OLD MASTER UNFRAMED RELIGIOUS ENGRAVINGS, 5PC Various artists, selection of five 16th/17th century Old Master unframed religious Old and New Testament engravings on laid paper, including the second vision, Esdras finding comfort with the angel - "By the angel... he knows" (Esdras, chapter ten verse twenty-five), circa 1585, from "The Treasure Of The Sacred History Of The Old Testament, Expressed In The Most Elegant Images Of The Most Excellent Works Of Men In This Art, Is Now First Brought To Light", after Maarten de Vos (Flemish 1532-1603), published by Gerard de Jode (Netherlandish/Belgian 1509-1591) and the multiplication of the loaves and the fishes, "The five loaves, and the fishes, and the two. They feed the bodies of five thousand men" (John, Chapter six, verse nine), circa 1643, published by Claes Jansz Visscher (Netherlandish, 1587-1652), some with visible watermarks. Approx. Multiplication of the loaves and the fishes h. 9.5", w. 14.5".
ASIAN, collection of 20th C. Japanese hand-painted celluloid miniature souvenirs, three depicting Seven Lucky Gods on the treasure ship Takarabune, five pieces: man with rickshaw passing Buddha statue, 3 1/8" h.; two women in raised wooden bath, 3 1/4" h.; along with three groupings featuring same seven sacred religious figures and deities: in sail boat with phoenix figurehead at prow; carried on back of ox pulled by peasant; and traveling in larger boat with elaborate dragon figurehead, suspended lanterns, and flame finial at mast, 7 1/4" h.
American Gold Mining Corporate Seal Embosser: late 19th century, embosses "NEW YORK and BLACK HILLS GOLD MINING COMPANY. /CORPORATE/SEAL", parcel-gilt and black-painted iron lion's head-form with scrolled handle, with holes for mounting, 11 x 6-1/2 x 2-1/4 in. Provenance: Cowan's Auctions June 2017, lot 351; Private Virginia CollectionNote: Similar to the Gold Rush in California, the discovery of gold on sacred Sioux lands in the Black Hills, SD resulted in a flood of new settlers. Threatened by the influx of white men, the Sioux began to attack miners and their camps. On June 25-26, 1876 Sitting Bull and an army of American Indians met General Custer's at Little Bighorn. Custer and 267 men died and lost. The battle did not stop the miners or businesses from establishing in the area. One company was The Black Hills Gold Mining Company. . . Jabez Chase and a group of men formed The Black Hills Gold Mining Company in Cheyenne, WY, and established the very first Quartz Mill on October 7th, 1876. Two of their earliest mines were The Hidden Treasure & Esmeralda Mines. In order to receive more investors from the East, the company re-named itself the New York and Black Hills Gold Mining Company. Condition good condition, distressed old finish with gilt, paint loss
AMERICAN INDIAN ART 15PC MAGAZINE AND BOOK GROUP: 10 1/2"H X 8 1/2"W X 7/8"D (ALASKA NATIVE ART)American Indian art 15pc magazine and book group:, Sacred Circles, North American Showing, 1977; Antiques & Fine Art magazine, Feb. 1989; Style 1900 magazine, winter/spring 2004; Sotheby's Pre-Columbian and American Indian Art auction catalogue, May 17 & 18, 2000; Christie's New York American Indian Art auction catalogue, Wednesday, June 5, 1996; Warman's North American Indian Artifacts Identification & Price Guide, Russell E. Lewis, 2006; American Indian Art magazine, spring 2009; American Indian Art magazine, Autumn 2010; American Indian Art magazine, summer 2005; By Native Hands: Woven Treasures from the Lauren Rogers Museum of Art, 2005; Western Art & Architecture magazine, fall/winter 2009; Fourteen Families in Pueblo Pottery, Rick Dillingham, 1995; Indian Baskets, Sarah Peabody Turnbaugh & William A. Turnbaugh, 2004; Navajo Rugs, Don Dedera,1990; Alaska Native Art, Susan W. Fair, 2006. Dimensions: 10 1/2"H x 8 1/2"W x 7/8"D (Alaska Native Art)
JAPAN ‘ORDER OF THE SACRED TREASURE (ZUIHOSHO)’ BADGE SIZE: 53 X 53 MMJapan ‘Order of the Sacred Treasure (Zuihosho)' Badge, Composed of silver and enamel. Dimensions: Size: 53 x 53 mm
Silk Needlework Memorial Picture, America, early 19th century, done in silk threads on a silk ground, depicting a woman grieving beside a monument with printed lettering "Sacred to the Memory of Andrew Barton Esq. Died July 19th 1801. Aged 41 years.," with a weeping willow tree overhanging the monument, the picture with applied printed paper face and arms, urns, and a basket of flowers, (stains, light toning), 19 1/2 x 16 in., in a period molded wood frame with gilt liner.
Note: Genealogical research finds Andrew Barton was born on September 24, 1761 in Salisbury, Connecticut. He later moved to Waltham, Vermont, and married Polly Chalker, together they had five children. The Vermont Historical Gazetteer reported that Andrew Barton, Jr., Esq. was the first town clerk and treasurer.
Light staining around perimeter, and willow branches, dark stain on monument.
OUTSTANDING HUARI / TIWANAKU MUMMY BUNDLE HEADPre-Columbian, Coastal Peru, Huari (Wari) or Tiwanaku (Tiahuanaco) culture, ca. 600 to 1000 CE. An incredible mummy head made of woven textiles and colorful feathers from jungle birds! The head was once a ceremonial funerary mask / covering for presumably a male and elite member of society. The striking visage is comprised of brown camelid wool- likely alpaca or llama, with a cotton plain weave layer secured on top, and protruding wooden nose - all of which is then covered in applied feathers of vibrant red, blue, white, black, yellow, orange, and green - likely from tropical parrots, such as macaws, imported from the rainforests. The headdress is stuffed with cotton fabric and then wrapped in a red plain weave cloth, a leather sling or tump line attached as a headband. This funerary piece was laid to rest as the head of a person of some importance or wealth - the feathers were a precious commodity, prized for their colors and iridescence that resembled gold and silver! Size: 11" L x 9" W x 11" H (27.9 cm x 22.9 cm x 27.9 cm); 14" H (35.6 cm) on included custom stand.
Burials discovered all along the arid coast of Peru indicate that the deceased were accompanied by offerings of ceramics, garments, featherwork, precious metals and wood. A mask or false head was ritualistically placed over the mummy bundle to give a face to the deceased. Due to the dry climate artifacts made of wood, feather, and textile -such as this stunning example - have been remarkably preserved!
