MARURI USA ALLEN'S HUMMINGBIRD WITHMARURI USA ALLEN'S HUMMINGBIRD WITH HIBISCUSFine Porcelain and Bronze, hand painted by the artisans of the Maruri Studios. Introduced in 1989. Hallmark: H-8906. Featuring Allen's Hummingbird with Hibiscus.
Artist: Maruri
Issued: 1989
Dimensions: 8 1/2"H x 7"W x 5"D
Manufacturer: Maruri USA
Country of Origin: USA
Condition:
Excellent
BOEHM PORCELAIN CYGNET STANDING BIRDBOEHM PORCELAIN CYGNET STANDING BIRD FIGURINEBisque Porcelain Decorated. Hand painted, hand created by the artisans of Boehm. Introduced in 1976, closed in 1980. Hallmark: 400-27. USA.
Artist: Boehm
Issued: 1976
Dimensions: 6.5"H x 4.5"W X 4"D
Manufacturer: Edward Marshall Boehm, Inc.
Country of Origin: USA
Condition:
Excellent
ROYAL WORCESTER QUEEN ELIZABETH II CANDLEROYAL WORCESTER QUEEN ELIZABETH II CANDLE SNUFFEREnglish Fine Bone China. Limited Edition, glazed Porcelain Decorated. Hand-created, hand painted by the artisans of Royal Worcester. Authentic Hallmark. England. Original box.
Artist: Royal Worcester
Issued: Vintage
Dimensions: 4"H x 2 1/2"W x 2"D+M4L42:M48
Edition Number: 342 Edition Size: 1000
Manufacturer: Royal Worcester
Country of Origin: England
Condition:
Excellent
CYBIS PORCELAIN PANDORA PINK (SP) FIGURINEBisqueCYBIS PORCELAIN PANDORA PINK (SP) FIGURINEBisque Porcelain Decorated. Hand painted by the artisans of Cybis. A Limited, Special Edition introduced in 1967 featuring Pandora in Pink. Closed Edition. Design No: 454P
Artist: Cybis
Issued: 1967
Dimensions: 5"H x 3 1/2"W x 4"D
Manufacturer: Cybis Studios
Country of Origin: USA
Condition:
Excellent
CYBIS PORCELAIN MAXIMILIAN DORMOUSECYBIS PORCELAIN MAXIMILIAN DORMOUSE SPECIAL EDITION FIG...Bisque Porcelain Decorated. Hand painted by the artisans of Cybis. A special edition introduced in 1971 features the Dormouse. Closed Edition. Design No: 697.
Artist: Cybis
Issued: 1971
Dimensions: 5"H x 5"W x 4"D
Manufacturer: Cybis Studios
Country of Origin: USA
Condition:
Excellent
CYBIS PORCELAIN RABBIT WITH HARMONICABisqueCYBIS PORCELAIN RABBIT WITH HARMONICABisque Porcelain Decorated. Hand created, hand painted by the artisans of the Cybis Studios. Closed Edition. USA. Hallmark: Signed Cybis.
Artist: Cybis
Issued: 1990
Dimensions: 6 1/2"H x 2 1/2"W x 3 1/2"D
Manufacturer: Cybis Studios
Country of Origin: USA
Condition:
Excellent
ROYAL WORCESTER PORCELAIN ORANGE TABBYROYAL WORCESTER PORCELAIN ORANGE TABBY CAT FIGURINEEnglish Fine Bone China, Glazed Decorated. Hand created, hand painted by the artisans of Royal Worcester. Hallmark: Royal Worcester. Made in England. Closed Edition.
Artist: Royal Worcester
Issued: 1985
Dimensions: 3"H x 3"W x 3"D
Manufacturer: Royal Worcester
Country of Origin: England
Condition:
Excellent
ROYAL WORCESTER PORCELAIN GREY TABBYROYAL WORCESTER PORCELAIN GREY TABBY CAT FIGURINEEnglish Fine Bone China, Glazed Decorated. Hand created, hand painted by the artisans of Royal Worcester. Hallmark: Royal Worcester. Made in England. Closed Edition.
Artist: Royal Worcester
Issued: 1984
Dimensions: 3"H x 4"W x 3 1/2"D
Manufacturer: Royal Worcester
Country of Origin: England
Condition:
Excellent
MURANO GLASS TROPICAL FISH, ASSORTMENTMURANO GLASS TROPICAL FISH, ASSORTMENT OF FOURVintage, mouth blown, multi-colored tropical fish. Hand made, created by the artisans of Murano. Made in Italy.
Artist: Murano Glass
Issued: 1980
Dimensions: 2" - 3" H x 3"- 4"W
Manufacturer: Murano Glass
Country of Origin: Italy
Condition:
Excellent
COSTA RICAN HAND PAINTED POTTERY VASEDESCRIPTION:COSTA RICAN HAND PAINTED POTTERY VASEDESCRIPTION: Hand Painted Traditional Pottery Vase from Palmares area in Costa Rica. This is a listing for a decorative pottery vase that was handcrafted in Costa Rica. The round vase is hand-painted with bands of rust and browns featuring a variety of abstract geometric designs. Costa Rican pottery is completely handmade with traditional techniques passed down through the generations for thousands of years. The artisans create the clay pots on hand-operated pottery wheels and polish the pieces to give them a smooth finish and luster. Designs are painted with natural pigments made from ground colored rocks mixed with water, then fired in traditional wood-burning kilns. The result is a striking earthen pottery unique to this specific region of Costa Rica. This beautiful ceramic vase has a rounded bottom and comes with pottery base.
CIRCA: 21st Century
ORIGIN: Costa Rica
DIMENSIONS: H: 13 1/2" W: 10"
CONDITION: Great condition. Additional base has a crack. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS 305-332-9274. 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.
KELVIN CHEN VINCENT VAN GOGH JEWELRYKELVIN CHEN VINCENT VAN GOGH JEWELRY BOXDESCRIPTION: A Kelvin Chen Vincent Van Gogh jewelry box. This is a handmade copper miniature jewelry trinket box. It has been hand painted decorated with enamel with a seascape by Vincent Van Gogh. The hinged lid has a metal edge and clasp. The artisan's name and item number is inscribed on the bottom.
CIRCA: 21st Century.
ORIGIN: China.
DIMENSIONS: W: 3 1/2" L: 2 5/8".
Have a similar item to sell? Contact: Info@Akibaantiques.com.
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)-332-9274. 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."
