- CHINESE FUNERARY WARE, 2 FIGURES AND
CHINESE FUNERARY WARE, 2 FIGURES AND VASEChinese funerary ware, including 2 standing burial figures with remnants of paint, and an urn decorated with applied figures and dragon. Figures appx 10 1/2"t, urn 12"t.
- EGYPTIAN USHABTI BURIAL FIGUREEgyptian
EGYPTIAN USHABTI BURIAL FIGUREEgyptian Ushabti burial figure with painted hieroglyph decoration on front and label on base. Measures appx 4 3/4" tall, 5 1/2" tall on fitted base.
- A Phoenician Gold Burial Mask
Circa
A Phoenician Gold Burial Mask
Circa 1000-500 B.C. or Later
Width of mouth 2 3/4 inches (6.99 cm); 22 karat gold; 4.67 dwt.
- DEED DATED DECEMBER 29, 1956, CONVEYING
DEED DATED DECEMBER 29, 1956, CONVEYING THEburial ground on County Road, also referred to as the North Marion cemetery to the town of Marion, signed by members of the Society of Friends. 14" by 8". Good as found condition.
- CERAMIC REFERENCE BOOK COLLECTION ??????????????????????????????????????????Including:
CERAMIC REFERENCE BOOK COLLECTION ??????????????????????????????????????????Including: early pottery, Chinese Ming and Qing dynasty ceramics, museum and private collection, in total 44 publications.Asahi Shimbun Cultural Planning Department (Ed.). Newly Discovered Southern Song Ceramics: A Thirteenth-Century "Time Capsule". Tokyo: Asahi Shimbun Publishing Company, 1998.Ayers, John. The Seligman Collection of Oriental Art: Chinese and Korean Pottery and Porcelain. London: The Arts Council of Great Britain, 1964.Chen, Quanfang. Yaozhou Kiln. Shaanxi: Shaanxi Travel & Tourism Press, 1992.Chinese Ceramics: Leeds Art Gallery and Temple Newsam House. Leeds: Beck & Partridge Ltd, 1966.D'Argence, Rene Yvon Lefebvre. The Hans Popper Collection of Oriental Art. Japan: Kodansha International Ltd, 1973.Duan, Qing Bo. Ancient Chinese Pottery. Wuhan: Hubei Fine Arts Publishing House, 2001.Gerald, Reitlinger. Eastern Ceramics and Other Works of Art from the Collection of Gerald Reitlinger. Oxford: The Ashmolean Museum, 1981.Gompertz, G. St. G. M. Chinese Celadon Wares. London: Faber & Faber, 1958.Houli, Yang, and Fan, Fengmei. Dated Qingbai Wares of the Song and Yuan Dynasties. Hong Kong: Ching Leng Foundation, 1998.Hughes-Stanton, P. and Kerr, Rose. Kiln sites of ancient China: An exhibition lent by the People's Republic of China, 1981.Illustrated Catalogue of Celadon Wares in The Percival David Foundation of Chinese Art. London: School of Oriental and African Studies, 1997Joseph, Adrian Malcolm (Ed.). Chinese Pottery Burial Objects of the Sui and Tang Dynasties. London: Hugh M. Moss Ltd., 1970.Kerr, Rose. Song Dynasty Ceramics (Victoria & Albert Museum - Far Eastern Series). London: V&A Publications, 2004.Kotz, Suzanne (Ed.). Imperial Taste: Chinese Ceramics from the Percival David Foundation. San Francisco: Chronicle Books, 1989.Krahl, Regina. Yuegutang: Eine Berliner Sammlung Chinesischer Keramik / A Collection Of Chinese Ceramics In Berlin. Berlin: G + H Verlag, 2000.Lau, Aileen (Ed.). Spirit of Han: Ceramics for the After-life. Singapore: Sun Tree Publishing, 1991.Laurence, Desmond Roger. Chinese Porcelain: 25 years of unscholarly collecting. London: D.R. Lawrence, 2003.Laurence, S.J.. Chinese Pottery and Porcelain: From Prehistory to the Present. London: British Museum Press, 1991.Li, Hui Bing. Porcelain of the Song Dynasty (vol 1). Shanghai: Shanghai Science and Technology Press, 2002.Li, Hui Bing. Porcelain of the Song Dynasty (vol 2). Shanghai: Shanghai Science and Technology Press, 2002.Lu, Yaw, Feng, Xianming, and Tregar, Mary. Song Ceramics: With an Illustrated Catalogue of the Exhibition Organized by the Southeast Asian Ceramic Society and Held at the National Museum, Singapore in May-June 1983. Singapore: Southeast Asian Ceramic Society, 1983.M.H. de Young Memorial Museum. Avery Brundage Collection: Chinese Ceramics. San Francisco: de Young Museum Society, 1967.McElney, Brian Shane. Museum of East Asian Art: Chinese Ceramics v. 1: Inaugural Exhibition. Bath: Museum of East Asian Art, 1993.Medley, Margaret (Ed.). Decorative Techniques and Styles in Asian Ceramics: Colloquies on Art & Archaeology in Asia No.8. London: School of Oriental and African Studies, 1978.Medley, Margaret. Yuan Porcelain and Stoneware. London: Faber & Faber, 1974.Mino, Yutaka and Tsiang¸ Katherine. Ice and Green Clouds: Traditions of Chinese Celadon. Indianapolis: Indiana University Press, 1986.Mowry, Robert D., Farrell, Eugene, and Rousmaniere, Nicole Coolidge. Hare's Fur, Tortoiseshell, and Partridge Feathers: Chinese Brown and Black Glazed Ceramics, 400-1400. Cambridge: Harvard University Art Museums, 1996.Pierson, Stacey (Ed.). Qingbai Ware: Chinese Porcelain of the Song and Yuan Dynasties. London: Percival David Foundation of Chinese Art, 2011.Pierson, Stacey (Ed.). Song Ceramics: Art History, Archaeology and Technology: Colloquies on Art & Archaeology in Asia No. 22. London: Percival David Foundation of Chinese Art, 2004Pierson, Stacey (Ed.). The Museum of East Asian Art Journal. Bath: Museum of East Asian Art, 1995.Pope, John Alexander. Fourteenth-Century Blue and White: A Group of Chinese Porcelains in the Topkapi Sarayi Muzesi, Istanbul. Washington: Freer Gallery of Art Occasional Papers, 1952.Scott, Rosemary E. (Ed.). The Tectus Collection: Tectussamlingen, Centraltryckeriet AB Boras. 