Colorful feathers were prized materials in Andean cultures and used by the elite for clothing and ornaments. Avian motifs and the use of feathers were symbolic in Andean cultures, for birds were sacred animals that could fly between worlds and were messengers for the gods. These ancient cultures had a complex relationship with birds – especially the rainforest species - their stunning plumage was highly desirable and worth nearly the same as precious metals. It is possible that live, caged birds as well as their plucked feathers were imported from the lower altitudes to supply this demand. According to the 2018 article "When Feathers Were the Treasures of the Rainforest" by Christine Giuntini, published on the Metropolitan Museum of Art’s website: "Neotropical ornithologists have identified some of the birds whose feathers were used in these creations. Generally the brightly colored feathers come from birds living in the rainforests at lower altitudes along the eastern slopes of the Andes and into the vast Amazon River basin. The distinctive size and shape of the iridescent blue-green and hair-like yellow feathers (see the first image in this post) on all the examples have been identified as from the blue-and-yellow macaw (Ara ararauna). The orange-red feathers are often identified as being from the scarlet macaw (Ara macao), although other species are also possible. Green feathers can be harvested from many species of Amazon parrots. Black and white feathers are difficult to identify, for the obvious reason that many birds sport such plumage and, additionally, feather workers sometimes trimmed the feathers in order to sharpen the design, thus destroying the distinctive silhouette."
Provenance: private Superior, Colorado, USA collection, ex- MS collection San Diego, California, USA acquired before 1985 with appraisal from Stendahl Gallery in 1985.
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
We ship worldwide and handle all shipping in-house for your convenience.
#175695
Condition:
Losses to feathers around nose and chin strap of face, discoloration and staining to cloth and feathers - white cotton chin area is brown with age. Small tears and pulls to the red headdress fabric which are hidden in the folds. Slight odor to the head. The lower head area is stuffed with modern cloth to retain its shape and pinned to a modern brown cloth for mounting on the stand. Cloth is fragile and we recommend storing in a protective case to preserve the fabrics and feathers.
Gorgeous Egyptian Faience Amphoriskos Lotus Motif: Ancient Egypt, Third Intermediate to Late Dynastic Period, 21st to 31st Dynasty, ca. 1070 to 332 BCE. A beautiful faience vessel in the form of an amphoriskos with fine glazing and decorated with a symbolic motif. The vessel presents with a spherical body, a slightly pointed bottom, and a narrow neck that flares outward to a rolled lip. The exterior is a wonderful turquoise blue with a triangular petaloid motif outlined in black around the neck. The blue glaze represents the waters of sacred Nile. The ancient Egyptian word for faience comes from the word “to dazzle, ” and here the dazzling sacred blue is further inflated by the petals of the sacred lotus flower. The Egyptians held this particular flower in the highest esteem, treasuring the lotus for its fragrance as well as for its habit of following the sun\'s lead - opening at daybreak and closing at nightfall. The blue lotus became a potent symbol of the hope for eternal life. Given this, it is likely that this petite vessel was not made for practical use but rather for use in a temple as a special votive offering to a god. The lotus often appears in feasting imagery where wine was drunk from full-sized versions of similar vessels. Size: 3. 02" W x 4" H (7. 7 cm x 10. 2 cm). . . Provenance: private New York, USA collection; ex-private Canadian collection, acquired from A. H. Wilkens Auctions. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide to most countries and handle all shipping in-house for your convenience. . #164988 Dimension Condition Surface pitting and abrasions. Nicks and mineral deposits on rim. Craquelure and chipping of glaze, otherwise intact. Nice retention of color and motifs.
2PC JAPANESE GEORGE YAMAOKA DOCUMENT & SCROLL Japan,Early 20th CenturyIncludes a document awarded to George Yamaoka for achieving second class of the Order of the Sacred Treasure, and a scroll depicting a woman in white adorned with gold jewelry.
SHOZO SATO, JAPAN (20TH / 21ST CENTURY), BAMBOO, NOV '81, SUMI-E INK WASH ON PAPER, 16 1/2"H X 14 3/4"W (SIGHT), 21 1/2"H X 19 1/2"W (FRAME)Shozo Sato, Japan, (20th / 21st Century) bamboo, Nov '81, Sumi-e ink wash on paper signed and dated lower left. Biography from the University of Illinois. Shozo Sato was Artist in Residence at Krannert Center from its opening in 1969 until his retirement in 1992. During his first decade at Krannert Center, he presented traditional Kabuki plays and dances, which he translated into English, designed, and directed. Beginning with Kabuki Macbeth in 1978, he turned to adaptations of western classics with Kabuki conventions. His highly successful productions in this style include Kabuki Medea, Kabuki Faust, Kabuki Othello, and Achilles: A Kabuki Play. These productions, which Mr. Soto conceived, designed, and directed, earned international acclaim and have been presented by professional companies around the world. In February 1991, he returned to his native Japan with Illinois Kabuki Theatre's production of Achilles: A Kabuki Play, the first Kabuki production by a major American company to be performed in Japan. Since retiring from the University of Illinois, Shozo Sato has continued to be involved in cross-cultural activities, both nationally and internationally. Iago's Plot was developed during a semester-long residency at Towson State University in Maryland and has been staged in Baltimore; Cairo, Egypt; and Weimar, Germany. Mr. Sato also directed Kabuki Medea in Chicago in 1994 and in Durban, South Africa, in 1993. Shozo Sato has won numerous honors, including Chicago's Joseph Jefferson, San Francisco Bay Area Theatre Critics Circle, Hollywood Drama Guild, South Africa's Vita, and Baltimore Sun awards for directing and design. Iago's Plot won the Critic's Choice for Best Director at the Cairo International Experimental Theatre Festival. In 1993 he was awarded the Sidney R. Yates Arts Advocacy Award by the Illinois Arts Alliance Foundation, and in 1992, the Japanese Minister of Foreign Affairs awarded him the Certificate of Commendation for his promotion of Japanese culture throughout the world. In May of 2004, he received The Order of the Sacred Treasure with Rosette from the Emperor of Japan. Shozo Sato received his dramatic training at the Toho Academy of Performing Arts in Tokyo and as a special student of the late Kabuki actor Nakamura, Kanzaburo XVII, a National Treasure of Japan. In 1985 he was honored as a Kabuki artist by being officially adopted into the Kabuki family of Nakamura and given the name Nakamura, Kanzo IV. He is also a master of the Japanese Tea Ceremony, Ikebana (flower arrangement), and Sumi-e (back ink painting). Mr. Sato was the founding director of Japan House, a Japanese cultural center serving the University of Illinois and surrounding communities. Sumi-e ink wash on paper Dimensions: 16 1/2"H x 14 3/4"W (sight), 21 1/2"H x 19 1/2"W (frame)
Egyptian Late Period Carnelian Amulet Djed Pillar: Egypt, Late Period, ca. 664 to 332 BCE. Finely carved from a lovely carnelian stone of fiery orange, golden yellow, and deep brown hues, a beautiful djed pillar bead with an integral loop at the upper end. The djed pillar amulet was one of the most popular to be placed on the mummy, and was also interpreted as the backbone of Osiris, or that of the deceased associated with him. The Egyptians recognized the importance of the spine and saw it as a symbol that kept Osiris, the resurrected god, intact and able to function. Spell 151e of the Book of the Dead refers to the djed-pillar amulet as "the magical protection of Osiris" and spell 155 was likely recited over this amulet as it was placed on the throat of a mummy. As a hieroglyph, the djed-pillar denotes the more abstract concepts of stability, endurance, and rejuvenation. Size: 1. 1" L x . 375" W (2. 8 cm x 1 cm). . The djed pillar is one of the oldest and most symbolic images in ancient Egyptian culture, and its myriad interpretations are incredibly diverse. According to contributing writer Terence DuQuesne, "The djed pillar is one of the most important symbols of Osiris, lord of the netherworld, protector of the justified soul, and judge of the dead. Osiris is also a deity of plant fertility, and the pillar may be a schematic representation of a sacred tree, though the fact that early examples are made of ivory militates against this theory. Alternatively it could represent a pole to which sheaves of grain were attached. " (Hornung, Erik and Betsy M. Bryan, eds. "The Quest for Immortality: Treasures of Ancient Egypt. " National Gallery of Art, Washington, 2002, p. 111) . . Provenance: ex Estate of Eldert Bontekoe, Pegasi Numismatics, Ann Arbor, Michigan USA acquired before 2000. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #158975 Condition Slight surface wear, but intact and very nice. Mineral deposits in crevices. Laterally perforated for stringing.