MASAHARU AOYAMA WOODBLOCK PRINTS, TWOMASAHARU AOYAMA WOODBLOCK PRINTS, TWO (2)Masaharu Aoyama (Japanese, 1893-1969) two (2) woodblock prints, both pencil signed to bottom with red stamp seal in image; both measure approximately 17" x 12" unframed and are housed in open panel folios; woodblock depicting three figures has some damage to left side but other is in good overall condition. Masaharu, also known as Seiji Aoyama was born in Saitama prefecture. He studied traditional Japanese ink painting at the Tokyo School of Fine Arts. After his graduation he took a job at the Imperial Household Museum (always a good idea for an artist, providing a safe income). However Aoyama Masaharu retired rather early from this job in the late 1930s. Aoyama worked primarily as a painter. As a printmaker he felt close to the sosaku hanga art movement. A part of his print output was self-carved, self-printed and self-published. Another part was published by Ishiyama. Aoyama Masaharu's prints are different from those of most sosaku hanga artists in the sense of technical skill. Aoyama apparently mastered the artisan skills of the trade better than his sosaku hanga colleagues.
PAOLO SOLERI ARCOSANTI LARGE BRONZEPAOLO SOLERI ARCOSANTI LARGE BRONZE WIND BELLPaolo Soleri (Italian/American, 1919-2013) for Arcosanti, United States. Large ribbed bronze wind bell with an uneven verdigris patina throughout. Marked with an Arcosanti stamp along the side.
Soleri coined his architectural design studio and nonprofit foundation "Cosanti," from the blending of the Italian words "cosa" and "anti," meaning "against things." This was done as a critique of the culture of consumerism he witnessed taking hold in the world. In 1970, The Cosanti Foundation began construction of a prototype arcology city (a term coming from the blending of architecture and ecology). This city in the Arizona desert would be named Arcosanti. Built on sustainable architecture, the artisans of this city are famous for their wind chimes and bells.
Height: 22 1/4 in x width: 8 3/4 in x depth: 7 3/4 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.
ERIK NITSCHE (1908 - 1998) "IRIS"ErikERIK NITSCHE (1908 - 1998) "IRIS"Erik Nitsche (Swiss, 1908 - 1998) "Iris - Manuscript Illumination" Signed lower right. Original Mixed Media painting on Illustration Board.
Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.
This painting is the original painting which was published on the Fleetwood First Day Cover for the Germany 80 + 40pf Medieval Manuscript Illumination stamp issued October 15, 1985.
Although illumination is widely regarded as a medieval artform par excellence, it traces its origins back to ancient Egypt, Greece and Rome. The classical artists illustrated text with a continuous chronological sequence of scenes, often filling an entire page. The subjects were idealized yet lifelike -- human forms painted against a background of classical architecture. The colors used were ever-so-delicate and the works showed a quite realistic perspective. The illuminated artform grew more popular as people used it to preserve and pass on their religious beliefs. Indeed, there came a time when the chief purpose of illumination was to glorify the Scriptures. At first, the artisans who created these illuminating works were monks working anonymously out of humble devotion to the Scriptures. Often rich princes and churchmen commissioned entire volumes of the Scriptures, theological works and other religious writings as an act of great piety. Later, as wealth and worldly interests increased, illuminating artists were often famous professional laymen who created both secular and religious illuminations. These illuminations were commissioned by private individuals, often moved as much by personal pleasure as by devotion to God. The Iris -- depicted on this original artwork -- was among the figures which were often hand-painted on manuscripts by devoted medieval monks. It symbolized the bridge between heaven and earth and the pact between God and Man.
Image Size: 12 x 14 in.
Overall Size: 15 x 20 in.
Unframed.
(B09826)
Condition:
- By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions.
- Due to the size of our gallery not all items are out for preview at one time. If you plan on coming to preview any lot(s) we recommend letting us know prior so we can have them collected and prepared for your preview.
- All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via WIRE TRANSFER, no other forms of payment will be accepted.
- All items are sold as-is where-is and no guarantees are made of any kind. All sales are final; no refunds will be given under any circumstances.
- All artwork is listed and sold per section (10) of our terms and conditions, please read over all definitions of authorship prior to bidding to better understand artwork listings.
- Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging.
- Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail.com
- We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through multiple online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly.
- Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be outbid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live.
- Unless otherwise stated in the description, all items are sold without additional documentation or COAs. If any supporting documentation is available an image will be available online via the catalog listing.
12TH C. MAJAPAHIT STONE HANUMAN FIGURE12TH C. MAJAPAHIT STONE HANUMAN FIGURE MONKEY-FORM**Originally Listed At $3500**
Southeast Asia, Indonesia, the island of Java, Majapahit Empire, ca. 1293 to 1527 CE. A charming sculpture, a large Hanuman figure in the form of a monkey kneeling on a platform, his hands raised to support an offering bowl. Carved from a grey volcanic stone, the figure has weathered to an interestingly textured surface. Hanuman has a delightful countenance, with a long snout that rests on his portly torso, deeply incised eyes and mouth. His round ears bulge outward behind his raised paws. Size: 4.55" L x 4.1" W x 12.5" H (11.6 cm x 10.4 cm x 31.8 cm)
During the later Majapahit Empire, the buildings of East Java - both religious and secular - were decorated with dramatic figural sculptures in stone and terracotta. Many of the remaining sculptures display characters from the great Hindu epic Ramayana, including Hanuman, who often plays a major role. Hanuman's mystical qualities seem to have particularly beguiled the people of East Java, who depict him in a great detail in their art, emphasizing the Tantric themes of the god's story. For example, at the Panataran, a large Hindu temple complex (now ruined) in East Java, and the favorite sanctuary of the Majapahit King Hayam Wuruk, Hanuman plays a central role in the many reliefs still visible on its walls. These depict his role in reuniting Rama with his wife Sita after her imprisonment by the demon king Rahwana. The artisan who carved this offering bowl would have been channeling this powerful story.
Provenance: private Hawaii, USA collection
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 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.
#141195
Condition:
Stone surface has weathered naturally, creating an interestingly textured surface. This includes a small loss on the lower part of the offering bowl from the surface. Form is still very clear. Some losses to edge of base. Velvet attached to base.
