A few examples of appraisal values for
MESMER

• MARVEL COMICS X-MEN #52 CGC 9.0
  MARVEL COMICS X-MEN #52 CGC 9.0 United States1969Marvel Comics X-Men issue 52 from January, 1969. The book featured the first full appearance of Erik the Red, origin of the Beast, and a Magneto, Mesmero, and Polaris appearance. Per the CGC census 71 in 9.0, 111 higher. CGC 9.0 w/ Off-White/White Pages
• MARVEL COMICS X-MEN #50 CGC 7.0
  MARVEL COMICS X-MEN #50 CGC 7.0 United States1968Marvel Comics X-Men issue 50 from November, 1968. The book featured the second appearance of Polaris, a Mesmero appearance, and origin of the Beast. CGC 7.0 w/ Off-White/White Pages
• 2.39-CARAT STAR SAPPHIRE &
  2.39-CARAT STAR SAPPHIRE & DIAMOND PLATINUM RING, SIZE 6.5Prepare to be captivated by this extraordinary Platinum 900 ring, featuring a remarkable 2.39-carat cabochon-cut star sapphire as its centerpiece. This star sapphire exhibits a mesmerizing optical phenomenon, with a captivating star-like pattern that seems to shimmer across its surface when viewed under the right light. Surrounding this celestial gem are 0.43 carats of baguette and round-cut diamonds, meticulously arranged to enhance the sapphire's enchanting allure. Details and measurements:, Ring size: 6.5. Weight: 7.7 G.
• MODERN 12.23-CARAT BLACK OPAL &
  MODERN 12.23-CARAT BLACK OPAL & DIAMOND 18KYG BROOCHUnveil the epitome of luxury and artistic craftsmanship with this extraordinary 14.9-gram 18K yellow gold brooch. At its heart, a mesmerizing 12.23-carat opal takes center stage, radiating a captivating array of iridescent colors that seem to come to life. Accentuating the opal's natural beauty are 0.12 carats of brilliant diamonds, adding a touch of sparkle and sophistication to this remarkable piece. Details and measurements:, Brooch dimensions: Weight: 19.4 G.
• BOULDER OPAL & DIAMOND PLATINUM
  BOULDER OPAL & DIAMOND PLATINUM RING, SIZE 6.5An exquisite boulder opal ring. This captivating beauty showcases the mesmerizing play of colors within the opal, surrounded by 0.35 carats of brilliant round cut diamonds and set in a stunning platinum band. A unique and elegant addition to your jewelry collection. Details and measurements:, Weight: 7.1 G. Ring size: 6.5.
• ALEXANDRITE & DIAMOND PT900 RING
  ALEXANDRITE & DIAMOND PT900 RING SIZE 6.75Elevate your jewelry collection with this exquisite 900 platinum ring. A mesmerizing 0.73-carat oval-cut alexandrite, known for its color-changing properties, takes center stage. Surrounding this rare gem are 0.76 carats of baguette-cut diamonds, adding brilliance and sophistication to this one-of-a-kind piece. Don't miss your chance to own a unique blend of elegance and rarity. Bid now and make this exceptional ring yours! Details and measurements:, Ring size: 6 3/4. Weight: 6.0 G.
• THREE PAINTED PLASTER BUSTS OF
  THREE PAINTED PLASTER BUSTS OF HISTORICAL FIGURESGroup of Three Painted Plaster Busts of Historical Figures, incl. Friedrich "Franz" Anton Mesmer (1734-1815), Johann Christoph Friedrich von Schiller (1759-1805) and Christian Friedrich Samuel Hahnemann (1755-1843), h. 21 in. to 24 in. (3 pcs.) Provenance: Property deaccessioned from the Louisiana State Museum, proceeds to be used for new acquisitions or the direct care of existing collections.
• VERA BERDICH "MESMER'S MAGNETIC
  VERA BERDICH "MESMER'S MAGNETIC TUB" (1968 MIXED MEDIA)Vera Berdich (Illinois, 1915-2003) Mesmer's Magnetic Tub , 1968 Collage transfer and watercolor on paper 21 1/2" x 27 1/2" Pencil-signed, dated, and titled along the bottom edge. Presented behind plexiglass in a frame that measures 34 1/2" x 40". Condition Good condition, with some rippling to the sheet as framed.
• ART DECO HAND MADE MIDNIGHT BLUE
  ART DECO HAND MADE MIDNIGHT BLUE PEACOCK IRIDESCENT BEADS LADIES' BAG 5 ¼" x 5 ½" with 14" handle Of cylindrical form elegant ladies' evening bag, ca. 1930's, with 14" x 1 ¼" drop handle, mirror attached under the lid, midnight blue satin lining on the inside, loop fringe design masterfully hand embroidered with mesmerisingly captivating midnight blue peacock iridescent beads. Provenance: old private collection, Pittsburgh, PA.