Gorgeous Egyptian Faience Amphoriskos: **First Time At Auction**. . Ancient Egypt, Third Intermediate to Late Dynastic Period, 21st to 31st Dynasty, ca. 1070 to 332 BCE. A gorgeous faience vessel in the form of an amphoriskos presenting a spherical body, a gently pointed bottom, and a narrow neck that flares outward to a rolled rim. The exterior is enveloped in a wonderful seafoam green glaze, likely representing the waters of the sacred Nile River. The ancient Egyptian word for faience comes from the word "dazzle" and here the dazzling sacred blue is further enhanced by the petals of the sacred lotus flower in shades of yellow, white, and russet. The Egyptians held this particular flower in the highest esteem, treasuring the lotus for its fragrance as well as for its habit of following the sun's lead - opening at daybreak and closing at nightfall. Size: 2. 75" in diameter x 4" H (7 cm x 10. 2 cm). . The lotus became a potent symbol of the hope for eternal life. Given this, it is likely that this petite vessel was not made for practical use but rather for use in a temple as a special votive offering to a god. The lotus often appears in feasting imagery where wine was drunk from full-sized versions of similar vessels. . . Provenance: private New York, USA collection; ex-private Canadian collection, acquired at A. H. Wilkens Auctions, before 2010. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . PLEASE NOTE: Due to recent increases of shipments being seized by Australian customs (even for items with pre-UNESCO provenance), we will no longer ship most Antiquities and ancient Chinese art to Australia. For categories of items that are acceptable to ship to Australia, please contact us directly or work with your local customs brokerage firm. . . #165693 Dimension Condition Restoration and nicks to rim. Otherwise, excellent with nice remaining glaze, lovely craquelure, and great encrustations.
Hermes "Tutankhamun"; Silk Scarf by V. Rybaltchenko: Originally issued in 1976 and reissued in 1994, "Tutankhamun"; Silk Twill Carre by Vladimir Rybaltchenko . Primarily black and gold, featuring attendants, sacred scarabs, gems and golden treasures found in King Tut's Tomb. Size: 36" X 36" Excellent Condition With Box.
An extensive group of medals and memorabilia of Admiral Wilfrid Egerton, Royal Navy
Comprising: 1) Companion of St. Michael and St. George neck badge (CMG), silver gilt, in titled case; 2)Mounted group of 5 medals, including Queen's South Africa with bars Cape Colony, Driefontein, Paardeberg, Modder River, & Belmont (named as Midshipman, HMS Doris), 1914-15 Star trio (named as Commander), and France, Legion of Honor, knight; 3) Russia, Order of St. Stanislas, 2nd class neck badge, with swords, gold, by Eduard; 4) Japan, Order of the Sacred Treasure, 3rd class neck badge, in lacquer case with silk cord closure; 5) Mounted group of miniatures corresponding to the decorations above, including unofficial campaign bars on the British War Medal for Suez Canal, Tsingtau, North Sea 1918, N.S. 1917, N.S. 1916, N.S. 1915, Jutland, Dardanelles & Gallipoli; 6) 3 complete ribbon bars as above; 7) 3 photographs of Egerton, two posed in uniform, and one a snapshot with his father, Sir Reginald Arthur Egerton CB; 8) A British naval hanger with black leather scabbard, shagreen grips, bullion portepee, gilded bronze fittings; 9) Assorted memorabilia including silver cigarette lighter, Japanese cigarette case, Boer war Christmas tin from 1899 with chocolates still enclosed, Edward VII coronation tobacco tin, 2 British Army cap badges and an assortment of uniform buttons from various services.
Condition: All very fine or better, except (2) Legion of Honor badge chipped at cross points, (3) harshly cleaned, the gold on reverse scratched and makers marks partially obscured, (5) Miniature of St. Stanislas lacking center, and (8) loss of gilding to fittings, blade badly pitted and nicked.
See illustration.
Rare 9th C. Viking Silver Ritual Bowl: Northern Europe, Scandinavia, Viking or Norse culture, ca. 9th to 10th century CE. A rare and beautiful bowl made from 99. 5% to 99. 6% silver and likely deposited in a Viking hoard. This is a luxurious piece, with a flat base and steep, slanted sides, hammered into a rounded shape. The exterior of the bowl has a geometric design of small impressed triangles encircling the wall just below the rim. Precious metal items of silver and gold were the ultimate symbol of wealth and status in northern and western Europe at this time. A substantial and quite striking example! Size: 8. 75" Diameter x 1. 75" H (22. 2 cm x 4. 4 cm); quality of silver 99. 5% to 99. 6%; total weight: 255 grams. . A silver bowl such as this one may have been an object of great religious power in the Viking world. In "Olafs saga helga" (The Saga of St. Olaf), written by Snorri Sturluson ca. 1230 CE, there is a scene between two Vikings who have found a sacred grove where an image of the god Jomali guards a hoard of gold and silver treasure, including a silver bowl full of coins. The Vikings steal the bowl and coins without thought, and are cursed by Jomali for their trouble, with one murdering the other. . A bowl like this was probably deposited in a treasure hoard. One of the most interesting archaeological finds from the Viking period is a hoard of metal objects, often buried in the earth or deposited in bodies of water. Such hoards have been found throughout the British Isles and the Nordic countries. This bowl would have been incredibly valuable to its owners, used as part of the important social ritual of feasting, in religious ceremonies, and, ultimately, to deposit as treasure. . . Provenance: private New York City, New York, USA collection; ex-private Kaliningrad (Koenigsberg) and then Latvia collection; found on the Baltic Sea coast prior to 1982. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #162573 Condition Indentations and bending of form. One perforation through rim and four areas on interior basin where silver is indented with small tears. Nice patina and preservation of motifs.