20TH C. INUIT / ALEUT BEADED WOOL WALL20TH C. INUIT / ALEUT BEADED WOOL WALL HANGING**Originally Listed At $450**
Native American, Northwestern United States or Canada, Aleut, Yupik, or Inuit, people, ca. 20th century CE. A gorgeous hand sewn wool felt panel featuring women in glass beaded clan costumes. The white wool panel is whip stitched with a black yarn border. The figures are made from applique felt and embroidery, each wearing ornate beaded tunics or dresses, that are stitched with glass seed beads and thread tassels. The beads on the women's chests dangle freely. At the bottom is a sled team pulling a figure in a gray parka. These intricate sewing and imaginative scenes demonstrate the skill of the artisans. Traditionally women sewed and created these works as decorative items to sell and often depict traditional lives of arctic people and animals. The artform known as nivingajuliat developed rapidly from craft programs sponsored by the government in the 1960s. The lower right corner is stitched with the unknown artist's initials. Size: 24" L x 13.5" W (61 cm x 34.3 cm)
Provenance: private Alamo collection, Alamo, California, USA, 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.
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.
#167280
Condition:
Very good condition. The lower tunic flaps of 2 figures are loose, does not affect the presentation of piece. Minor fraying to black yarn border. Integral suspension loops on upper corners.
20TH C. ALASKAN INUIT WOOL FELT PANEL20TH C. ALASKAN INUIT WOOL FELT PANEL W/ APPLIQUES**Originally Listed At $450**
North America, Northern United States / Canada, Inuit, Yupik or Aleut people, ca. mid-20th century CE. A beautiful wool felt and embroidered textile wall hanging known as a nivingajuliat. This red square of wool is stitched with applique felt pieces to create an interesting scene of people and a polar bear. In the background is an igloo and stitched lines indicating snow drifts on the red ground. In the foreground a man crouches behind a snow pile watching a reclining woman and polar bear. Another man lifts a woman above his head. The embroidery thread hangs freely in tassels from the women's heads and from the hems of the parkas, adding nice texture to the textile. These intricately sewn and imaginative scenes demonstrate the skill of the artisans. Traditionally women sewed and created these works as decorative items to sell and often depict traditional lives of arctic people and animals. The art form known as nivingajuliat developed from craft programs sponsored by the government in the 1960s. Size: 30" L x 27" W (76.2 cm x 68.6 cm)
Provenance: private Alamo collection, Alamo, California, USA, 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.
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.
#167279
Condition:
Intact and very good. Minor pilling to wool and small stains to verso. The lower left corner is stitched with a signature, impossible to discern.
MAYA POTTERY CYLINDER VESSEL W/ RELIEFMAYA POTTERY CYLINDER VESSEL W/ RELIEF GLYPHSPre-Columbian, Mexico and northern Central America, Maya, Late Classic Period, ca. 550 to 900 CE. A gorgeous pottery vessel presenting a cylindrical body with straight walls and a circular rim, all sitting upon a flat base. Boasting an intricately incised decorative program, the ancient vessel is adorned with a design in low relief of 2 large, rectangular glyphs that resemble avian heads on the body, each painted with red pigments and placed equidistantly from one another. Lovely, black-painted vertical stripes embellish the remaining exterior of the vessel, while black pigment envelops the rim. Size: 4.8" Diameter x 6.3" H (12.2 cm x 16 cm)
Residue analysis on vessels like this one show that they were used for drinking chocolate, a hugely popular and ritual practice amongst the Maya, especially the elite. Although we know little about the artisans who made vessels like this one, we do know that cylinder jars are often associated with tombs, sometimes ritually broken. Prominent Maya scholar Michael Coe has connected the scenes depicted upon the most important of these vessels with the sixteenth century Maya written epic, the Popol Vuh, which describes Maya religion and mythology, as this one perhaps does.
These ancient glyphs may convey an important date, a secret message, or simply be part of the vessel's aesthetic program. According to Dorie Reents-Budet, "One of the remarkable characteristics of Classic Maya painted pottery is the use of writing as more than simply a way to communicate ideas. As in the Islamic tradition, Maya artists employed calligraphy as a prime design feature and as an integral part of the total composition… The hieroglyphic texts also were used as compositional devices, placed specifically to help define the internal tensions, balances and divisions within the pictorial field." (Dorie Reents-Budet, "Painting the Maya Universe: Royal Ceramics of the Classic Period," Durham, N.C.: Duke University Press, 1994, page 12)
Provenance: private Hidden Valley Lake, California, USA collection; ex-Leonard Auctions, Addison, Illinois, 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.
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.
#170465
Condition:
Top half repaired from several pieces with restoration over break lines and restoration and repainting to rim. Some abrasions to interior. Otherwise, excellent with impressively preserved incised detail and liberal remains of pigments.
1910 COPPER VASE D'ARCY GAW & DIRK VAN1910 COPPER VASE D'ARCY GAW & DIRK VAN ERPElizabeth Eleanor D'Arcy Gaw (Canadian, 1868-1944)and Dirk Van Erp (Dutch-American). Copper vessel, ca. 1908 to 1911. A beautiful hand-hammered copper vase by the iconic Arts and Crafts metalsmith Dirk van Erp and his partner and collaborator Elizabeth Eleanor D'Arcy Gaw. The sizeable vessel presents with a classic form and a wonderful warm patina. It is marked with the Gaw/Van Erp logo featuring a Dutch windmill with the artisan's names beneath it in block letters - "D'ARCY GAW/DIRK VAN ERP" - on the base. Size: 6.5" in diameter at widest point x 8.7" H (16.5 cm x 22.1 cm)
Dirk Van Erp was one of the most important metalworkers in California during the Arts and Crafts period. Prior to immigrating to the United States, he apprenticed under his father in the Netherlands. D'Arcy Gaw was born in Montreal, Quebec; attended the Art Institute of Chicago and then studied under C.R. Ashbee at the Guild and School of Handicraft in London. Upon returning to the U.S. she eventually moved to California like many like-minded Arts and Crafts designers. There she became president of the California Guild of the Arts and Crafts and worked at lighting designer Lillian Palmer's San Jose studio in 1907. It was in 1908 or 1909 that she ended up joining Dirk Van Erp, Palmer's rival. Van Erp and D'Arcy Gaw set up their studio on Sutter Street in San Francisco. Their partnership came to an end on January 30, 1911.
Provenance: private Fort Myers, Florida, USA collection, via inheritance
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.
#174087
Condition:
Overall excellent with a warm patina. The vase is marked with the Gaw/Van Erp logo featuring a Dutch windmill (somewhat worn away) and the artisan's names beneath it in block letters - "D'ARCY GAW/DIRK VAN ERP" - on the base. Visible seam down side of vessel. Normal age wear with expected scuffs, tool marks, areas of oxidation, stains, and a few minute white paint flecks. Please feel free to zoom in on images to assess.