1991.Sullivan, Michael. Chinese Ceramics, Bronzes and Jades in the Collection of Sir Alan and Lady Barlow. London: Faber and Faber Limited, 1963.Sydney L. Moss Ltd.. Chinese Monochromes From the P.J. Donnelly Collection. London: Sydney L. Moss Ltd., 1974.The Burrell Collection: Chinese Stonewares and Porcelains. Glasgow: Glasgow Art Gallery, 1950s.The Museum of Oriental Ceramics, Osaka. Song Ceramics. Tokyo: Asahi Shimbun Publishing Company, 1999.The Vancouver Society for Asian Art Presents The Talking Jars. 1971Tregear, Mary. Early Chinese Green Wares: in the collection of the Ashmolean Museum. Oxford: Oriental Art, 1967.Tregear, Mary. Guide to the Chinese Ceramics in the Department of Eastern Art Ashmolean Museum. Walsall: Finaprint Ltd, 1966.Tung, Wu. Earth Transformed: Chinese Ceramics In The Museum Of Fine Arts, Boston. Boston: Museum of Fine Arts, 2001.Watson, William. Pre-Tang Ceramics of China: Chinese Pottery from 4000 BC to 600 AD. London: Faber & Faber, 1991.Watson, William. Tang and Liao Ceramics. New York: Rizzoli International Publications Ltd., 1984.Wirgin, Jan. Sung Ceramic Designs. 1970.Wood, Nigel. Chinese Glazes. Philadelphia: University of Pennsylvania Press, 1999.(qty)Please note this lot will be offered with no reserve. ???????
- RARE POTTERY BEAKER
WESTERN HAN DYNASTY
RARE POTTERY BEAKER
WESTERN HAN DYNASTY ?? ????of tapering cylindrical form supported on a pedestal foot, two incised bands decorating the upper part of the body(1)18.7cm highProvenance: Blitz Chinese Ceramics & Works of Art, 25 Nov 2013, with a photocopied receipt.Dr. Kenneth P. Lawley's inventory number: Cer.155.Note: Pottery beakers of this form are after examples made of precious materials, such as jade, lacquer or precious metals. Two smaller polychrome pottery goblets, Western Han dynasty, of comparable form and with decoration mimicking vessels made of more precious materials such as lacquer or bronze, are in the Metropolitan Museum of Art, accession no. 1994.605.34.Stem cups of this form made of precious materials, such as jade, during the Western Han dynasty, were items of the highest prestige produced for the imperial house, local royalty and a privileged elite connected to these courts. Several jade beakers of this type during this period, have been discovered at some of the period’s most important residential and burial sites, and were in tombs placed in prominent positions. Observes Regina Krahl, in 'Vermillion Birds for Immortality', catalogue note for an extremely rare and important jade 'twin bird' stem cup, Western Han dynasty, sold at Sotheby's Hong Kong, 9 October 2020, lot 16. Despite the elaborate decoration, another related important and very rare early carved greyish-green jade beaker with gold and silver-decorated bronze mount, Western Han dynasty, note the similarity in shape, is illustrated in Giuseppe Eskenazi, 2012, A Dealer's Hand: The Chinese Art World Through the Eyes of Giuseppe, London: Scala Publishers Ltd, pl. 155, and sold at Christie's New York, 19 Sep 2006, lot 175. Excavated lacquered stem cups or beakers are rare. [1] Compare to a related pair of gold foil-embellished and painted-lacquer goblets with gold-inlaid bronze mounts, previously in Sir Joseph Hotong's collection, sold at Sotheby's Hong Kong, 9 Oct 2022, lot 168; For bronze examples, one Eastern Han dynasty, see the Metropolitan Museum of Art, accession no. SL.1.2017.17.8, one Warring States period, sold at Sotheby's New York, 17 September 2013, lot 9, and one Western Han dynasty, sold at Sotheby's Hong Kong, 28 July 2022, lot 3037. There are three grey gritty pottery cups, dated to the Warring States period, with comparable texture, colour and seemingly the quality of this lot, in the Heyuan Museum.[1] Hong Shi, 2020, 'Xihan yinjiuju yanjiu: yi qiqi wei zhongxin (shang)', Palace Museum Journal, 224(12), pg. 68-69.Please note this lot will be offered with no reserve. ???????
- FOLK ART "I LIKE OLD JOE!" MIXED MEDIA
FOLK ART "I LIKE OLD JOE!" MIXED MEDIA ASSEMBLAGE Folk Art mixed media assemblage, depicting figure behind bars with political overtones including vignettes of the White House, "I Like Old Joe!" a burial marker inscribed "Korea," fish, music notes, and other eclectic imagery. Overall: 25.5" H x 20.25" W x 1.75" D. Soiling.
- CHINESE MING DYNASTY SANCAI POTTERY
CHINESE MING DYNASTY SANCAI POTTERY ATTENDANT Chinese Ming Dynasty (1368-1644) green and ochre sancai glazed pottery burial figure of an attendant standing on hexagonal base. 14.5" H x 5.5" W x 4" D. Crazing and minor losses to glaze.