9th C. Viking Silver Repousse Ritual Bowl: Northern Europe, Scandinavia, Viking or Norse culture, ca. 9th to 10th century CE. A rare and beautiful bowl made from 97. 5% silver and likely deposited in a Viking hoard. The bowl is a hemispherical shape with thin walls and rests on a flat base. The elegant design of the body is adorned with hammered and chased motifs; sixteen teardrop shapes encircling the base. Across the shoulder is an incised register of intertwined knotted bands alternating with repousse knots that form abstract ram’s heads within circles. The designs create a wonderful textured surface on the interior and exterior. Precious metal items of silver and gold were the ultimate symbol of wealth and status in northern and western Europe at this time. A substantial and quite striking example! Size: 5" Diameter x 2. 25" H (12. 7 cm x 5. 7 cm); quality of silver: 97. 5%; total weight: 91. 5 grams. . A bowl like this was probably deposited in a treasure hoard. One of the most interesting archaeological finds from the Viking period is a hoard of metal objects, often buried in the earth or deposited in bodies of water. Such hoards have been found throughout the British Isles and the Nordic countries. This bowl would have been incredibly valuable to its owners, used as part of the important social ritual of feasting, in religious ceremonies, and, ultimately, to deposit as treasure. A silver bowl such as this one may have been an object of great religious power in the Viking world. In "Olafs saga helga" (The Saga of St. Olaf), written by Snorri Sturluson ca. 1230 CE, there is a scene between two Vikings who have found a sacred grove where an image of the god Jomali guards a hoard of gold and silver treasure, including a silver bowl full of coins. The Vikings steal the bowl and coins without thought, and are cursed by Jomali for their trouble, with one murdering the other. . This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world’s largest database of stolen art, collectibles, and antiques. . . Provenance: private New York, New York, USA collection; ex-private Kaliningrad (Koenigsberg) and then Latvia collection; found on the Baltic Sea coast prior to 1982. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #164127 Condition Pin hole perforations and tearing around basin. Indentations and bending of form. Great preservation of repousse and nice patina.
Egyptian Late Period Mummified Young Baboon w/ x-Ray: Egypt, Late Dynastic to Ptolemaic period, ca. 664 to 30 BCE. A wondrous linen-wrapped mummified baboon that was of a young age when it was sacrificed. The body is tightly bundled so that the rough outline of the skull and tail are displayed, and the profile of the humerus and radius/ulna of one arm are visible. Mummified animals like this example were intended as offerings to certain deities for protection or blessings as the ancient Egyptians were known for breeding and capturing animals specifically for this purpose. Given the Egyptians belief that baboons held a higher intelligence than most creatures, they were regularly sacrificed to Thoth, the god of mathematics, reading, and other intellectual pursuits. However, since baboons were believed to house the souls of the dead, mummified baboons were also offered to Babi (also Baba), a baboon-form deity whom resides in the underworld. Size: 10. 375" L x 2. 5" W (26. 4 cm x 6. 4 cm). . According to Egyptologists Erik Hornung and Betsy M. Bryan, "As primeval animals, baboons and green monkeys were prominent parts of the Egyptian cosmogony. The earliest gods are sometimes depicted with baboon heads. The baboon became an aspect of the sun god, Re . . . And of the moon god, Thoth-Khonsu. Thoth (Djehuty in ancient Egyptian) was the god of writing and knowledge, who was depicted in the form of two animals: the baboon (Papio cynocephalus) and the sacred Ibis (Threskiornis aethiopicus). In his baboon form Thoth was closely associated with the baboon god, Hedj-wer (the great white one) of the Early Dynastic period. By the end of the Old Kingdom (2686 - 2181 BCE) he was usually portrayed as an ibis-headed man, holding a scribal palette and pen or a notched palm leaf, performing some kind of act of recording or calculation. " (Hornung, Erik and Betsy M. Bryan, eds. "The Quest for Immortality: Treasures of Ancient Egypt. " National Gallery of Art, Washington, 2002, p. 200). . For an example of a mummified adult baboon in an upright seated position, please see The British Museum, museum number EA35857. . . Provenance: private J. H. collection, Beaverton, Oregon, USA, acquired at auction in 2002; ex-Ancient Resource, LLC auction, Los Angeles, California, USA. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #150208 Condition Minor staining and desiccation to linen wrappings, with light fraying to some exterior linen layers, otherwise intact and excellent. Overall form still recognizable.
Early 20th C. Tibetan Thangka - Life of Buddha: Central Asia, Tibet, ca. early 20th century CE. This thangka features the manushi buddha Shakyamuni with his hands in the Bhumisparsha mudra and holding a treasure pot to convey the idea of satisfying physical needs. Surrounding this central image are scenes from the life of Buddha. It is incredibly rich for its extensive iconography, striking use of color, and fine painting. The artist depicted various scenes from the life of Gautama Siddhartha set amidst a sacred mountainous landscape in a stunning color palette of green, blue, gold, red, gold, rose, brown, cream, and black hues. Beyond this extensive iconography, is the striking stylistic aesthetic and expert technique that the work displays. Surrounding the central composition is a border of dragons and lotus blossoms. Size: 9. 875" L x 7. 875" W (25. 1 cm x 20 cm); 18. 5" L x 15" W (47 cm x 38. 1 cm) framed. . This Buddha is depicted in the Bhumisparsha mudra, with his right hand over the right knee reaching towards the ground and the palm inward and touching the lotus throne. His left hand lies in his lap with the palm upright. This mudra represents the moment of his awakening, as he defeated the demon Mara, and claimed the earth as his witness to his enlightenment. In this depiction, he also holds a treasure pot. The concept of a pot that is never empty evolved from this image; it is a symbol of wish fulfillment - both spiritual and material. . . Provenance: ex Gomez collection, Colorado, USA. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #145234 Condition Thangka has not been examined outside the frame but appears to be in excellent condition, as does the framing. Wired for suspension and ready to hang.