HUGE TEOTIHUACAN / AZTEC STONE WATERHUGE TEOTIHUACAN / AZTEC STONE WATER SPOUT ZOOMORPHPre-Columbian, Valley of Mexico, Teotihuacan to early Aztec culture, ca. 600 to 1400 CE. This is a superb volcanic rock carving of a recumbent dog-like or jaguar creature, with a shallow groove or water channel down its spine and an opening spout in the mouth. The animal has large, bared fangs and an upturned snout, and floppy ears which may be part of a headdress. The haunches and front paws are curled to the sides but contain a taunt- energy as if crouching to leap. Zoomorphic rainwater spouts are impressive architectural elements that not only add beauty, spiritual protection, or inspire veneration, but also serve a practical function. Diverting the water away and off the sides of the building, this preserves the masonry and stone from eroding as quickly, and the water is then accessible for drinking or cleansing as it cascades from the animal's mouth. Size: 35" L x 8" W x 11.5" H (88.9 cm x 20.3 cm x 29.2 cm)
Water is essential to every human settlement, and the mythical stories and deities that evolve around water are brought to life as these impressive fountains. Teotihuacan is the largest pre-Columbian site in the Americas, called the "City of the Gods" by the Aztecs, who were as fascinated by its ruins and lost culture as we are today. The artisans of Teotihuacan were masters at carving volcanic stone, which came from an andesite outcropping just a little over a mile south of the ancient city. Their massive Pyramid of the Sun is covered with over a million tons of carved volcanic rock. Transformational, god-like figures and skulls were common motifs, speaking to the cosmology of the people who lived there, which was in part based on human sacrifice to ensure the continuation of the agricultural cycle. Grand staircases and balustrades decorated with monumental and snarling heads of supernatural beings, the white stucco on this example suggests it may have been brightly painted at one time, adding to the awe-inspiring form. This architectural element would have been a magnificent addition to a building in a public space in the Teotihuacan / Aztec world.
Provenance: private San Francisco, California, USA collection, acquired 1970s to 2000s
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.
#170526
Condition:
Surface wear and weathering as expected with age and water exposure. Some softening of finer details, but head and body are defined and clear. Nicks and chips to high pointed areas. Lichen and moss growth on head, and remains of a white pigment across ear and body as shown.
RARE COLIMA REDWARE EFFIGY VESSEL PARROTRARE COLIMA REDWARE EFFIGY VESSEL PARROT FORMPre-Columbian, West Mexico, Colima, ca. 300 BCE to 300 CE. A delightful redware parrot vessel presenting a pleasantly plump body and a flared spout leading to the hollow interior.. Birds with vibrant plummage were highly revered by the ancients of the Americas and parrots such as macaws which could also immitate human speech! The artisan balanced the bulbous body in a pair of feet with fine attention to the bird's anatomy: zygodactyl toes that allowed these birds to deftly climb and grasp and the massive hooked beak. In West Mexican traditions the parrots symbolized the sun, a metaphor for rebirth and renewal. Size: 10" L x 6" W x 9.75" H (25.4 cm x 15.2 cm x 24.8 cm)
In the Pre-Columbian world, birds were highly symbolic and favorite iconographical subjects in art. As sky animals, they were associated with the celestial sun and moon and were believed to act as messengers between humankind and their deities. Parrots were and continue to be revered by the ancients of the Americas. Their brilliant plumage and ability to fly high above the tree line made them ideal incarnations of the sky deities, thought to be endowed with supernatural powers of celestial origin.
Provenance: ex-Barakat Gallery, Beverly Hills, California, USA, acquired prior to 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.
#175220
Condition:
Intact and choice. Nice manganese blooms throughout and light mineral deposits inside the vessel.
PRE-COLUMBIAN CHIMU GOLD RITUAL KEROPRE-COLUMBIAN CHIMU GOLD RITUAL KERO (DRINKING VESSEL)Pre-Columbian, North Coast of Peru, Chimu, Late Intermediate Period, ca. 1100 to 1470 CE. An elegant ritual kero (drinking cup) formed from a single sheet of 74.9% gold (equivalent to 17K+). The minimalist vessel exhibits a planar base, slightly flared walls rising to a flat, flanged rim, and a deep basin interior. The kero vessel is a ceremonial vessel that was an important component of rituals in several Andean cultures. Although gold was not favored as currency by the Chimu, it was certainly a material treasured for its robust symbolism. The Chimu believed that gold itself was imbued with the essence of the sun, its light, and its heat, and was thereby a fantastic conductor of spiritual energy. The surfaces of this kero are incredibly lustrous and, in the right light, appear as though they are channeling the solar divinity itself! Size: 2.4" W x 2.9" H (6.1 cm x 7.4 cm); gold quality: 74.9% (equivalent to 17K+); silver quality: 23.7%; weight: 41 grams
The kero form was also created by Chimu and Inca cultures as well as other peoples of the ancient world. However, the indigenous of Peru created these for more than just domestic purposes. The ornate ones were used during life and for the afterlife at funerary ceremonies that incorporated intricate religious libations and imbibing rites. To create this piece, the ancient metalsmith hammered a piece of gold into a very thin sheet, approximately the size of the finished work. Then, the artisan used fine-grained stone anvils and hammer stones made of hematite or green porphyry, sometimes with animal hide attached, and a wooden template was used to create the form as the metalsmith hammered the gold sheet upon the wooden template. The Spaniards did not understand the ritualistic function of keros and believed the cups might contain secret messages of rebellion within their ornamental designs. The Spaniards sadly destroyed large quantities of keros during sixteenth century in an attempt to quell dissent. Nevertheless, beautiful examples, such as this stunning vessel, survived the massive purges.
Cf. The Saint Louis Art Museum, object number 268:1978
Provenance: private San Diego, California, USA collection, acquired on February 18, 2021; ex-Artemis Gallery; ex-Arte Primitivo, New York, New York; ex-private Maryland, USA collection, purchased from New York auction house between 1974 to 1975
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.
#172327
Condition:
Normal indentations to body and peripheries, otherwise intact and choice. Warm patina with red hue particularly on interior. Old inventory label on base.
