and a tortoise (?).

Devotional scene in two groups of two figures each; right to left: a god wearing an open robe ascends l. facing a 'king' holding an offering, probably an animal such as a goat, in his arms; in the sky before the ascending god is an astral symbol. A god stands l. holding a harpe in his l. hand which hangs behind his back; he faces another male figure, probably an utukku variant (no mace, unusual clothing, pointed headdress). In the sky between the other two figures is a human head l. Terminal: a dog sits l. with a tall pole resting on his head.

Inscription in four lines beginning " Nergal ..." A lamassu faces the inscription.

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{d} M A R . T U / d u m u a n - n a / d i n g i r M E . U R . S A "Amurru, son of heaven, the god who ... {religious} order." A woman stands in praying attitude.

1 item2.5 cm x 1.3 cm

n u - u r ₂ - k a b - t a D U M U U R . B E - a n - n a I R ₃ {d} n i n - . . . Utukku and a lamassu face one another. Slightly concave shape. Similar design on Balken 5; Pyne 63, 68.

Two registers divided by an irregular rope-like line; below it three quadrupeds (hare?) crouch r., above it an uncertain design.

{d} š a m a š / {d} a y a Introduction to the "king" (?) who wears a pleated garment; in the sky, a crescent. In the lower field before the worshiper is a star. The introducing figure appears to be a woman rather than a goddess, as she lacks the usual horned headdress; her garment is also unusual. The "king" does not wear his usual headdress; both he and the worshiper appear to have hair.

A large eagle grasps the hinds of two gazelles, one in each talon.

Contest scene consiting of four figures in two groups. On the left, the lahmu fights a bull, the latter's head turned away from him; on the right, kusarikku fights a lion.

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Salutation scene. The primary figure sits on a simple box throne. Both the latter and the single figure before him appear to have horned headdress. In the lower field between them is a schematic table. An irregular linear form, perhaps representing a door, serves as a terminal in the space behind them.

Worship scene; the primary figure is the weather god Adad, standing on the back of a bull advancing left; in his outstretched right hand he holds a forked thunderbolt. Before him stands an uncertain deity, probably a lamassu; she faces the utukku; behind him stands another figure, probably the priest with sprinkler and pail. A tall standard with a triangular top serves as a terminal. Before the priest is another forked thunderbolt; before the utukku is an uncertain device.

m a - š i - [ . . . ] I R ₃ {d} [ . . . ] Utukku and a lamassu face one another. Behind the lamassu was some blank space, as is normal for this type of seal; later, after the seal was broken (the lower half was lost at this time) another figure was carved in the blank space.

Inscription in four lines, severely abraded; Utukku stands right before a lamassu; between them a 'bow-legged dwarf' and perhaps a crescent; behind the lamassu are traces of a tall device like a standard.

Two deep diagonal gouges between thinner border lines; a series of smaller marks between them.

Broken. Four line inscription. Two figures in long robes stand facing one another; behind the figure at the left, a long device such as a harpe-sword. The top part of the seal, probably almost half of the seal, is missing.

A male worshiper stands before another figure which is, judging from the posture, an utukku; in the terminal space behind them, a lion attacks a standing ibex; above the lion, a goat and a fish; above the ibex, a "bow-legged dwarf."

Contest scene, composed of five symmetrically arranged figures. In the center, a nude male figure facing right and pulling a bull away from an attacking lion; behind him, another bull also attacked by a lion.

A human figure leads or follows two animals. The animal before the figure appears to be a bull; the one before that appears to be a lion or a panther. Several uncertain markings fill the field; that over the bull is perhaps a bird, but the traces are not clear enough to be sure.

Salutation scene; the primary figure, seated on a schematic architectural throne, has an uncertain headdress probably representing hair, and no horns to indicate divinity. It is also unclear whether there is a beard. The worshiper, in a fringed garment, stands directly before the primary figure. In the field above them is a crescent, and in the field behind them a date-palm altar serves as a terminal.

Introduction scene: Before the primary figure stand four figures, all apparently male?; the first salutes with his left hand, his right hand is missing. The second holds his left hand to his chest while leading the third figure's left hand with his right. The third figure holds his right hand to his chest; the final figure holds both hands to his chest. All five figures wear the flounced garment. A few marks in the upper field around the primary figure suggest that the latter may have some attributes, such as plants or flames emanating from his shoulders, but these are now indistinct.

Two standing figures wearing long robes face one another; between them, a vessel in a stand; the figure on the right holds a bow (and a cup?), the figure on the left holds a fan. A plant below a crescent fills the space behind them.

A bearded priest wearing a long robe stands facing left towards an altar on which stand four divine symbols; above, a star of eight rays; behind him, a star of four rays.

A bearded priest wearing a long robe stands facing right towards an altar on which stand three divine symbols; above, a six-pointed star.

Irregular lines

Human figure and plants? Magnetite to hematite.

Horned animal l., over his back a lion r.; line border.

Horse and plant

No description available.

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Bird

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Two bulls

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Antelope?

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The head and neck of a stag, framed between leaves.

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Human bust in profile?

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Lion walking right, two stars over his back.

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Shallow gable shape. Antelope and plant (?); a deep box shape is engraved into one of the top facets, a shallow circle in the other.

Donut-shaped with one facet. Bird.

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Sphinx? Very worn.

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With one facet, but not carved as a seal

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Almost turtle-shaped. Irregular markings.

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Crescent enclosing seven dots

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q i - i š - t i / {d} m a r d u k , u m - m i - a N I G . L A , D U M U a - w i - i l {d} m a r d u k {l ú} n u . [ G I Š . K I R I ] w a r a d / {d} l u g a l - b a n ₃ - d a u ₃ / {d} n i n - s u n ₂ 'Gift of Marduk', treasurer, son of 'Man of Marduk', gardener, servant of (the god) Lugalbanda and (the goddess) Ninsun." Limet (1971:63) has read the PN Ki-rib{!}-ti-{d}Marduk, citing Langdon N 19. Broken and glued, a few small chips missing. Possibly exposed to fire. A bearded man stands left in the posture of salutation. Before him grow three barley ears; in the field above them is a recumbent sheep. In the upper field behind the man are six rhombs; in the field above them is a recumbent bull, or possibly a horse. Staggered inscriptions as on this seal are rare in the Kassite period, but a few examples are known (UET VII 9, BN 299).