20TH C. DRC HEMBA KUSU WOOD POWER FIGURE, EX-DARTEVELLE...Central Africa, Dominican Republic of Congo, Hemba / Kusu peoples, ca. mid-20th century CE. A fantastic and fascinating wooden power figure known as a kakudji, skillfully hand-sculpted and adorned in a textile skirt and headdress. Boasting a rich, espresso-hued surface, the intriguing figure places both hands on his distended abdomen as he gazes forth, jutting out his prominent pointed chin. His sizeable head features slender eyes beneath arched brows, a naturalistic nose, a gentle smile, and a short beard, all flanked by a pair of large ears and supported by a thick, tubular neck atop broad shoulders. An elaborate headdress crowns the figure, featuring a projecting back section that has been carved into a grid and a cylindrical, tiered top, capped by a bulbous bulk of "magical substances" wrapped in textile. Another cloth ties below his belly, right before the figure expands to rest on an annular base. Size: 3.9" W x 12.5" H (9.9 cm x 31.8 cm); 15.5" H (39.4 cm) on included custom stand.
Intended to serve as receptacles or vessels for spirit beings, kakudji are made in a diverse variety of forms, including Janus-headed, attached to a calabash, or carried as a portable amulet. Specific kakudji are prescribed and consecrated by spiritual mediums to meet the needs of an individual or a family and aid in matters of illness, infertility, or to guarantee safety and success when hunting. These power figures serve as important reminders that their deceased ancestors are continually protecting and assisting them in their daily life, and thus are kept in the household and safeguarded by the head or father of a family who then passes it down to his son. Highly treasured relics, these sacred objects often last for several generations.
This kakudji is a wonderful example of the Kasongo style, known for being most representative of what can be considered a "classical" or "pure" stylistic form. The textile atop the figure's head is most notable as it holds ingredients specially crafted by the medium to activate the spirit within. These substances are often kept in the heads of kakudji as the crown of the head is regarded as the site of communication with spirit entities.
Provenance: private Jersey City, New Jersey, USA collection; ex-private North American collection; ex-private Brussels, Belgium collection; ex-Denise et Beppe Berna Gallery, Bologna, Italy; ex-Pierre Dartevelle collection, Brussels, Belgium
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm.
Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping.
#169912
Condition:
Stable fissure to headdress, base, and verso of right shoulder. Some fraying, tearing, and minor losses to fabric. Expected surface wear with a few light nicks and scratches. Otherwise, intact and excellent with nice patina and light earthen deposits throughout.
AN EXCEPTIONAL CHINESE "WHITE" JADE CUP AND SAUCER, the cup with scroll handles surmounted by recumbent stags and the body finely carved with a band of pendant tassels around the rim, the saucer in the form of a lotus with a raised central section carved with a "shou" emblem and the rim with a key pattern border, the stone of pure and even tone and with a lustrous polish, Qianlong. The saucer 5.25" wide and the cup 4.5" across the handles (2).Provenance: The Summer Palace.Captain James Gunter of the Kings Dragoon Guards, who was in command of "G" Troop in China in 1860 and thence by descent.This exquisite cup and saucer may be compared to a similar example in the Qing Court Collection illustrated as plate 106 in "The Complete Collection of Treasures at The Palace Museum", Jadeware (III), published in Hong Kong in 1995.The stag symbolises longevity and is said to be the only animal capable of finding the sacred "Fungus of Immortality". In Chinese art the deer is depicted with court officials and it is said that this signifies a wish for fame, recognition and a long successful career.
JAPAN ‘ORDER OF THE SACRED TREASURE (ZUIHOSHO)’ BREAST STAR SIZE: 76 X 74 MM; WEIGHT: 59.3 DWTJapan ‘Order of the Sacred Treasure (Zuihosho)' Breast Star, Composed of silver and enamel. Signed on verso. Dimensions: Size: 76 x 74 mm; Weight: 59.3 dwt
Hermes "Tutankhamun"; Silk Scarf by V. Rybaltchenko: Originally issued in 1976 and reissued in 1994, "Tutankhamun"; Silk Twill Carre by Vladimir Rybaltchenko . Primarily black and gold, featuring attendants, sacred scarabs, gems and golden treasures found in King Tut's Tomb. Size: 36" X 36" Excellent Condition With Box.
Egyptian Painted Gesso & Linen Wood Panel - Djed Pillar: Ancient Egypt, Third Intermediate Period, 21st to 25th Dynasty, ca. 1076 to 664 BCE. A beautiful cypress wood panel comprised of four horizontal planks that were perhaps parts of a larger coffin. The panel is lined with woven linen, covered in white gesso, and painted atop the gesso is a meticulously detailed scene in vibrant hues of yellow, blue, red, teal, orange, and black. Illustrated within a semicircular archway are the sister goddesses Isis and Nephthys, wearing matching sun disks and kneeling atop offering boxes decorated in polychrome checkerboard motifs, praying to a red-and-blue djed pillar atop a third box. The djed pillar is highly symbolic of the spine and especially that of Osiris, the god of the underworld, and the two-lobed ostrich feathers on top indicate how this pillar wears the Atef crown of Osiris with a trace of one ram horn visible above the topmost djed platform. Remains of ten original dowel holes and dowels for attachment are visible on the verso. Size: 13. 4" W x 8. 75" H (34 cm x 22. 2 cm); 9. 5" H (24. 1 cm) on included custom stand. . The djed pillar is one of the oldest and most symbolic images in ancient Egyptian culture, and its myriad interpretations are incredibly diverse. According to contributing writer Terence DuQuesne, "The djed pillar is one of the most important symbols of Osiris, lord of the netherworld, protector of the justified soul, and judge of the dead. Osiris is also a deity of plant fertility, and the pillar may be a schematic representation of a sacred tree, though the fact that early examples are made of ivory militates against this theory. Alternatively it could represent a pole to which sheaves of grain were attached. " (Hornung, Erik and Betsy M. Bryan, eds. "The Quest for Immortality: Treasures of Ancient Egypt. " National Gallery of Art, Washington, 2002, p. 111). . For a much larger example of Osiris given form as a djed pillar, please see The British Museum, museum number EA6693 (photo 3 of 31). . For another example illustrating Isis and Nephthys worshipping a djed pillar, please see Bonhams, London, New Bond Street "Antiquities" auction (May 1, 2013, lot 336W, photo #3) . . Provenance: private New York, New York, USA collection; ex-private prominent D. K. collection, New York, USA, acquired in 2000. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #152700 Condition Repaired across three areas of top half, with small chips and adhesive residue along break lines. Chipping and abrasions to painted gesso, linen, planks, dowels, and dowel holes, with fading and light staining to original pigment, light encrustations, and expected desiccation to wood, linen, and painted gesso commensurate with age. Great traces of iconography and original pigment throughout.