TRANSLATED MAYA COPADOR CYLINDER W/TRANSLATED MAYA COPADOR CYLINDER W/ STUCCO, TL'DPre-Columbian, Central America, El Salvador, Maya, Copador, Ruler 13, ca. 724 to 726 CE. An exemplary pottery cylinder vessel boasting an incised band of glyphs, painted motifs, and impressive remains of white and red stucco decoration. Just below the flared rim, a horizontal band of elaborate glyphs encircles the exterior stating the Maya dates of the vessel's creation, 6 Ahaw 8 Keh or September 27, 724 CE to 11 Ajaw 18 Sak or September 17, 726 CE, placing it in the reign of Ruler 13, Waxaklajuun Ub'aah K'awil also known as 18 Rabbit. It additionally reads "the vessel of Yax Kuk Mo," which interestingly adds a bit of mystery as Yax Kuk Mo was the first ruler of Copan and died in 437 CE, thus could not have owned the vessel. Intricately painted designs further embellish the exterior, showcasing a register of right-facing seated figures - perhaps scribes - near the bottom and 2 rows of a twisted vegetal pattern that flank the broad band of white stucco at the center. Size: 7.5" Diameter x 10.7" H (19 cm x 27.2 cm)
The painted motifs atop the relief glyphs indicate that these were added at a later date after the vessel was painted.
Copador pottery was manufactured at Copan and traded widely throughout the southern Maya region. This particular style was created by artisans specifically for export, and was probably made to combine popular elements in Maya decoration to increase their value. By repeating certain styles, the artisans creating bowls like this reinforced ceremonial ideas. This is a fascinating piece of history that tells us a great deal about the Mayan economy and society!
This vessel has been photographed as part of the Maya Vase Database of the Kerr Collections on the website for Foundation for the Advancement of Mesoamerican Studies, Inc. as Kerr number 9130.
Translation done by the renowned researcher of Maya civilization Dr. Stephen D. Houston, who is Dupee Family Professor of Social Science, Professor of Anthropology, and Professor of History of Art and Architecture at Brown University.
This piece has been tested using thermoluminescence (TL) analysis and has been found to be ancient and of the period stated. A full printed and bound report is available to the buyer upon request.
Provenance: ex-Marc Amiguet Schmitt estate, Amiguet's Ancient Art, Evansville, Indiana, USA; ex-Michael Cichon Tribal Arts, Bradenton, Florida, USA, before 2008
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.
#174911
Condition:
Professional restoration to base. Some nicks and abrasions as shown, as well as a few stable hairline fissures. Otherwise, excellent with impressive preservation of glyphs and painted decoration. Liberal remains of stucco and nice earthen and mineral deposits to interior. Old collection label on base. TL holes to interior of rim, near bottom, and base.
RARE VIETNAMESE DONG SON INCISED BRONZERARE VIETNAMESE DONG SON INCISED BRONZE AXE HEADSoutheast Asia, Vietnam, Dong Son Culture, ca. 1000 BCE to 100 CE. An impressive bronze axe head from Dong Son culture, exhibiting an incredibly rare form! Enveloped in rich layers of green and russet patina, the ancient weapon features a tubular socket that flares out to a curved blade. Liberal remains of an incised, abstract design adorn the shaft, while a pair of perforations on either side allow it to attach to a handle. A standing bird, perhaps a crane, is perched atop the shaft, just before the socket, facing the opposite direction of the blade. Intricately formed, the avian displays tucked wings, a lengthy tail, broad feet, and an elongated neck, as he gazes out from petite eyes above a pointed beak. A stunning example and historical evidence of the old adage "looks can kill!" Size: 8.9" L x 4.7" W (22.6 cm x 11.9 cm); 9.4" H (23.9 cm) on included custom stand.
The casting technique for Dong Son bronzes was demanding artistically and technically. Based on archaeological investigation, it is likely that such bronzes were made by local workshops staffed by specialists. Archeological evidence suggests that bronze items - both the making of and ownership of - were controlled by a limited elite who used them to acquire and maintain power over their own people.
The Dong Son are famous for their bronzes. Animals - especially birds - are sometimes found as motifs on their large bronze drums, alongside motifs of boats. Based on the fantastical characteristics of many of these bird representations, it seems likely that the artisans creating them - and owls like this one - saw some mythical role for birds. Dong Son bronzes, and particularly their drums, have been found from around the Red River delta (where they were made) all the way south to Java and New Guinea, demonstrating a huge geographical trading spread. Famous examples of the drums include the Nguc Lu I drum, found southeast of Hanoi in 1893. The Dong Son culture thrived in northern Vietnam and its burials, rich in bronze goods, demonstrate a high level of wealth relative to neighboring areas.
Provenance: ex-Provos collection, Bremen, Germany, acquired prior to 1990
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.
#170010
Condition:
Expected nicks, pitting, and abrasions, as well as some flaking to surface and softening of incised detail. Indentations on interior. Otherwise, intact and excellent with lovely patina.
MAYA CYLINDER - JAGUAR / SMOKING GODS,MAYA CYLINDER - JAGUAR / SMOKING GODS, EX KERR**First Time At Auction**
Pre-Columbian, Guatemala, Maya, Late Classic Period, ca. 550 to 900 CE. An exemplary pottery cylinder vessel, finely painted with scenes of sacred rituals, glyphs, and geometric motifs. On one side, a jaguar god sits before a chief wearing an elaborate feathered headdress. The royal gestures toward the zoomorph who projects a speech bubble from his mouth. On the opposing side, another chief sits with a smoking god, perhaps a dwarf, both dressed in loincloths and prominent headwear with 3 glyphs between them. The band of text surrounding the rim likely dedicates the vessel and designates its use. A fabulous example of Maya ritual and iconographic tradition! Size: 5" Diameter x 8.1" H (12.7 cm x 20.6 cm)
Known as the "king of beasts" in the Pre-Columbian world and infamous for possessing high speed and massive strength, the jaguar was believed to dominate nature and inspire respect and awe throughout the ancient Americas. Jaguars were associated with strength and leadership, whether regarding spirituality or martial skill. Warriors, rulers, hunters, and shamans alike associated themselves with this King of Beasts, the largest and most powerful feline in the New World whom they viewed as their spirit companion and protector. According to a dramatic narrative in the Popol Vuh, the protective hero twin Xbalanque, possessing a zoomorphic phenotype with jaguar skin, fought the monster macaw Vucub Caquix with his twin Hunahpu, and the hero twins defeated the monster.
Residue analysis on vessels like this one show that they were used for drinking chocolate, a hugely popular and ritual practice amongst the Maya, especially the elite. Although we know little about the artisans who made vessels like this one, we do know that cylinder jars are often associated with tombs, sometimes ritually broken. Prominent Mayanist Michael Coe has connected the scenes depicted upon the most important of these vessels with the sixteenth century Maya written epic, the Popol Vuh, which describes Maya religion and mythology, as this one does.