• SARAH STOCKSTILL SIGNED GICLEE
  SARAH STOCKSTILL SIGNED GICLEE PAINTINGDESCRIPTION: An abstract color infused giclee painting on canvas signed lower right " Stockstill" by artist Sarah Stockstill titled "Mesmerized" CIRCA: 20th Century ORIGIN: USA DIMENSIONS: H: 66.5" x W:40" CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
• SWAROVSKI CRYSTAL FIGURINE,
  SWAROVSKI CRYSTAL FIGURINE, MOTHER WITH BABY PENGUINThis beautiful figurine captures a heartwarming moment between an Emperor Penguin and her chick, it conveys a sense of warmth, love, and protection. The figurine is made from mesmerizing clear crystal with satin coating for a velvety finish. This piece was originally listed under the Silver Crystal range called “Symbols†and later moving to the Crystal Home Accessories grouping. This item has its original box which measures 7.5"L x 4.5"W x 8.5"H and Swarovski swan backstamp. Artist: Gabriele Stamey Issued: 2003-2005 Dimensions: 2"L x 2"W x 4.75"H Manufacturer: Swarovski Country of Origin: Austria Condition: Age related wear.
• ANTIQUE JAPANESE JARDINIERE FISH
  ANTIQUE JAPANESE JARDINIERE FISH BOWL W/STANDDESCRIPTION: Antique Japanese Jardiniere Fish Bowl with stand. These porcelain fish bowls used to hold beautiful goldfish and carps. Carved porcelain with japanese motif in deep imperial red glaze depicting a traditional japanese landscape representing geishas dressed in traditional kimono dress strolling around mesmerising japanese gardens. Further interior floral decoration over white porcelain background. With oriental rosewood finish wooden stand. Marked on the bottom with red Japanese characters. CIRCA: Early 20th Century. ORIGIN: Japan. DIMENSIONS: Vase is H: 15": W: 18". with stand is : H: 26 1/2". CONDITION: Good condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
• SWAROVSKI CRYSTAL FIGURINE, SIAMESE
  SWAROVSKI CRYSTAL FIGURINE, SIAMESE FIGHTING FISH BLUEThis crystal blue fish is a mesmerizing figurine that captures the vibrancy of this unique fish species. Made from clear crystal, it showcases the intricate details of the fish's form and movement. This item has its original box which measures 4"H x 5" dia. and Swarovski swan backstamp. Artist: Heinz Tabertshofer Issued: 1999-2005 Dimensions: 3.5"L x 2"W x 2.25"H Manufacturer: Swarovski Country of Origin: Austria Condition: Age related wear.
• FINE MINIATURE ON IVORY OF TWO
  FINE MINIATURE ON IVORY OF TWO KITTENS MESMERIZED BY A ...Fine miniature on ivory of two kittens mesmerized by a fish bowl. Mounted in an ivory jewel box, miniature is 2.75" diameter, box is 4 1/8" overall, ca.1890 *See ivory disclaimer Condition: Old repair to split in ivory on bottom, rest of box good condition overall
• JOSH BERNBAUM,
  JOSH BERNBAUM, SONORANSigned,2019, Furnace-Worked Blown Glass, "Granulare" Murinne Process. 20h x 16.5w x 4d · Joshua Bernbaum lives and works in Brattleboro, Vermont. He earned his Bachelor of Fine Arts with honors from the Massachusetts College of Art in Boston. · He has studied with Lino Tagliapietra and Giles Bettison. · “I am most interested in color, especially color relationships in the works I create in blown glass. Utilizing traditional Italian cane (line-making) techniques in new and personalized ways is the driving force behind most of my current designs. I consider the pieces I make to be documents along the way of a (hopefully) life-long journey of both refining the necessary skills and developing the patience one needs in order to create with this captivating and mesmerizing molten material. Loosely inspired by the desert cacti of Arizona and New Mexico, my “Sonoran” series of pieces have a bumpy, tactile surface texture due to the different colored glasses in the canes moving at different rates as each piece is inflated and shaped.” · Bernbaum’s most recent series “Sonoran” is currently on view at The Chesterfield Gallery located in the Upper East Side of Manhattan. Condition: Excellent
• HARD STONE DRESS CANECa.