Egyptian Copper Baboon-Headed Thoth Figure: Ancient Egypt, New Kingdom, 19th to 20th Dynasty, ca. 1292 to 1070 BCE. A cast-copper figure of the baboon-headed version of Thoth, the god of writing, accounting, and other intellectual pursuits. Typically depicted as an ibis-headed man, this example of Thoth presents sitting atop an integral rectangular plinth with hands resting atop both knees drawn up to the chest. Petite incisions create a hairy effect across the primate body as well as the elegant mane surmounting the head. Almond-shaped eyes behind a broad snout, a narrow nose, and a thin mouth constitute the baboon's characteristic features, and the entire figure is enveloped in matte brown and green patina. Size: 1. 125" W x 2. 125" H (2. 9 cm x 5. 4 cm). . According to Egyptologists Erik Hornung and Betsy M. Bryan, "As primeval animals, baboons and green monkeys were prominent parts of the Egyptian cosmogony. The earliest gods are sometimes depicted with baboon heads. The baboon became an aspect of the sun god, Re . . . And of the moon god, Thoth-Khonsu. Thoth (Djehuty in ancient Egyptian) was the god of writing and knowledge, who was depicted in the form of two animals: the baboon (Papio cynocephalus) and the sacred Ibis (Threskiornis aethiopicus). In his baboon form Thoth was closely associated with the baboon god, Hedj-wer (the great white one) of the Early Dynastic period. By the end of the Old Kingdom (2686 - 2181 BCE) he was usually portrayed as an ibis-headed man, holding a scribal palette and pen or a notched palm leaf, performing some kind of act of recording or calculation. " (Hornung, Erik and Betsy M. Bryan, eds. "The Quest for Immortality: Treasures of Ancient Egypt. " National Gallery of Art, Washington, 2002, p. 200). . See an example in faience from the Late Dynastic Period, The Metropolitan Museum of Art, accession number 26. 7. 874. . Another bronze example surmounted by a moon disc hammered for EUR 6, 250 ($7, 365. 72) at Christie's, Paris "Collection Jean-Philippe Mariaud de Serres" auction (sale 1054, February 16-17, 2011, lot 204). . . Provenance: ex-estate of Eldert Bontekoe, Pegasi Numismatics, Ann Arbor, Michigan, USA, acquired before 2000. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #158405 Condition Softening to some finer details on face and body, with minor pitting particularly on chest and between legs, and light encrustations, otherwise intact and excellent. Great green and brown patina throughout with areas of russet patina.
724. Lot of Twelve Art Reference Books
Lot includes: 1) Westwood, J. O. The Art of Illuminated Manuscripts: Illustrated Sacred Writings. London: Bracken Books. 1988. apprx 250 pp. Col ill. Bound with blue fabric and dust jacket. 2) Weiner, Douglas. Tibetan and Himalayan Woodblock Prints. New York: Dover Publications, Inc. 1974. 65 pp. ill. Soft cover. 3) Underverk, Konstens. Fra Angelico. Stockholm. 1954. apprx 100 pgs. Col. ill. Bound with grey fabric with red lettering and dust jacket. 4) Pächt, Otto. The Master of Mary of Burgundy. London: Faber and Faber Limited. 1947. 120 pp. ill. Bound with grey fabric. 5) Miniatures of the Renaissance. Vatican City. 1950. 160 pp. ill. Soft cover. 6) Harrison, Ann Tukey, ed. The Danse Macabre of Women. Kent: The Kent State University Press. 1994. 161 pp. ill. Bound with black fabric. 7) Smith, Rex Alan. The Carving of Mount Rushmore. New York: Abbeville Press. 1985. 415 pp. ill. Bound in brown fabric with silver gilt decoration. 8) Arwas, Victor. Berthon and Grasset. London: Academy Editions. 1978. 144 pp.B/w and col. ill. Soft cover. 9) Millar, Eric G. The Parisian Miniaturist, Honoré. New York: Thomas Yoseloff. 1959. 31 pp. Col. pl. Bound in yellow fabric with gilt lettering and dust jacket. 10) Hoffmann, Konrad. The Year 1200. Ed I: The Exhibition. Ed II: A Background Survey. The Metropolitan Museum of Art. 1970. Ill. Soft cover. 11) Mathews, Thomas and Roger S. Wieck. eds. Treasures in Heaven: Armenian Illuminated Manuscripts. New York: The Pierpont Morgan Library. 1994. 229 pp. ill. Soft cover.
150/200 Sold: $109.25
Egyptian Steatite Seated Thoth as Baboon: Egypt, Late Dynastic Period, 26th to 31st Dynasty, ca. 664 to 332 BCE. A seated baboon figure that is hand-carved from smooth brown steatite bearing the likeness of the baboon form of Thoth, the god of accounting, writing, mathematics, and other intellectual pursuits. Typically shown as an ibis-headed man, this example portrays the god in his primate form while seated atop an integral plinth with both hands resting atop his knees. His tapered face protrudes outwards above a smooth chest and bears a veristic snout, petite eyes beneath a plateaued brow, and a pair of ears perking up from beneath his lustrous mane. Faint remains of yellow and red glaze visible on each eye suggest that this figure was covered with layers of vibrant glaze at one time. Size: 2. 625" L x 2. 2" W x 3. 9" H (6. 7 cm x 5. 6 cm x 9. 9 cm); 4. 7" H (11. 9 cm) on included custom stand. . According to Egyptologists Erik Hornung and Betsy M. Bryan, "As primeval animals, baboons and green monkeys were prominent parts of the Egyptian cosmogony. The earliest gods are sometimes depicted with baboon heads. The baboon became an aspect of the sun god, Re . . . And of the moon god, Thoth-Khonsu. Thoth (Djehuty in ancient Egyptian) was the god of writing and knowledge, who was depicted in the form of two animals: the baboon (Papio cynocephalus) and the sacred Ibis (Threskiornis aethiopicus). In his baboon form Thoth was closely associated with the baboon god, Hedj-wer (the great white one) of the Early Dynastic period. By the end of the Old Kingdom (2686 - 2181 BCE) he was usually portrayed as an ibis-headed man, holding a scribal palette and pen or a notched palm leaf, performing some kind of act of recording or calculation. " (Hornung, Erik and Betsy M. Bryan, eds. "The Quest for Immortality: Treasures of Ancient Egypt. " National Gallery of Art, Washington, 2002, p. 200). . Cf. a faience example at the Metropolitan Museum of Art, accession number 26. 7. 874. . This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world’s largest database of stolen art, collectibles, and antiques. . . Provenance: private Corpus Christi, Texas, USA estate collection, acquired 1960s to 1970s. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #165090 Condition Snout reattached to front of face, with small chips and very light adhesive residue along break lines. Losses to proper front-right corner of plinth and tip of tail as shown. Minor abrasions and pitting to surfaces, with fading to most areas of original glaze, and light softening to some finer details. Wonderful preservation to overall form, and very faint remains of original glaze visible on eyes.
Group of 4 Japanese Merit Medals. : Including an Order of the Sacred Treasure 6th Class Medal, a Red Cross Medal Special Member Medal, a "China Incident" military service medal, and 1914 WWI military service medal. Dimensions: Order of the Sacred Treasure: 27mm dia. Red Cross: 33mm dia. China Incident: 33mm dia. WWI: 35mm dia. Condition Order of the Sacred Treasure medal with cracks to some areas of red enamel.