- CHINESE MING DYNASTY SANCAI POTTERY
CHINESE MING DYNASTY SANCAI POTTERY ATTENDANT Chinese Ming Dynasty (1368-1644) green and ochre sancai glazed pottery burial figure of an attendant standing on hexagonal base. 14.25" H x 6" W x 4" D. Crazing and minor losses to glaze.
- JACK WUNUWUN (1930-1990) ABORIGINAL
JACK WUNUWUN (1930-1990) ABORIGINAL BARK ART, 49"HLarge Aboriginal painting, natural earth pigments on eucalyptus bark, "Burial Ceremony", Jack Wunuwun (Gamardi, Northern Territory, Australia, 1930-1990), 49.25"h, 15.25"w, mounted on a board: 54"h, 20"w, *Note: Wunuwun's art works are in the collections of The National Gallery of Victoria, The National Museum of Australia, a short film clip showing him painting at the National Film and Sound Archive of Australia,
- TWO KONSO WAKA BURIAL POSTS, ETHIOPIAWood,
TWO KONSO WAKA BURIAL POSTS, ETHIOPIAWood, pigment and goat bone.
The tallest figure25 in; 27 3/4 x 5 x 5 in., the tallest (overall).
Condition
Both in weathered condition with losses, age splits and scuffing throughout. Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
- A LARGE CHINESE OLIVE GREEN GLAZED JAR
A LARGE CHINESE OLIVE GREEN GLAZED JAR Han dynasty (206 BC- 220 AD), large jar with olive green glaze, raised bands encircle the body and around the neck, very fine crackle to areas of the glaze, has iridescent encrustations from burial to one side, unglazed foot, raised drops of glaze on rim, unglazed indention marks to top rim and foot rim from kiln firing, comes with original invoice dated 11/19/2002 from Gerard Santolini, Archeologie et Arts del la Chine, Paris.
Purchased from Gerard Santolini, Archeologie et Arts de la Chine, Paris in 2002.
- FRAMED FINE HEART & TULIP MOTIF BIRTH
FRAMED FINE HEART & TULIP MOTIF BIRTH & BAPTISM REca. 1802; ink and watercolor egg tempura Fraktur on screen laid paper with fine hearts and tulip motif border with Brechall flowers in the corners in bright red, green, blue and yellow colors, interior with a rope twist and decorative scroll and geometric pattern within its accent lines, record for Leonhart Strohl, son of Leonhart & Susanna Margaretha (Jüngin/Young) born 5-12th 1802, baptized July 4, 1802 into Evangelical Lutheran Church by Daniel Schäffer in Northampton Co., artist name clearly signed in right side heart textbox; a secondary record within the heart textbox describes Leonhart Strohl died April 25, 1810 at 7 years old with record of his burial, professionally framed under two-sided glass with secondary reverse viewing panel; Condition: roll creasing, water spot in upper left corner
- A GROUP OF CHINESE POTTERY BURIAL FIGURESA
A GROUP OF CHINESE POTTERY BURIAL FIGURESA group of Chinese pottery burial figures, Tang Dynasty (618-907) The ceramic polychromed figures including a camel, a bovine, an equestrian man, and three female attendants, 6 pieces Dimensions: Largest: 13.75" H x 4.75" W x 11.5" D; smallest: 11.25" H x 4.125" W x 3.25" D
- FOUR CHINESE POTTERY BURIAL FIGURESFour
FOUR CHINESE POTTERY BURIAL FIGURESFour Chinese pottery burial figures, Ming Dynasty (1368-1644) The polychromed ceramic figures with detachable heads, comprising a couple on horseback and another couple with green glazed robes, 4 pieces Dimensions: Each horseback: 14.5" H x 5.5" W x 10.75" D; each standing: 18.5" H x 5" W x 4.75" D approx.
- A Group of Nine Archaic Glass Burial
A Group of Nine Archaic Glass Burial Ornaments, Han Dynasty (206 BC-AD 220) ? ???? ???????? ? ???? ????????
- CHINESE TERRACOTTA ARCHITECTURAL MODEL,
CHINESE TERRACOTTA ARCHITECTURAL MODEL, TANG DYNASTYA Chinese terracotta model of an architectural entryway, believed to be from the Tang dynasty (AD 618-907), constructed of clay slabs with green glaze decoration. Likely a burial ornament modeled after the deceased's home, entombed with the dead as comfort in the afterlife.
Measures 16 3/4" x 12" x 9 3/4".
Condition
Heavily aged appearance due to age, including some hairlines and staining. There is a repaired break on the overhanging eaves. Minor losses including at the top of one side of the doorway. There is a baggy with a few of the small broken pieces included with the lot.
- PAUL SURBER (1942-), BURIAL Title: Paul
PAUL SURBER (1942-), BURIAL Title: Paul Surber (1942-), Burial Dimensions: 10 x 15 Frame dimensions: 16 1/2 x 21 1/2 x 1 1/2
- ETRUSCAN REVIVAL URN LAMP 42" x 13½"
ETRUSCAN REVIVAL URN LAMP 42" x 13½" Plaster lamp in the form of an Etruscan burial urn painted to look like terracotta, with three sockets with pull chains on bronze clawfoot mount, unmarked, together with black paper shade with black and gold foil marbled interior and decorative fabric trim around bottom, 11" x 22¼".