  HARD STONE DRESS CANECa. 1920-Straight Labradorit handle fashioned in a gently angled hexagonal configuration, grooved yellow metal collar ebonized fruitwood shaft and a metal ferrule. The handle displays a mix of mottled greenish colors and lavender blue and its crystallized structure makes them look mesmerizing and eye catching. Despite a great fragility, the cane survived intact and is still as attractive as on its first day. It is said that labradorite is a stone of transformation, a stone that will help you become the person that you are destined to be. It will cleanse your aura and work with your chakras to remove the bad habits, thoughts, and feelings that are preventing you from reaching your full potential. The labradorite crystal can also boost your psychic abilities and sharpen your intuition. H. 2 ½” x 1”, O.L. 38 ½”
• CLASSIC SAPPHIRE AND DIAMOND
  CLASSIC SAPPHIRE AND DIAMOND RINGCLASSIC SAPPHIRE AND DIAMOND RING This elegant blue sapphire and diamond three stone ring symbolizes the past, present and future of your relationship. The claw set cushion sapphire is flanked by glimmering half moon diamonds, exuding a mesmerizing harmony of blue and white dazzle Item: # 03428 Metal: Platinum Lab: Gia Color Weight: 5.91 ct. Diamond Weight: 1.72 ct.
• CHARMING BLUE SAPPHIRE RINGCHARMING
  CHARMING BLUE SAPPHIRE RINGCHARMING BLUE SAPPHIRE RING This elegant blue sapphire three stone ring so unique, its claw set stones are flanked by glimmering half-moon sapphires, displaying a mesmerizing harmony of blue dazzle Item: # 03843 Metal: Platinum Lab: Guild Gemological Report Color Weight: 4.92 ct.
• ANCIENT THAI BAN CHIANG BICHROME
  ANCIENT THAI BAN CHIANG BICHROME FOOTED JARSoutheast Asia, Thailand, Ban Chiang, ca. 300 BCE. A beautiful bichrome pottery vessel with a rounded globular body and raised flat rim atop a petite pedestal on a flared foot. Adding to this impressive form is the finely painted decoration comprised of sinuous red lines meandering across the surface, punctuated by two target-motifs and two star designs, all above a lattice pattern. A mesmerizing example from the ancients of Southeast Asia! Size: 7" in diameter x 7.75" H (17.8 cm x 19.7 cm) Provenance: Private Houston, Texas, USA, collection inherited from father in 1995, father collected before 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. #163743 Condition: Expected nicks, scratches and abrasions, commensurate with age. Otherwise, intact and excellent with impressive remaining pigments.
• 8TH C. ISLAMIC GILT GLASS BOWL W/
  8TH C. ISLAMIC GILT GLASS BOWL W/ ARABIC SCRIPT & BIRDS...Near East, Islamic culture, ca. 8th to 9th century CE. A marvelous glass vessel boasting a mesmerizing relief decoration adorned with a lustrous gilding comprised of 44% gold. The gorgeous jar presents a squat, bulbous body with a gently sloped shoulder and an annular, lipped rim, all sitting upon a planar base. Divided into two registers, the top half of the ancient vessel's exterior exhibits a lovely Arabic script motif, while the bottom half displays a vegetal pattern of six ovals filled with bird silhouettes, each appearing to be a different species. The base of the jar is additionally embellished with a six-petalled flower surrounded by a decorative swirling design. Sparkling iridescence has developed over the centuries, making this elegant vessel quite a wonder to behold! Size: 5.125" in diameter x 2.875" H (13 cm x 7.3 cm) Provenance: private southern California, USA collection, acquired in the 1970s to mid 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. #160787 Condition: Repaired from several pieces with break lines visible. Chip to rim. Some minor nicks along break lines. Pontil scar on base. A pontil mark or scar indicates this vessel was free-blown. Otherwise, excellent with gorgeous iridescence throughout.
• MOCHE BICHROME MASK- PORTRAIT OF
  MOCHE BICHROME MASK- PORTRAIT OF A MALE**Originally Listed At $900** Pre-Columbian, North Coast Peru, Moche, ca. 400 to 600 CE. A mesmerizing portrait mask in terracotta with an attractive bi-chrome finish. The visage is skillfully delineated in low to high relief with large almond-shaped eyes, a very naturalistic nose, pursed lips framed by nasolabial folds, full cheeks, a rounded chin, symmetrically placed ears, and a wide-brimmed hat or helmet. There are numerous tiny perforations along the brim which likely once held feathers or other ornaments. Two perforations above the ears were used for attachment. The mask was beautifully burnished and creamy white pigment was used to highlight the eyes, creating a nice contrast with the orangeware. This mask is likely a portrait of an important member of Moche society depicted as a young man. The Moche are known for their portrait vessels portraying the same individual at different stages of life, but terracotta masks are less common. One cannot help but wonder whom this mask was intended to represent. Size: 8.25" W x 7.375" H (21 cm x 18.7 cm); 13.25" H (33.7 cm) on included custom stand. Provenance: private Hawaii, USA collection; ex-private Hans Juergen Westermann collection, Germany, collected from 1950s to 1960s 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. #148475 Condition: Professionally repaired from several pieces with restoration over the break lines. Nicks to the peripheries and area of abrasion to the rim.