RARE 19TH C. CENTRAL ASIAN BRONZE CEREMONIAL SUGAR AXE**Originally Listed At $1500**
Near East / Central Asia, Iraq & Afghanistan, ca. 18th to 19th century CE. An incredibly rare and beautiful tool known as a sugar axe, cast from bronze with some remains of the iron blade embedded in the head. The slender handle is etched and drilled - the cavities likely once held glass or stone inlays- with geometric motifs and a relief stag projecting over the head - the curved tip is slotted for inserting the blade. Sugar axes were used to break up and pulverize sugar loaves into powder, this sweet "nectar of the gods" was introduced to the region about 1500 years ago, spreading from Southeast Asia into India then central Asia. The incised motifs are celestial; crescent moons and stars - perhaps a heavenly connection to ancient deities, and stags were associated with the sacred Tree of Life! Size: 11" L x 4.75" W (27.9 cm x 12.1 cm)
The ritualistic axes known as "qandshekan" were treasured heirlooms that were passed down through generations, but due to modernization of sugar production - they have become very scarce and nearly obsolete! Ceremonial sugar axes, such as this, were cast from bronze or copper with ornate designs and often given as wedding gifts, while utilitarian everyday axes were simpler and usually made entirely of iron or steel. Breaking sugar loaves with an axe such as this was a ceremonial part of marriage rituals, and the sugar pieces were distributed to guests – like wedding cake in Western traditions!
PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm.
Provenance: East Coast collection, New York Gallery, New York City, New York, USA, acquired before 2010
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
We ship worldwide and handle all shipping in-house for your convenience.
#175747
Condition:
Missing iron blade tip. Age and use commensurate surface wear and nicks, but rest of bronze handle and head are intact and excellent. Surface is cleaned and coated in clear fixative. Missing inlays along handle and head. Green patina and dark toning throughout.
1775 PAUL REVERE Engraved + Printed KING PHILIP Mass. Loan Certificate Document: American Revolution. 1775 Paul Revere Engraved "King Philip" Massachusetts 6% Loan Document - The First American Interest Bearing Bond Form Issued to Finance the Revolutionary War MA-1. August 15, 1775-Dated Revolutionary War Period, "Colony of the Massachusetts Bay, " Paul Revere, Jr. Copper Plate Engraved and Printed, Native American Indian Chief "King Philip" Vignette Design, Treasury Loan Certificate Document for 5 at 6% Interest, Anderson MA-1, Choice Extremely Fine. Rated as Rarity-6 in the Anderson reference (Very Rare 21-30 estimated known). This large format Engraved Printed Document is Signed, "Henry Gardner" (as Treasurer), measuring 7. 75" x 6. 5" having exceptional centering within four fully wide margins. Paul Revere, Jr's Silversmith Hand-engraving workmanship skill is impressively displayed in this historic and highly important piece of American Revolutionary War finance. This historic American Bond was printed off one of four copper plates which Paul Revere Engraved for the Massachusetts Bay Colony for a recorded payment of 50. This current example is among the finest quality known to us with most being locked away in museum and institutional collections. . Listed as Anderson MA-1 in his important Revolutionary War Era financial document reference titled: "THE PRICE OF LIBERTY" it is specially noted and important as being the very First Revolutionary War Finance Bond. This Paul Revere Engraved Loan Certificate was authorized by an extremely important Massachusetts Council Act which provided for the first financing for fighting the American Revolutionary War. These 1775 Paul Revere Engraved "King Philip" Massachusetts Bonds precede the authorization and printing of the Continental Congress Currency and all other Paul Revere Engraved Copper Plate Paper Money notes. They are considered immensely important in the fiscal history of America and the very founding of the United States. . Impressively printed, it is very even in rich black inking from an early plate state. The left end integral vignette cut of Native American Indian Chief "King Philip" in the left Indent border design, features his head and flowing robe to his moccasin on his feet in detail. Located above the Indian King's head is a vignette image of the "Sacred Codfish. " The surrounding flourishes have a classic Revere style and character. The Patriot and Political words reading: "(Ame)rican Paper" are printed directly underneath the left side Indent border, as a direct deliberate "challenge" to the British. The "CMB" script monogram on this Bond represents "Colony of the Massachusetts Bay. ". . This Bond is very clean, completely original, and problem-free being well printed with sharp clear details on quality period laid paper. An early Interest Payment Notation reading "Four years Interest paid" is handwritten within two vertical penned straight lines. The vignettes on the engraved plate on the left side of this note, depicts the "Sacred Codfish" above the proud image of the historic Native American Indian Chief, "King Philip. " Four signatures appear on this note. Daniel Hopkins and Henry Gardner are in deep vivid brown ink, with Samuel Phillips, Jr. in red and Edward Rawson written in light blue. This particular example is also noted and endorsed on its blank reverse side as being paid in: "Gold and Silver Notes"! This "King Philip" Bond by Paul Revere is considered a critical highlight Document for collectors of Paul Revere Engravings, American Fiscal History and/or Revolutionary War specialists with strong ties to American Colonial Currency. . . See:. . Title: "PAUL REVERE'S ENGRAVINGS, " by Clarence S. Brigham, published for the American Antiquarian Society 1954 and 1969 2nd Revised Edition, "King Philip" Bond Type Illustrated on page 215, as plate 73. . Title: "The Entertaining History of King Philip's War: which began in the month of June, 1675: also of expeditions more lately made against the common enemy and Indian rebels in the eastern parts of New-England: with some account of the Divine Providence towards Col. Benjamin Church. " Author: Benjamin Church. Entertaining passages relating to Philip's War. "And now my great age requiring my dismission from service in the militia, and to put off my armour, I am willing that the great and glorious works of almighty God, to us children of men, should appear to the world; and having my minutes by me, my son has taken the care and pains to collect from them the ensuing narrative . . To the reader, Signed (p. iv): Benjamin Church. Portraits of Benjamin Church (i. e. Charles Churchill) and King Philip engraved by Paul Revere.