- DENNIS OPPENHEIM (AMERICAN,1938-2011)
DENNIS OPPENHEIM (AMERICAN,1938-2011) LITHODESCRIPTION: Dennis Oppenheim (American, 1938-2011) Signed & numbered in pencil, Limited edition, Lithograph on woven paper. Title: Relocated Burial Ground "48/150" Stamped on reverse " 1978 Herman Finesod"Â CIRCA: 1979 ORIGIN: USA DIMENSIONS: L: 41" x W: 29.75"Â CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
- TAINO (C. 1000-1500 CE) RITUAL BURIAL
TAINO (C. 1000-1500 CE) RITUAL BURIAL MASKTaino (c. 1000-1500 CE) Ritual Burial Mask . A ritualized burial mask made of light colored serpentinite. Undecorated concave back. Stone masks are believed to be characterized portraits of deceased caciques (chiefs) or elite Taino hierarchy. They were probably used as temporary grave markers. The Taino tradition of burying the body until it deteriorated so the bones could be placed under the floor of a relative's house was a long held tradition. The carved mask would be ritually moved from the exhumation to the caney or lodge used to store ceremonial items. It would be kept as an ancestral memory device used to recount cult histories. Provenance: Larry Roberts, author of Taino Sculpture: Art of the Gods. Acquired from Pre-Columbian Art ξcollector Thomas Villanova (Miami and El Salvador) in the late 1960s. Size: 11'' x 7'', 28 x 18 cm. Height on Stand: 9", 23 cm.
- FINE POTOLO PONCHO, QUECHUA, BOLIVIA.Potolo
FINE POTOLO PONCHO, QUECHUA, BOLIVIA.Potolo Poncho, Quechua Culture, Bolivia c.1930 Wool Potolo weavings are recognized by their inventive and marvelous mythical beings found on many ancient Peruvian burial cloths. Night animal such bats, and night dragons, possess a personality of inner life of their own. Size: 72'' x 55'' (183 x 140 cm).
- 4-PANEL PAINTED ETHIOPIAN COPTIC ICONCarved
4-PANEL PAINTED ETHIOPIAN COPTIC ICONCarved wood Ethiopian Coptic Christian icon, comprised of four panels, each with two tempera-painted scenes including the Crucifixion, the Virgin Mary, and the burial of Christ, eight (8) scenes total. Four with Coptic inscriptions. Carved outer wooden case; panels held together with white string. 16" H x 7 1/2" W x 1 1/2" D. Likely 18th century or earlier. Provenance: the estate of Mrs. Adna Godfrey Wilde, Jr. (Sara Joan Wilde), Colorado Springs, CO.
Condition:
Slight losses to outer carving with shrinkage to wood. Painted panels retain their bright paint, several panels with minor paint loss.
- 3 NEW ENGLAND SIGNED SAMPLERS, INCL.
3 NEW ENGLAND SIGNED SAMPLERS, INCL. FAYETTEVILLE COLDS...Three (3) New England signed samplers.1st item: Rosanna Coldsmith (1821-1877) Fayetteville, Pennsylvania 1832 needlework sampler, silk on linen, featuring rows of alphabets and numbers over signature; title, "Sampler"; location and date; and family members' initials "CC MC RC", including her father Conrad Coldsmith (1782-1847) and her mother Mary C. Coldsmith (1781-1858), having flowers to lower portion and surrounded by a strawberry or flowering vine border. Housed under glass in an ebonized wooden frame. Sight: 15 7/8" H x 16 5/8" W. Framed: 18 7/8" H x 19 5/8" W. Note: The birth and death dates for Rosanna, Conrad, and Mary Coldsmith along with their burial location are recorded in the Lancaster, Pennsylvania, U.S. Mennonite Vital Records, 1750-2014. 2nd item: Maria Heyst (Heist) (c.1823-1897) Fayetteville, Pennsylvania 1836 needlework sampler, silk on linen, featuring rows of alphabets and numbers over signature; title, "Sampler"; location; and date, surrounded by flowering vine border. Housed under glass in a wooden frame. Sight: 19 1/2" H x 7 3/8" W. Framed: 21 7/8" H x 9 3/4" W. Note: The birth and death dates for Maria Heist along with her burial location and cause of death (dropsy) are recorded in the Pennsylvania and New Jersey, U.S., Church and Town Records, 1669-2013. 3rd item: Leonora Arminda Tupper needlework sampler, silk on linen, featuring rows of alphabets and numbers over "Leonora Arminda Tupper wrought this in the 11th year of her age" above poem reading "How pleasant it is at the end of the day / No follies to have to repent / But reflect on the past and be able to say / That my time has been properly spent" and an image of a farmhouse with a tree. Housed under glass in a wooden frame. Sampler: 16 1/2" H x 15 5/8" W. Sight: 17" H x 15 7/8" W. Framed: 19 1/8" H x 18" W. Note: A Leanora A. Tupper is listed in the Ohio, U.S. County Marriage Records, 1774-1993 as marrying Marvin Teachout in Cuyahoga, Ohio on August 4th, 1845.
Condition:
Not examined outside of frames. 1st item: Three minor areas of repair to ground, largest measuring 3/4" x 5/8". 2nd item: Minor area of repair to ground measuring 1 1/8" x 1/4". 3rd item: Overall very good condition. Frame with scattered wear and minor losses to corner.
- 2 CHARLES BRINDLEY TENNESSEE TREE STUDIESCharles
2 CHARLES BRINDLEY TENNESSEE TREE STUDIESCharles Brindley (American/Tennessee, 20th-21st century), two graphite on paper Southern tree studies, both signed lower left, including one dated 1981 measuring 10" square (sight), 16 1/2" square (framed), and one dated 1984 measuring 17 1/2" x 13 1/4" (sheet), 23" x 18 1/2" (framed). Both matted under plexiglass in silver metallic frames. Artist biography (from artist's website): Charles Brindley lives and works north of Nashville, Tennessee. His work appears in public and corporate collections throughout the United States and in private collections internationally. Five touring exhibitions of Brindley's works have traveled to museums and art centers in the Southeast and Midwest. His subject matter generally encompasses trees, architecture, panoramic landscapes, rock formations, and mounds including Native American burial mounds. His images are highly representational but contain multi-layered abstract elements. In 1998 the Tennessee State Museum presented Landscape Vision: Works of Charles Brindley 1980-1997 and in 2007 the Evansville Museum organized an exhibit of his work spanning a twenty year period. "Far Hills: Images of the Tennessee Residence, " an exhibit of commissioned drawings and paintings of the historic mansion of Tennessee's Governors, completed a schedule of eight venues throughout the state in 2006.
