- EARLY DOULTON LAMBETH STONEWARE WALL
EARLY DOULTON LAMBETH STONEWARE WALL VASENeo-classical styling with incised decor and ocher glaze.
A unique and minimalist design, of possibly prototypical origin, signed and hand-inscribed DOULTON to rear. An example of early Lambeth artware pottery. Minor age related wear.
Artist: NH
Issued: mid to late 19th c.
Dimensions: 4.35"H x 5.25"W
Manufacturer: Doulton
Country of Origin: England
- CABINET CARD PHOTO ALBUM, WEST VIRGINIA
CABINET CARD PHOTO ALBUM, WEST VIRGINIA & PAGreat antique photo/cabinet card album, not from one family but a collection placed into an antique album for posterity. Thirty-seven (37) pages in all, see photographs for details, ranging in vintage from circa 1866 to the early 1890s, depictions are from multiple photography studios, & spanning in geographical origin from Mannington, WV. to Pittsburg, PA.
- UNIQUE GOTHIC REVIVAL POLYCHROME CARVED
UNIQUE GOTHIC REVIVAL POLYCHROME CARVED SHADOW BOXpossibly theatrical origin, eighteenth/nineteenth century, with a painted background. Gilt wear and losses, loose mountings, other losses. 52" high, 32" wide, 9" deep. Provenance: Property of a NJ Private Collector.
Condition:
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- AZTEC MASK MOON GODDESS COYOLXAUHQUI
AZTEC MASK MOON GODDESS COYOLXAUHQUI W/ MONTEZUMA GLYPH...Pre-Columbian, Mexico, Aztec Empire, ca. 16th century CE. Wow! An extraordinarily rare greenstone mask of the Aztec moon goddess Coyolxauhqui with an incised name glyph of the ruler Moctezuma Xocoyotzin (c. 1466-1520), also known as Moctezuma II or Montezuma, on the verso. The glyph consists of 3 ornaments - the royal diadem, the nose plug, and the ear plug - all on and around a head of hair with a speech scroll. Alternatively, Coyolxauhqui, whose name translates to "painted with bells," is depicted traditionally with eyes closed and wearing a feathered headdress as reliefs of bells adorn her face. As Coyolxauhqui revolted against her mother, the earth goddess Coatlicue, and was subsequently beheaded by her brother Huitzilopochtli, the Sun god and patron deity of the Aztecs, she began to represent the vanquished enemy and served as a warning to those who challenged the Aztecs. The inclusion of Montezuma II's name glyph on the verso may have conveyed the message that the enemies of the Aztecs should especially fear their ruler. Size: 10.6" W x 7.8" H (26.9 cm x 19.8 cm)
Coyolxauhqui was the daughter of the earth goddess, Coatlicue, and the leader of her bothers, the Centzon Huitznahuas or "400 Huiztnaua." When Coatlicue's children learned she was pregnant, they believed she had dishonored them and Coyolxauhqui led a revolt against her. Amidst the attack, Huitzilopochtli, the Sun God and patron deity of the Mexica, was born fully armed and slayed his four hundred siblings, including Coyolxauhqui, who he beheaded. This battle signified the cosmological struggle between the moon and the sun, and also had political overtones, as Coyolxauhqui represented the vanquished enemy and served as a warning to those who challenged the Aztecs. Some authors have also written that Huitzilopochtli tossed Coyolxauhqui's head into the sky where it became the Moon, so that his mother would be comforted in seeing her daughter in the sky every night, and that her scattered brothers became the Southern Star deities.
According to the Denver Art Museum, "Moctezuma II or Moctezuma Xocoyotzin (c. 1466-1520), commonly known as Montezuma, is a contested figure in the historical record. He was the leader (tlatoani) of the Mexica Empire, centered in Tenochtitlan. Under Moctezuma, the Empire reached its greatest size. He was in power when Cortes and his band of soldiers arrived from the Yucatan peninsula in 1519. The conquistador eventually took Moctezuma hostage and he died shortly thereafter."
The Spaniards wrote of the Aztecs believing that stone quarried to be carved had magical properties and was alive, able to speak and prophecy. Aztec stone sculpture is a culmination of centuries of stone carving in Mesoamerica, and, using fragile volcanic stone and sturdy greenstone, they were able to create remarkably detailed artworks. Greenstone, like this example, was considered more valuable than gold by the Aztecs. By law, only nobility could wear jade and greenstones as they were highly symbolic: their green color was associated with the life-giving power of water and unripened crops. For this reason, they were often used in the performance of rituals.
Similar examples can be found at the Peabody Museum of Archaeology, under object number 28-40-20/C10108 and at the National Museum of Anthropology, Mexico City.
A copy of a technical examination from Frank Preusser & Associates done on June 16th, 2001 will accompany this piece. The certificate states that the methods of manufacture and the damage and weathering patterns are consistent with the object's assumed time and place of origin and very strongly support its archeological origin.