Egyptian Copper Baboon-Headed Thoth Figure: **Originally Listed At $1500**. . Ancient Egypt, New Kingdom, 19th to 20th Dynasty, ca. 1292 to 1070 BCE. A cast-copper figure of the baboon-headed version of Thoth, the god of writing, accounting, and other intellectual pursuits. Typically depicted as an ibis-headed man, this example of Thoth presents sitting atop an integral rectangular plinth with hands resting atop both knees drawn up to the chest. Petite incisions create a hairy effect across the primate body as well as the elegant mane surmounting the head. Almond-shaped eyes behind a broad snout, a narrow nose, and a thin mouth constitute the baboon's characteristic features, and the entire figure is enveloped in matte brown and green patina. Size: 1. 125" W x 2. 125" H (2. 9 cm x 5. 4 cm). . According to Egyptologists Erik Hornung and Betsy M. Bryan, "As primeval animals, baboons and green monkeys were prominent parts of the Egyptian cosmogony. The earliest gods are sometimes depicted with baboon heads. The baboon became an aspect of the sun god, Re . . . And of the moon god, Thoth-Khonsu. Thoth (Djehuty in ancient Egyptian) was the god of writing and knowledge, who was depicted in the form of two animals: the baboon (Papio cynocephalus) and the sacred Ibis (Threskiornis aethiopicus). In his baboon form Thoth was closely associated with the baboon god, Hedj-wer (the great white one) of the Early Dynastic period. By the end of the Old Kingdom (2686 - 2181 BCE) he was usually portrayed as an ibis-headed man, holding a scribal palette and pen or a notched palm leaf, performing some kind of act of recording or calculation. " (Hornung, Erik and Betsy M. Bryan, eds. "The Quest for Immortality: Treasures of Ancient Egypt. " National Gallery of Art, Washington, 2002, p. 200). . See an example in faience from the Late Dynastic Period, The Metropolitan Museum of Art, accession number 26. 7. 874. . Another bronze example surmounted by a moon disc hammered for EUR 6, 250 ($7, 365. 72) at Christie's, Paris "Collection Jean-Philippe Mariaud de Serres" auction (sale 1054, February 16-17, 2011, lot 204). . . Provenance: ex-estate of Eldert Bontekoe, Pegasi Numismatics, Ann Arbor, Michigan, USA, acquired before 2000. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #158405 Condition Softening to some finer details on face and body, with minor pitting particularly on chest and between legs, and light encrustations, otherwise intact and excellent. Great green and brown patina throughout with areas of russet patina.
Egyptian Bronze Seated Statuette of Thoth, ex-Bonhams: Egypt, Late Dynastic Period, 26th to 31st Dynasty, ca. 664 to 332 BCE. A wonderful cast-bronze statuette of Thoth, the god of writing, accounting, and other intellectual pursuits. Thoth, typically depicted as an ibis-headed man, is shown here as a baboon seated atop an integral rectangular plinth. The hollow simian figure wears a fur-lined cape with a scalloped periphery on the verso, drapes both arms atop bent legs, and holds his back in a rigid, dignified posture. His serene face presents with almond-shaped eyes beneath thin brows, a hemispherical snout with incised nostrils and lips, and characteristic puffy cheeks, all surmounted by the lower half of a lunar disc. Mottled patina envelops the surfaces in hues of russet, brown, and green and makes for an attractive presentation. Size: 1. 8" W x 3. 5" H (4. 6 cm x 8. 9 cm); 4. 25" H (10. 8 cm) on included custom stand. . According to Egyptologists Erik Hornung and Betsy M. Bryan, "As primeval animals, baboons and green monkeys were prominent parts of the Egyptian cosmogony. The earliest gods are sometimes depicted with baboon heads. The baboon became an aspect of the sun god, Re . . . And of the moon god, Thoth-Khonsu. Thoth (Djehuty in ancient Egyptian) was the god of writing and knowledge, who was depicted in the form of two animals: the baboon (Papio cynocephalus) and the sacred Ibis (Threskiornis aethiopicus). In his baboon form Thoth was closely associated with the baboon god, Hedj-wer (the great white one) of the Early Dynastic period. By the end of the Old Kingdom (2686 - 2181 BCE) he was usually portrayed as an ibis-headed man, holding a scribal palette and pen or a notched palm leaf, performing some kind of act of recording or calculation. " (Hornung, Erik and Betsy M. Bryan, eds. "The Quest for Immortality: Treasures of Ancient Egypt. " National Gallery of Art, Washington, 2002, p. 200). . A stylistically similar example, of a slightly larger size and with an intact moon disk, hammered for EUR 6, 250 ($6, 961. 92) at Christie's, Paris "Collection Jean-Philippe Mariaud de Serres" auction (sale 1054, February 16-17, 2011, lot 204). . . Provenance: private Lewis collection, Florida, USA, acquired in November 2018; ex-Bonhams, London, New Bond Street "Antiquities" auction (November 28, 2018, lot 172); ex-Mr. and Mrs. Adie collection, Warwickshire, collection 1965 to 1980; and thence by descent to the present owner. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #150427 Condition Loss to top half of lunar disc as shown. Minor abrasions and nicks to integral plinth, body, and head, with softening to some finer details, and light encrustations. Great earthen deposits and lovely mottled patina throughout. Overall Dimensions Unit: Height: 0. 00 Width: 0. 00 Depth: 0. 00 Weight: 0. 00
Two WW II Japanese Medals: Silver Order of the Sacred Treasure and Order of the Rising Sun. Both with original presentation boxes. Both inscribed Condition Very good condition
Chinese Tang Dynasty Limestone Votive Stele: East Asia, China, Tang Dynasty, ca. 618 to 906 CE. A well-preserved carved limestone votive stele of an arched form depicting the Buddha with a high ushnisha, seated in a cross-legged meditative pose between two attendants - possibly his disciples Ananda and Mahakasyapa - within a cave, with a pair of dragons forming an amazing intertwining pattern topping the stele to protect the Buddha niche as well as the entire monument. On the verso are eight flying Apsaras or celestial beings surrounding an expressive visage wearing a lotus-shaped crown with deer heads (symbolizing the Buddha's first sermon at Deer Park) emerging. By commissioning this stele, individuals or members of a society would have acquired merit, thereby contributing to each individual’s ultimate enlightenment, which is a primary goal in Buddhism. Size: 16" W x 15. 625" H (40. 6 cm x 39. 7 cm); 20. 625" H (52. 4 cm) on included custom stand. . See a Wei dynasty votive stele that also features protective dragons and is dated 528 CE in the Metropolitan Museum of Art that is referred to in this article (https://www. metmuseum. org/pubs/bulletins/1/pdf/3258141. pdf. bannered. pdf). According to author of the article Fong Chow, Associate Curator of Far Eastern Art at the Met in the 1960s, "The use of dragons as guardians of sacred objects dates back at least to the Han period, and continues to be the standard way of decorating votive monuments down to the Ming (1368-1644) and Ch'ing (1644-1912) dynasties. . See this article for a 2008 exhibition that included a Tang dynasty stele that also featured such protective dragons in an exhibition at Columbia University entitled, "Treasures Rediscovered: Chinese Stone Sculpture from the Sackler Collections at Columbia University. " . . Provenance: private East Coast, USA collection; ex-John Krysko collection, New York, USA, acquired in France in the 1980s. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #139404 Condition Expected surface wear commensurate with age, but the carving is remarkably vivid.