Condition:
Both in overall very good condition, not examined out of frame. Larger work has light toning and a 1" square area that is not toned, upper right sky area.
- COLLECTION OF HARRY BLACKSTONE ARTIFACTS
COLLECTION OF HARRY BLACKSTONE ARTIFACTS AND MEMORABILI...Blackstone, Harry (Henry Boughton). Collection of Harry Blackstone Artifacts and Memorabilia. Seven pieces, including a 21” long shard of wood from Blackstone’s barn; a jar of dirt gathered soon after Blackstone’s burial, labeled “Earth from the grave of Harry Blackstone/ Nov. 20, 1965”; a jar of mint oil labeled “from the marsh once owned by Blackstone/ Colon 1965”; a color photo of Blackstone’s grave; a framed photo (8 x 10”); and a sealed cigar and set of playing cards from the Colon-Blackstone Society (1970s). Personally obtained by the former owner and author of Blackstone’s biography, Dan Waldron.
- AN ANTIQUE MAP, "MAP TO ILLUSTRATE THE
AN ANTIQUE MAP, "MAP TO ILLUSTRATE THE ROUTE OF PRINCE ...AN ANTIQUE MAP, "Map to Illustrate the Route of Prince Maximilian of Wied in the Interior of North America from Boston to the upper Missouri & al. 1832, 1833, &1834," 1839-1841, hand colored engraving on paper, with view of Great Falls, Missouri, and view Itaska Lake, publishing attributed to Jakob Hölscher (1798-1862) of Koblenz, engraving attributed to Charles Beyer (1792-1836) after illustrations by Karl Bodmer (1809-1893), with upper figural title cartouche showing Mandan style figures, a flourishing hunt scene with berries and a bear, beavers, crows, stags, foxes, buffalo, a rattlesnake, mushrooms, and a tree and scaffold burial. 16 1/2" x 31 1/2" Provenance: Property from a Fortune 500 Energy Company, Houston, Texas.
Condition:
Creases, some fading of hand color and transfer of color occasionally, mild toning, but overall in very good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."
- TWO CHINESE TERRACOTTA WARRIOR FIGURES,
TWO CHINESE TERRACOTTA WARRIOR FIGURES, AFTER EMPEROR Q...TWO CHINESE TERRACOTTA WARRIOR FIGURES, AFTER EMPEROR QIN SHI HUANG'S BURIAL TERRACOTTA ARMY, LATE 20TH CENTURY, each of thick gray fired clay with a detachable head, one wearing armor standing on a rectangular base, one with hands clasped in front, the other with the right hand at his side and the left hand raised to waist level; each approximately height: 56'', width: 17'', depth: 13''. Provenance: Collection of Charles Moore M.D. Houston, Texas
Condition:
There are various small scratches and nicks in both figures. One figure has a 1/4'' gouge in the forehead. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."
- A CHINESE TERRACOTTA HORSE, AFTER EMPEROR
A CHINESE TERRACOTTA HORSE, AFTER EMPEROR QIN SHI HUANG...A CHINESE TERRACOTTA HORSE, AFTER EMPEROR QIN SHI HUANG'S BURIAL TERRACOTTA ARMY, LATE 20TH CENTURY, of thick gray fired clay on a rectangular clay base. Height: 65'' Width: 72'' Depth: 19'' Provenance: Collection of Charles Moore M.D. Houston, Texas
Condition:
The tail has broken off, but is in tact and sold with the horse. There are other scratch and scuff marks as well as some rubbing around the horse's hips. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."
- PRE COLUMBIAN SHELL NECKLACE MEXICOShell
PRE COLUMBIAN SHELL NECKLACE MEXICOShell necklace made up of alternating long shells and smaller shells; with a label that reads "Pre Columbian necklace, from burial in Mexico, cir. 1200 AD."
Keywords: Prehistoric
Circumference: 25 in.