According to Smithsonian Center for Materials Research and Education scholars Dorie Reents-Budet and Ronald Bishop, "Today, when high-profile foreign dignitaries visit the White House, they can expect to attend grand dinners and to receive gifts, often custom-made by the best artists in the country. The gifts honor the visitor and showcase the giver's fine taste. In the days of the Classic Maya (A.D. 250-900), state-level gift-giving was little different, and no gift reflected more meaning or artistic expertise than the painted ceramic vase. Twenty years ago, the hieroglyphs, images, and even origins of these extraordinary vessels were little known. Now, advances in decipherment and chemical technology have made these vases invaluable for exploring the economic, political, and social exploits of the Maya. The vases, used both to serve food at feasts and as gifts presented at such events, were created by highly skilled painters who had mastered the intricacies of Classic Maya religious mythology, ideology, and history, and used hieroglyphic writing as both communication and visual poetry. Artists were highly regarded and often members of elite families." (Archaeology Archive, Vol. 56, Number 2, March/April 2003, abstract)
This item is listed in the Kerr Database of Maya cylinders as number K9300.
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: ex-private Orlando, Florida, USA collection, acquired May 12, 2022; ex-Art for Eternity, New York, New York, USA; ex-Arte Primitivo Gallery, New York, New York, USA, March 7, 2022, lot 198; ex-Kerr Database, Kerr number K9300; ex-Marianne and Robert Huber collection, Dixon, Illinois and New York, New York, USA, acquired in the 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.
#176985
Condition:
Professionally repaired with some minor chipping and losses along break lines. Two stable hairline fissures to rim with some small chips at rim. Expected nicks and abrasions to surface, but otherwise has an excellent presentation with great remaining pigments and detail. Old collection label on base.
6TH C. BYZANTINE GOLD RING BERYL STONE**Originally6TH C. BYZANTINE GOLD RING BERYL STONE**Originally Listed At $4250**
Near East, Byzantine Period, ca. 6th to 7th century CE. A gorgeous high-quality gold ring inlaid with a sizable beryl stone cut into a rhomboid shape. The 84.9% to 92.03% gold (equivalent to 20K+ to 22K+) shank widens at the shoulders, the peripheries of this area are scalloped and decorated with dark niello swirls in scrolling motifs. The lozenge face is accented with niello stippling around the lower edge of both sides, while the form fitting lip is smooth, firmly securing the polished beryl which displays lovely opaque mint and seafoam green hues. This exceptional piece is in a near perfect state of preservation and wearable - finely modelled and created by a skilled artisan to last long after the original wearer's life. Due to the ovoid shape of the band, the ring is not accurately measurable on ring sizer mandrel but is likely a US 9.5 to 10 ring size. Size of ring face: 1.14" L x 0.53" W (2.9 cm x 1.3 cm); band opening: 0.95" Diameter (2.4 cm); US ring size 9.5; gold quality: 84.9% to 92.03% (equivalent to 20K+ to 22K+); weight: 14.6 grams
Rings were of particularly high importance in the Byzantine era, as evidenced by this incredible example, and they generally were modeled after Roman styles using similar techniques, and Byzantine jewelry in turn influenced the Medieval world. Status has always been conveyed using jewelry, however the wealth and prosperity of the Byzantine Empire ensured the widespread ownership of finer jewelry - so much so, that when Emperor Justinian enacted the set of laws known as the Justinian Code, there was a specific decree that restricted certain precious stones to exclusively royal use, while every free man was entitled to a gold ring. The techniques and materials that went into this piece, all speak to the wealth of the wearer and skill of the artisans, adept at crafting jewelry from precious materials. Several types of green gemstones were referred to as "emeralds" in Byzantine empire, however beryl is a mineral that includes emeralds - green beryl and emerald differ in color and tone due to the presence of certain elements. In antiquity, beryl was considered to be a healing stone that had properties that could cure kidney, liver, and other intestinal illness.
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: private Boynton Beach, Florida, USA collection; ex-private London, UK collection
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.
#174605
Condition:
Choice and wearable. Some losses to dark niello. Dark patina and some toning on gold. Age and use expected surface wear to the beryl stone, but intact and very good. Exceedingly rare and excellent condition!
VALDIVIAN SERPENTINE CELT W/ ZOOMORPHICVALDIVIAN SERPENTINE CELT W/ ZOOMORPHIC FLANGES**First Time At Auction**
Pre-Columbian, Ecuador, Valdivia culture, ca. 3500 to 1800 BCE. A striking serpentine axe head, hand-carved to boast silky smooth surfaces and a pair of flanges resembling frog heads, all enveloped in mottled, natural hues of midnight green and viridian. The body of the hand axe is beautifully shaped, demonstrating the skill of the artisans who put countless hours into making it with limited technology. Hand axes of this form have been found as part of the Kotosh Religious tradition, a name that archaeologists have given to ritual buildings built between 3000 and 1500 BCE in the mountain drainages of the high Andes. Although shaped like utilitarian tools, axes like this example were often made specifically for ritual purposes and symbolized the power of the bearer. A beautiful, minimalist piece that combines ancient history with modern sensibilities. Size: 5.9" W x 4" H (15 cm x 10.2 cm); 7.4" H (18.8 cm) on included custom stand.
Provenance: private Superior, Colorado, USA collection; ex-private Valencia, California, USA collection, acquired around 1980
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.
#178475
Condition:
Some small nicks with minor chipping to edge of axe head and a few light scratches and abrasions to butt. Otherwise, intact and excellent with smooth surfaces and beautiful natural colors.
CHIMU SILVER LIBATION RATTLE BOWL W/CHIMU SILVER LIBATION RATTLE BOWL W/ FISH, EX-SONINPre-Columbian, Peru, Chimu culture, ca. 14th to 15th century CE. This is an amazing silver bowl and rattle - the craftsmanship, material, and creativity of the artisan to combine instrument and vessel is truly exceptional! The bowl is composed of 2 of high quality 67.89% to 85.16% silver sheets, the outer sheet molded then impressed and repousse decorated with fish, and the second sheet was molded over the rim into a hemispherical shape, forming the interior. The artisan left a space between these layers and filled this hollow area with small pebbles or pottery shards that rattle around inside. This exquisite bowl would have been a ceremonial or funerary piece for libations or offerings - the fish symbolizes life giving water and creation. Size: 6.25" L x 2.25" H (15.9 cm x 5.7 cm); 7.5" H (19 cm) on included custom stand; silver quality: 65.8% to 82.6%; quality: 185.8 grams
Silver was associated with the moon, nighttime, and the watery underworld that was analogous to the depths of the ocean. The main Chimu deity was Pacasmayo, the moon god, and it must be noted that the moon was held in higher regard than the sun! The Chimu was a maritime culture- fishing was a major livelihood and driving force of their economy. Perhaps their observation of tidal relationships with moon phases elevated Pacasmayo's importance. The fish along this bowl probably celebrated and symbolized the monumental force of both ocean and moon.