Provenance: ex-Marc Amiguet Schmitt estate, Amiguet's Ancient Art, Evansville, Indiana, USA, acquired prior to January 1, 2010
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#173375
Condition:
Some small nicks and abrasions in areas, commensurate with age. Otherwise, intact and excellent with impressive preservation of incised details. Nice sea encrustations.
- AFTER ANTONIO CANOVA, CUPID & PSYCHE
AFTER ANTONIO CANOVA, CUPID & PSYCHE MARBLE GROUP 20th century; after Neoclassical original in the Louvre, on variegated marble base, 19 in. H., 20 in. W.
- CRAIG MILLER AFTER GUERIN, L'AURORE
CRAIG MILLER AFTER GUERIN, L'AURORE ET CEPHALE Craig Miller ( American/Virginia, 20th/21st century). "L'Aurore et Cephale" -1997, oil on canvas, after the 1810 mythological original by Pierre-Narcisse Guerin (French, 1774-1833). Signed lower right, inscribed verso.
- CRAIG MILLER, L'AMOUR ET PSYCHE, AFTER
CRAIG MILLER, L'AMOUR ET PSYCHE, AFTER PICOT, 1996 Craig Miller ( American/Virginia, 20th/21st century). "L'Amour et Psyche" -1996, oil on canvas, after the 1817 mythological original by Francois-Edouard Picot (French, 1786-1868). Signed lower right, inscribed verso.
- CRAIG MILLER AFTER GUERIN, L'AURORE
CRAIG MILLER AFTER GUERIN, L'AURORE ET CEPHALE Craig Miller ( American/Virginia, 20th/21st century). "L'Aurore et Cephale" -1997, oil on canvas, after the 1810 mythological original by Pierre-Narcisse Guerin (French, 1774-1833). Signed lower right, inscribed verso.
- FOUR PHOENICIAN STYLE CORE GLASS AMPHORISKOI
FOUR PHOENICIAN STYLE CORE GLASS AMPHORISKOI Each amphoriskos of multi-colored patterned glass after classical originals. The largest is 6-1/4 in.
- FIVE PHOENICIAN STYLE CORE GLASS VESSELS
FIVE PHOENICIAN STYLE CORE GLASS VESSELS After classical originals, the tallest 4-3/4 in.
- GRAND TOUR EROTIC "ACROBAT" OIL LAMP.
GRAND TOUR EROTIC "ACROBAT" OIL LAMP. 19C Grand Tour humorous and erotic bronze oil lamp of a contorted figure with a lamp well between his nude buttocks, suspended from chain, 19th century or earlier. 5.5" H (without chain) x 3" W x 4.5" D; 11" H (with chain). Note: During the Renaissance period copies of this model based on classical originals from the 1st century BC became popular. The offered lot is likely an 18th or 19th century copy of the famous version by Andrea Briosco (Italian, 1470 - 1532) known as "il Riccio." A similar model is in the collection of the Chateau d'Ecouen, Musee National de la Renaissance (France), inv. no. EC97.
- *An 18 Karat White Gold Sapphire and
*An 18 Karat White Gold Sapphire and Diamond Ring containing one cushion cut sapphire weighing approximately 8.50 carats and two old mine cut diamonds weighing approximately 1.80 carats and 1.65 carats. Accompanied by an American Gemological Laboratories sapphire identification certificate number CS 47592 dated January 13 2012 stating Identification: Natural Corundum Variety: Sapphire Enhancement: No gemological evidence of heat. NOTE: Please contact the Fine Jewelry department for further information regarding the geographical origin of the sapphire.
- An Edwardian 18 Karat Yellow Gold Ruby
An Edwardian 18 Karat Yellow Gold Ruby and Diamond Ring Circa 1910 containing one cushion cut ruby weighing approximately 2.75 carats one transitional brilliant cut diamond weighing approximately 1.14 carats and one old European cut diamond weighing approximately 1.18 carats within a handmade wirework setting. Accompanied by an American Gemological Laboratories ruby identification certificate number CS 81726 dated February 10 2012 stating Mineral Type: Natural Corundum Variety: Ruby Enhancement: No gemological evidence of heat Clarity Enhancement: None. Note: Please contact the Fine Jewelry department for further information regarding the geographical origin of this ruby. 3.20 dwts.
- Continental patinated bronze figure
Continental patinated bronze figure ''The Dying Gaul '' after classical original mounted on black slate base 4 in. H. 6 3/4 in. L. Estimate $ 200-400 Patina wear chips and scratches to slate base.
- Shadowboxed Collection of Insect Specimens,
Shadowboxed Collection of Insect Specimens, the lined white background and black frame containing an amazing 227 specimens of beetles of mainly tropical origin, h. 10-1/4", w. 15-1/2", d. 2-1/4".