Condition:
Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
- BOSTON CUSTER'S COLT CARRIED AT LITTLE
BOSTON CUSTER'S COLT CARRIED AT LITTLE BIGHORNThis is quite possibly one of the most important Battle of the Little Bighorn firearms ever offered for public sale, a Colt U.S. Cavalry issue Single Action Army revolver owned personally by Boston Custer, youngest brother to George Armstrong Custer, and later owned by Chief Buffalo Hump of the Sans Arc Sioux with complete ownership history and documentation. Under General Terry’s Special-Order Number 117 on June 8, 1874, Colonel Custer acted to prepare his troops for the extended 1874 Black Hills Expedition, obtaining suitable arms for certain non-regular army personnel. Shipment information to Custer at Fort Lincoln, as obtained from jobbers used by the Colt Company, Schuler, Hartley & Graham of New York an H&D Folson, also of New York noted the shipment of six nickel plated revolvers shipped on July 29, 1874 from H&D Folson: Serial numbers 7486, 9977, 12057, 12443, 12937; and 13418 and a shipment from Schuyler, Hartley & Graham included: Serial numbers 10960, 11258, 11722, 11843, 13221, and this revolver, 12364. The nickel revolvers are all documented to 7th Cavalry Indian scouts (see Table 7, beginning at page 148 of the book, Documenting the Weapons Used at the Little Bighorn). The blue finished revolvers are documented, also on Table 7 starting at page 148 identifying serial number 11722 issued to Dr. Porter, 11843 to Dr. Lord, 10960 went to Moses Milner a civilian scout and 12364, the firearm in this lot, issued to Boston Custer who was acting as a packer in the pack train. It is noted by documented testimony from Oglala Sioux Horned Horse that on June 25, 1876 at the Battle of the Little Bighorn Horned Horse and Buffalo Hump went together crossing the Greasy Grass River at the ford. They rode to a high point to watch the battle, as Horned Horse was an old man tired of battle. They saw a lone soldier wearing buckskin clothing crossing in front of them to the north, riding a mule that was carrying some bags. Buffalo Hump told Horned Horse he wanted the mule and Horned Horse replied, “Han napiyuza sonsonla (Yes! Capture Mule)”. It should be noted for confirming this story that Captain Frederick W. Benteen, the Company H Commander of the 7th Cavalry gave testimony about Boston Custer, “He was with the pack train, the morning of the 25th, but when Boston overheard trumpeter John Martin’s message from George Custer to me to “…come on and be quick and bring packs,” Boston mounted one of the mules carrying ammunition and rode north.” Also noted 1st Lieutenant Edward S. Godfrey Commander of Company K said this about the Custer brothers, “The Custers wore buckskin suits…” Later Horned Horse and Buffalo Hump were at the spotted of the buckskin wearing man with mule, both found dead. Buffalo Hump took the boots and the revolver from the buckskin wearing young soldier (is clothes being taken by another). As per the body location as noted by 1st Sergeant John M. Ryan, Company M of the 7th Cavalry and Captain Benteen were both on burial crew and stated, “On the battlefield 200 feet down the hill from Last Stand Hill were General George Custer and his brother Tom Custer were killed, lay the bodies of their brother Boston and 18-year-old nephew Harry Armstrong “Autie” Reed. Boston was stripped expect for his stockings.” After the Little Bighorn, Buffalo Hump and Horned Horse rode with Crazy Horse at the Battle of Wolf Mountain against General Miles and the 5th Cavalry. Horned Horse surrendered with Crazy Horse on May 5, 1877 at Fort Robinson to 1st Lieutenant William P. Clark and Horned Horse acted as Crazy Horses interpreter. When Crazy Horse was killed on September 5, 1877, both Buffalo Hump and Horned Horse were present and heard Crazy Horse say on his deathbed, “I have always wanted to go to the land of the Grandmother (Canada). I shall be dead in a few minutes and will then go to the Grandmother’s country. I want you to all follow me”. In spring 1878, Buffalo Hump and some 240 lodges of the Crazy Horse band made their way into Canada including Little Hawk, the Black Elks, Low Dog and Black Fox heading for Sitting Bull’s camp. After arriving at Sitting Bull’s camp, some of their horses were stolen by a local tribe. Nicholas Black Elk and his uncle Running Horse were present on the day of the Buffalo Hump incident and their story was documented, “I was only 15… Our camp had lost some horses during the night. One of the horses belonged to Chief Buffalo Hump. Sitting Bull sent for the Grandmother police, as he was told to do by “Paddy” (Supt. James Morrow Walsh from the North West Mounted Police NWMP). Paddy sent “Big Bull” (Assistant Commissioner Acheson G. Irvine of the NWMP) and two policemen to settle the matter. As Big Bull (Irvine) rode int the camp, Buffalo Hump rant up to him to tell him about his stolen horse.. carrying his revolver in one hand and a knife in the other. Big Bull (Irvine) grabbed the revolver out of Buffalo Hump’s hand… Sitting Bull walked up behind… and said “Austan” (cease, finish, stop) Big Bull (Irvine) found the horses and returned them to Buffalo Bull, but he did not return the revolver. Day later Buffalo Hump asked Big Bull (Irvine) if he could have his gun back, but Big Bull (Irvine) said he had given it to the Commissioner of the NWMP, James Furguharson MacLeod as “Evidence”” Buffalo Hump and his Sans Arc band left Canada and surrendered at Fort Keogh and was transferred in August 1881 to the Spotted Tail Agency in Nebraska. Commissioner MacLeod served from July 22, 1876, to October 31, 1880, and oversaw the moving of police headquarters to Fort MacLeod being accredited with establishing peaceful policies for the NWMP in dealings with First Nations people. It is almost certain that Commissioner MacLeod held the Buffalo Hump Colt at this location. The gun stayed in the NWMP, later changing their name to the Royal Canadian Mounted Police RCMP, possession from 1878 until around 1922. In around 1920 William Northcote Taylor joined the RCMP, son of famed Indian Agent in the Northwest Territories William Richard Taylor the agent with whom Dr. Claude Lewis and his brother, Sinclair Lewis made a trip by canoe to make treaty payments to Northwest First Nations tribes memorialized in the book “Treaty Trip” in 1924. As per the testimony of William N. Taylors daughter, Karen Taylor in the accompanied signed