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: ex-collection of Robert Sonin, ex-curator of the Brooklyn Museum, and famous Gold Expert 1960 – 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.
#177428
Condition:
Choice condition. Tiny tears to rim, otherwise intact with minor age expected surface wear. Silver has dark patina and toning. Interior rattle pebbles emit sounds.
EGYPTIAN OLD KINGDOM MARBLE JARAncientEGYPTIAN OLD KINGDOM MARBLE JARAncient Egypt, Old Kingdom Period, 3rd to 6th Dynasty, ca. 2686 to 2181 BCE. An elegant marble jar of a squat form with a round yet stable base, a broad shoulder, and an inward-curving rim, all naturally adorned with mottled hues of cream, ash gray, charcoal, and black. The exterior has been polished to be generally smooth, but the interior surface gives a better understanding of the rough material that the artisans had to work. Stone vessels like this example were common in burials from the Predynastic period and throughout the Old Kingdom, marking the greatest period of production of stone vessels in Egyptian history. During the Old Kingdom, there was a move away from larger "real vessels" to more petite, model ones since, according to the Egyptian principle of magical substitution, models of objects that were required for the spirits of the dead throughout eternity would be just as effective as the larger originals, while also being more affordable and easier to manufacture. Size: 3.6" Diameter x 1.3" H (9.1 cm x 3.3 cm)
The ritual of offering for the dead was central to the function of the tomb. Real food would be left with the burial, but this of course could not be provided in sufficient quantities to supply the dead for ever. The mere existence of the model vessels, together with depictions of some of the offerings (even if just in hieroglyphs), was enough for the continued provision of sustenance to be assured.
Stone jars of a similar form have been found at the Menkaura (Mycerinus) Valley Temple in Giza and are now located at the Boston Museum of Fine Arts under accession numbers 11.339 and 11.341.
Provenance: private Fort Lauderdale, Florida, USA collection; ex-Minerva Gallery; ex-Benjamin Vega, California, USA, acquired in 2006 to 2007; ex-Gene and Virginia George, brought to the USA from 1961 to 1966
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.
#177881
Condition:
Professionally repaired with break line and adhesive visible. Chip to rim and some nicks and abrasions to surface, but otherwise excellent presentation with mostly smooth surfaces, pretty natural hues, and a graceful silhouette.
MAYA JADE FIGURAL PECTORALS LORDS /MAYA JADE FIGURAL PECTORALS LORDS / DEITIES (2)Pre-Columbian, Maya Territories, Late Classic Period, ca. 550 to 900 CE. A lovely pair of omphacite jade pendants, both stringcut to feature a lord or deity with light remains of cinnabar pigment cling the grooves on both. They wear large circular earspools beneath a grand headdress, and the larger stone has additional faces to the sides of the main figure. As was the custom, the artisan worked with the natural shape of the stone rather than lose any precious surface area- hence the asymmetrical shapes of both. Jade was revered by the Maya not only for its beauty, but also because it had spiritual power - it was believed to be the embodiment of the wind and the "breath" that formed the Maya soul. Both are pierced for suspension through the sides and verso. Size of larger: 3.5" L x 3.25" W (8.9 cm x 8.3 cm)
Provenance: private New York collection, New York, USA, acquired 2010; ex-Joshua Wallman collection, USA, 2009; ex-private Collet collection, France, 2001
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.
#179877
Condition:
Chip and loss to the lower edge of larger pendant and to edge of smaller pendant. Minor surface nicks. Remains of cinnabar pigment on the surface of both. Excellent.
EXHIBITED / PUBLISHED EGYPTIAN PREDYNASTICEXHIBITED / PUBLISHED EGYPTIAN PREDYNASTIC NAQADA I BRE...Ancient Egypt, Predynastic Period, Naqada I to II, ca. 3650 to 3200 BCE. A stunning jar of tall and slender form that is hand-carved from breccia exhibiting mottled red and cream hues. The piriform vessel stands upon a smooth base and features 2 pairs of drilled lug handles, each set with diagonal grooves between them suggesting a rest for a carrying strap. The exterior has been polished to be generally smooth, but the interior surface gives a better understanding of the rough material that the artisans had to work. Size: 4.5" W x 7.4" H (11.4 cm x 18.8 cm)
In addition to being quite striking, this jar represents a technological leap forward for the ancient Egyptians. In the early Pre-Dynastic period, artisans hollowed out hard stone vessels using hand-held stone borers and abrasive desert sand. Then, during the Naqada II period, the invention of copper tubes used to drill very hard stones (in conjunction with sand as an abrasive), allowed people to drill finer forms - like, for example, these lug handles. However, copper drills only allowed artisans to drill cylindrical items, and so the hollowing out of bulbous vessels like this one still required use of an elongated stone borer in the form of a figure-eight to get under the shoulder. Imagine the hours of work that went into making this single jar!
Exhibited in the Robert and Frances Fullerton Museum of Art (RAFFMA), California State University, San Bernardino from 2004 to 2023, reference number EL01.001.2004.
Published in Kaplan, et. al. "Predynastic Egyptian Pottery in CSUCB RAFFMA." RAFFMA-CSUSB, 2006, p. 121, fig. 45
Provenance: Collection of Dr. W. Benson Harer, Los Angeles, California, USA, purchased on January 4, 2004 from Malter Galleries; Exhibited in the Robert and Frances Fullerton Museum of Art (RAFFMA), California State University, San Bernardino from 2004 to 2023, reference number EL01.001.2004; "Predynastic Egyptian Pottery in CSUCB RAFFMA", fig. 45
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.
#178987
Condition:
Repair to one chip on rim with light adhesive residue along break lines. Small nicks and light abrasions, with minor earthen deposits, and some natural pitting, otherwise in excellent condition. Great surface smoothness and stone coloration.
TWO JAPANESE SILVER SAKE SERVICESModern,TWO JAPANESE SILVER SAKE SERVICESModern, marked. The first Satsuma-Meisan Suzuki, the artisan, of two cylindrical cups with long stemmed irises, accompanied by artist paperwork, in the original box. The second comprising two small pitchers with ten slightly different cups, decorated with foliage on a two-tone surface. (13 pcs) Height of first 3.5 in. Height of the second, pitchers 5 in. (Cond: good)
DICK GERARD, INDIANA (20TH / 21ST CENTURY,DICK GERARD, INDIANA (20TH / 21ST CENTURY, D.2021), CURLY ASH, STUDIO TURNED WOOD PEDESTAL BOWL, 3 1/2"H X 6 3/4"DDick Gerard, Indiana, (20th / 21st Century, d.2021) Curly Ash, studio turned wood pedestal bowl signed 'Gerard' under base. Artist's Statement: Dick Gerard had a fleeting career as a science and math major, spent a summer as a phantom student and bridge player, and once worked as a gandy dancer, driving spikes by hand for C&O Railroad. He's traveled to places as far-flung as Australia, the Bahamas and Alaska to perfect his turning. His pieces often feature surface enhancements done through wood burning, air brushing, dyes, texturizing and carving. "I am deeply moved by tribal art motifs, such as Native American, Australian Aboriginal designs, African tribal icons, and images and themes from all of Polynesia," says the artisan, who received the American Association of Woodturners Lifetime Membership Award for contributions to the field of woodturning in 2004. studio turned wood pedestal bowl Dimensions: 3 1/2"H x 6 3/4"D
KENNETH E. TYLER, AMERICAN (B. 1931),KENNETH E. TYLER, AMERICAN (B. 1931), SOLAR BIRD, LITHOGRAPH, 30”H X 22”WKenneth E. Tyler, American, (b. 1931) Solar Bird, lithograph Numbered 12/20 lower left, titled lower middle, signed lower right. From Herron.IUPUI.Edu: Tyler entered the print world in 1962, when he returned to school at 31-years-old and enrolled in the printmaking program at Herron School of Art in Indianapolis. After Herron, Tyler moved on to work at Tamarind Lithography Workshop though the Ford Foundation Fellowship. Then in 1966, Tyler established Gemini G.E.L. (Graphic Editions, Ltd.) with partners Stanley Grinstein and Sidney B. Felsen. As a part of his work at Gemini G.E.L., Tyler pursued a working relationship with the artist Josef Albers, who would become a close friend of Tyler's. Their relationship opened Gemini G.E.L. up to business with other big-name artists. At that time, Tyler also started to push the boundaries of printmaking by expanding print sizes further than they had ever gone before and created new techniques in printmaking. He was interested in adjusting printmaking to work for the artist, rather than adjusting the artist to work for printmaking. "Here is a workshop, there are no rules, no restrictions, do what you want to do."[1] From Gemini G.E.L., Tyler then moved to the east coast and started his own printmaking company, Tyler Graphics, Ltd. Although on a smaller scale than Gemini G.E.L., Tyler Graphics, Ltd. attracted similarly well-known artists and Tyler continued to push the techniques of printmaking. You cannot talk about Kenneth Tyler without talking about the vast array of artists that have leaned upon Tyler's knowledge, ingenuity, and talent. The list of artists which Tyler has collaborated with is lengthy and overwhelmingly impressive. With names like Josef Albers, Robert Rauschenberg, Jasper Johns, Roy Lichtenstein, David Hockney, Robert Motherwell, Helen Frankenthaller, and Frank Stella, it reads more like a list of the top artists of the second half of the 20th century. When we talk about Tyler's work, we are really talking about the work of the artists who have worked with Tyler. As a master printer, Tyler does not produce his own art. Rather, the works that came out of Gemini G.E.L., Ltd. and Tyler Graphics, Ltd. were pieces imagined and designed by the artists who claim them. They were simply produced and brought into reality by Tyler. This is something that makes the work of Kenneth Tyler so interesting. Tyler refers to himself not at as an artist, but as a technician, producer, and publisher, explaining, "My job was to make sure the process was done correctly and push the buttons with the artists permission."[2] He saw himself as the person who carries out the vision of the artist. One of reasons he did not pursue his own art was so that he would not imprint his own vision onto the works he was producing. "As a printmaker and publisher, I can only be as successful as the artists I work with and the art we create together."[3] David Hockney, once noted: "[A]ll Ken's interested in is working with artists. He was wise enough to know he couldn't be one. So, he became a great artisan and found interesting artists who enjoy his skills and wanted to use them ... He rolls up his sleeves and he collaborates with you. He's the chief collaborator, not just the publisher and not just the printer."[4] Perhaps that is the true art of Kenneth Tyler; his collaboration with artists. Sources: Ken Tyler, in Reaching Out: Ken Tyler, master printer (documentary film), Avery/Tirce Production, 1976. Ken Tyler, at Herron School of Art and Design gallery opening, 2018. Ken Tyler, 'Layers of Space and Time: David Hockney's Moving Focus', in Contemporary Master Prints from the Lilja Collection, Liechtenstein and London: the Lilja Art Fund Foundation in association with Azimuth Edition Limited, 1995, p. 125. Judith Goldman, 'Ken Tyler the Artisan as Artist' in Tyler Graphics: The Extended Image, Walker Art Center, 1987, p. 19. lithograph Dimensions: 30"H x 22"W
20TH C. GREEK ORTHODOX ICON BY MADONNA20TH C. GREEK ORTHODOX ICON BY MADONNA BUMBARGER "Christ Pulling Adam and Eve from Hell", egg tempera with gold halo, on wood panel, using authentic techniques, 16 3/4" x 13". Very good condition.
Bumbarger is one the artisans of the Philadelphia branch of the Prosopan School of Iconology. Founded in the 1980s by master iconographer and Russian emigre Vladislav Andrejev, the Proposon School has introduced the spirituality and discipline of making traditional icons to thousands of students. The process using egg tempera and gold leaf on wood panels is taught alongside the symbolic and theological meaning.
(4) YUP'IK ESKIMO BASKETRY TRAYS/WALL(4) YUP'IK ESKIMO BASKETRY TRAYS/WALL HANGERS Coil Built Marsh Grass with dyed grass and seal gut decoration, including: Tray with scattered flowers inside a red ring, 11 1/2" diam.; Tray with aqua, dark green, sky blue, red-brown and grey decoration, 9 1/4" diam.; Wall Hanger with the same color scheme, 8 1/2" diam.; Wall hanger with dark blue and black decoration, 5 1/2" diam. Fine condition. Gathered in the Bethel, Alaska region. Consignor purchased these directly from the artisans in the villages of Kipnuk, Tuntutuliak, Kongiganak or Kwigillingok.