letter, her father won the Colt Revolver serial number 12364 in a poker game while stationed at Fort MacLeod in Alberta, Canada in 1922. The gun then stayed in the Taylor family from 1922 until 1990. William N. Taylor dutifully registered the gun, per Canadian Law until his death in 1979 when ownership fell to his daughter Karen Taylor (an accompanying original Canadian Firearm Registration Certificate from 1945 filled out by William N. Taylor is with the lot). Karen Taylor sold the gun to a Canadian arms collector Vernon Vossler in 1990. It was published in the 1991, “Colt Peacemaker Encyclopedia Volume 2” by Keith Cochran on page 343 as S/N “12,364 7 ½ .45, Cavalry Model, this revolver was probably taken from a Sioux warrior in Canada after the battle of the Little Bighorn by an Indian Agent and Judge and then passed to his sone who was a Mountie or member of the Northwest Mounted Police. (See page 344).” The gun was in the Vossler estate from 1990 until 2008 when It was sold again in his estate sale by Bud Haynes Auction of Red Deer, Alberta (an original printout of the sale bill noting the gun, then further confirmed by Hayes, is included). At the sale the gun was purchased by Barry Kolbert, a collector from Red Lodge, Montana, only 125 miles away from the Little Bighorn. Kolbert then traded the gun to Wallace W. Francis who then traded the gun (with accompanying signed letter) to the current owner J. Michael Peters in 2016 (trading away a Colt Baby Burgess SN 6209 with letter, Colt SAA SN 962, Colt SAA SN 18318 and an additional $1,000 for this Colt SN 12364). In addition to the testimony and ownership documentation the firearm was examined by Wendell Grangaard of the Guns of History and found to be a correct matching serial number U.S. Cavalry issue Colt Single Action Army included on the Schuler, Hartley & Graham list. The gun has the legible cartouche of O.W. Ainsworth and the correct “A” inspector mark of Ainsworth, as well as the usual filings of the muzzle often used as a mark of Indian ownership by the Sioux. Most importantly the gun was found to be marked on the butte of the frame and grips by Chief Buffalo Hump telling the story of the gun in togia language. Marked on the bottom, “kill two non-soldiers – Greasy Grass – Buffalo Hump rode with Horned Horse – departed travel long rode Grandmother Land.” This further confirms the above documentation. Provenance: From General Terry’s Special-Order Number 117 issued to Boston Custer from a shipment from Schuyler, Hartley & Graham. Taken by Boston Custer to the Battle of the Little Bighorn where he was killed. Taken by Buffalo Hump and Horned Horse and eventually taken into Canada to Sitting Bull’s Camp in spring 1878. Seized by Canadian North West Mounted Police Assistant Commissioner Acheson G. Irvin as “evidence” and transferred to NWMP Commissioner, James Furguharson MacLeod. Won in a poker game at Fort MacLeod by RCMP William Northcote Taylor in 1922. Kept in the Taylor family from 1922-1990. Sold to Vernon Vossler in 1990. Vossler collection from 1990-2008. Sold in Bud Haynes Auction in August, 23, 2008, to Barry Kolbert of Red Lodge, Montana. Sold / Traded to Wallace W, Francis. Kolbert, Francis 2008-2016. Traded to J. Michael Peters 2016-present. Publications: 1991 Colt Peacemaker Encyclopedia Volume 2 by Keith Cochran; Document the Weapons Used at the Little Bighorn by Wendell Grangaard; and in Alberta Genealogical Society Relatively Speaking Volume 44, Number 3 August 2016 page 141-146 (booklet or print outs of pages mentioned included as documents). This historic piece includes a completely ownership history from its shipment to Custer’s men, capture by the Indians at Little Bighorn, capture by the NWMP in 1878, to the Canadian ownership in 1922 to present day. The ownership history has been published in the included book. Further the gun includes a historic analysis and documented testimony from Guns of History’s Wendell Grangaard as well as further documentation and signed letters. Possibly one of, if not the most well researched and recorded Battle of the Little Bighorn firearm ever brought to public sale. Antique Colt Model 1873 Single Action Army with correct U.S. stamping, “PAT. SEPT. 19, 1871, PAT. JULY, 2, 1872” on the side; matching 12364 serial number on the bottom of the butte frame, frame, trigger guard and 2364 on the cylinder. Inspection “A” mark on trigger guard, “A” and “P” on bottom of barrel, “P” and “A” on cylinder and “609” on swing out loading door. Top of the gun is marked in a single line, “COLT’S PT. F. A. MFG. Co. HARTFORD, CT. U.S.A.” cross like stamp before and after the address. The gun retains some of the original blue finish and is well kept, has the correct four click hammer pull back which turns the cylinder and correctly functions.
- OGLALA SIOUX CRAZY HORSE OWNED COLT
OGLALA SIOUX CRAZY HORSE OWNED COLT 1860 ARMYThe lot features a truly phenomenal, iconic and important Colt Model 1860 Army 44 caliber percussion revolver owned and marked in Togia language by Crazy Horse an Oglala Sioux Shirt Wearer, famed Warrior from the Battle of the Little Bighorn. The firearm is a Colt Model 1860 Army percussion revolver chambered in 44 caliber with a serial number of 4886. The pistol has been examined by Wendell Grangaard from The Guns of History, Inc., in Sioux Falls, South Dakota and was found to be marked in Lakota Togia language as follows: on the left side of the wood grip marked Crazy Horse, the mark for the Grass Dancer warrior society, Oglala (illustration 2); on the right side again the same (illustration 1), on the right side of the frame Crazy Horse and Grass Dancer (society) and the right trigger guard deeper, Crazy Horse (illustration 3); on the left side of the frame again Crazy Horse Grass Dancer (illustration 4); on the right side of the barrel deeply marked Crazy Horse (illustration 5); and the bottom of the frame, “Crazy Horse – Grass Dancer – rode with - Owl Bull” (illustration 6). Crazy Horse (1840-1877) was born in 1840 northwest of Bear Butte by Spring Creek to the elder Crazy Horse and Rattling Blanket Woman. He was originally named Among The Trees at his birth, but later due to his unusual appearance his name was changed to Curly. At around age 15 he had a vison quest speaking of his importance and to take no spoils, wear a small stone behind his ear, use the lightning symbol, only mark his horse with a dusting, and dust his head as well as to not take spoils. He achieved manhood and later his father, Crazy Horse gave Curly his name at which time his father took the name Waglula or Worm, as instructed by the Wakan Horn Chips. In the summer of 1868, Crazy Horse became a Shirt Wearer, being a protector of Paha Sapa (the Black Hills), the home of Wakan Tanka. Crazy Horse formed an elite warrior society known as the Grass Dancers or Peji Waci to protect Paha Sapa, and appointed Black Bear to lead the group. Owl Bull was also a Grass Dancer. During the Indian Wars of circa 1876-1877, Crazy Horse took the Grass Dancers out of Paha Sapa and used them to scout for the Oglala. Crazy Horse fought in the Battle of the Little Bighorn. Later he was killed on September 5, 1877 at the jail at Fort Robinson. In the mid-1970’s Wendell Grangaard was working on a project on Highway 40 along the north side of Battle Creek. At lunch one day one of the Native American Crewmen told Wendell that Crazy Horse, the famous Oglala leader, was buried on the south bank of Battle Creek and that he knew the exact spot that Worm, Crazy Horse’s father had the burial scaffold. The Native worker further told the history that his great-grandfather, Leo Combing was Crazy Horse’s half brother and according to his family history, Crazy Horse was actually buried four times. First was on a low scaffold by the Spotted Tail Agency on a hill east of the agency. Due to his popularity and the notoriety of his good medicine (his vision spoke of not being hit by arrows or bullets) many people wanted his body so they could ride with him to the final battle against the white men. Worm took notice and told the Commander of Fort Robinson, Lieutenant William Clark, that he wanted to move the body. Clark said he would five him a wood coffin to bury Crazy Horse “correctly.” So Worm buried him a second time but it wasn’t long till again, others found out of this location. So Worm then rode to Paha Sapa and erected another burial scaffold by Battle Creek to bury Crazy Horse a third time, to his failure he was forced to move him again, this time he put Crazy Horse’s body on a horse and rode to the Pine Buttes. He took the body and put it in a crack in the wall standing up, then sild some rocks to cover the entrance to the grave. A few days later he asked the crewman to show him the original spot of the scaffold along Battle Creek. The Native crewman showed him and discovered several white beads at the spot and recovered an 1860 Colt Percussion Revolver wrapped in leather, being very rusty with screws and some of the grip eroded. He noted a serial number of 4886 on the gun. The great-grandson of Leo Combing, Crazy Horses half brother, said that the revolver belong to his family and kept the gun. Years later Wendell was noted that someone in the family sold the revolver and he tracked it down. Someone had cleaned most of the rust off, which darkened the metal, replaced the rusted screws and repaired the grips in a few places. The revolver shows a serial number of 4886 on the butt end of the frame, as well as matching on the frame and trigger guard. The front section has a serial number of 5154. There are five replacement screws and the ramrod appears to be a replaced cased hardened example. There are a few inspection A or B marks on the brass. According to Colt the revolver with serial number 4886 was manufactured in 1861, an early example during the American Civil War, put together likely from the factory with the other 5154 serial number piece, as that was manufactured in the same year, 1861; and shares the same amount of wear and pitting. The pistol is accompanied by the photograph illustrations, a map of the Black Hills location of the construction, and a copy of a photo of Crazy Horse enlarged from a drawing by Iron Between The Horse, one of the only known images or likeness of Crazy Horse. Crazy Horse did not believe in taking photographs and his exact likeness is unknown, with this image being only a few known examples. As this firearm was manufacted in 1861 likley to be used during the American Civil War and later presumably found its way with the U.S. men on the Plains. How Crazy Horse came upon the gun or when in his lifetime he owned it is now known, but given his death in 1877, it is possibly this firearm was used during his many famous coups, such as the Battle of the Little Bighorn, not noted in the paperwork. This is an Antique Firearm that does not require an FFL.
- SIX CHINESE POTTERY BURIAL FIGURESpossibly
SIX CHINESE POTTERY BURIAL FIGURESpossibly Tang dynasty or style,˜figure of a court lady,˜flowing robes with winged shoulders,˜ sancai glazed in amber, green, and cream, 11-7/8 in.; two female musicians, covered in a white glaze, 10-3/4 in.; four red earthenware figures, tallest 8-3/4 in.
Provenance: Private Collection, Milledgeville, Georgia
Condition:
sancai example with repaired break to head, restored base with large edge chips (does not stand upright); musicians with repaired breaks; two red earthenware figures with repairs; other scattered losses, chips, and wear throughout
- CHINESE TANG STYLE POTTERY BURIAL FIGURErobed
CHINESE TANG STYLE POTTERY BURIAL FIGURErobed attendant standing atop rectangular base, remnants of earlier green and brown glazed surface, 14-1/2 x 4-1/4 x 4 in.
Provenance: Private Collection, Cincinnati, Ohio
Condition:
surface dirt and accretion, break and repair to head, break and repair to base (figure probably broken off base and reattached), some scattered cracks and edge chips throughout
- EARLY CHINESE BURIAL FIGURE OF HORSE
EARLY CHINESE BURIAL FIGURE OF HORSE AND RIDERpossibly Tang dynasty or style, horse positioned four square, defined head with open mouth, seated man wearing hat, 12-3/4 x 12-1/2 in.
Provenance: Estate of Fred R. and Beverly Kaye, Atlanta, Georgia
Condition:
horse with losses to legs and tail, repaired break at horse's neck, rider's head possibly restored, firing cracks, chips, and surface losses, other possible repairs
- FLEMISH SCHOOL WOOD PANEL PARCEL GILT
FLEMISH SCHOOL WOOD PANEL PARCEL GILT POLYCHROME CARVED...Flemish School Wood Panel parcel gilt polychrome carved depicting our Saviour being lowered gently onto the burial couch Mary Magdalene anointing him in the foreground, His Mother and saints attending in the back within a rusticated border 16th century or later 1942 Montreal National Revenu paper label on back height 16 1/2 inches, length 16 1/2 inches
Condition:
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