• 19TH C. SPANISH COLONIAL GOURD W/
  19TH C. SPANISH COLONIAL GOURD W/ INCISED VILLAGE SCENE...Spanish Colonial, South America, Peru, 19th century CE. An enormous gourd that is finely engraved with a village scene. The art of gourd carving has been practiced in Peru for more than 4,000 years, with artisans using gourds, or mates burilados, to tell both communal and personal stories - folklore, celebrations, myths, everyday life activities, and even tragedies. First the gourd was skinned, cleaned, and dried. Then, the artists carved their narrative composition. The darker areas may have been attained via a burning technique called quemado. Small engraving tools were used to create the design by hand. Size: 27" L x 8.5" in diameter at widest point (68.6 cm x 21.6 cm) The large panels of this composition include many scenes derived from Peru's natural world as well as humans' interactions with it: animals such as birds and camelids, weavers making beautiful textiles, quaint homes nestled in hillsides, farmers working the land, musicians and dancers, as well as people cooking and feasting from food in beautiful pottery vessels. Framing these are impressive decorative borders with textile-inspired stylized geometric motifs, and at either end are additional floral and animal motifs. Provenance: ex-Misenhimer collection, Hollywood, 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. 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. #108931 Condition: Expected surface wear with scuffs/scratches as shown, but imagery is very strong and absolutely mesmerizing!
• SIGNED & FRAMED MARGARETTA CAESAR
  SIGNED & FRAMED MARGARETTA CAESAR PAINTING - AT EASE**This is an oversized piece that may require special shipping. Please inquire for a quote prior to bidding. Margaretta Caesar (American, Contemporary). "At Ease" oil on canvas, signed on lower right. A striking painting featuring several horses grazing in the grassy plains of Colorado by Margaretta Caesar. All is delineated in a painterly, expressionistic style on a large canvas with a radiant color palette that emphasizes drama and boldness over realism. While the two horses in the foreground are black and white, those nestled in the middle distance are rendered in vibrant pinks, purples, and blues. The sky is a rich melange of brilliant buttercup yellow and tangerine hues. Trees and foliage are not only green, but also aqua blue and violet. In Caesar's own words, "When I paint, I emphasize and enhance Nature’s colors. I’m not going for realism but expressionism. I prefer to use large canvases and large brushes. I want you to see the direction of the brush strokes and the depth of the paint, impasto." Size of painting: 23.875" L x 35.875" W (60.6 cm x 91.1 cm) Size of frame: 31.5" L x 43.5" W (80 cm x 110.5 cm) The title of this work is intriguing. Indeed, the horses roaming the pasture appear to be relaxed and by extension the viewer is invited to also be free of worries and release any concerns when gazing at and perhaps escaping into the scene. A mesmerizing painting by an artist who has been called a colorist, a fauvist, and an expressionist. Certainly all of these identifications are valid; however, Caesar's fusion of these influences manifests in her own unique approach. Margaretta Caesar's works are featured at Saks Galleries Cherry Creek, one of Denver, Colorado's premier art galleries for more than 50 years. Saks' biographical statement for Caesar is as follows: "Margaretta Caesar's voice is expressed through fresh, loose brush strokes and lots of rich full-volume color. She aims to balance that spontaneity with a sense of sophistication and control. When all goes according to plan, she achieves that with a thick impasto and delicious directional brushwork with layers of color always attempting to allow each layer to shine through, even and maybe especially, the underpainting. Most of her paintings, particularly the landscapes, are inspired by local beauty." Provenance: Private Boulder, Colorado, 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 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 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 replace this #168217 Condition: Painting is in superb condition. It is also signed by the artist on the lower right. The custom frame has a few minor scuffs but is otherwise beautiful, fitted with a wire for suspension, and ready to display. The artist has also signed the verso of the canvas, and the title is written on one of the stretcher bars.
• PUBLISHED 19TH C. NEOCLASSICAL
  PUBLISHED 19TH C. NEOCLASSICAL SARDONYX CAMEO ARETHUSAEurope, Neoclassical, 19th century CE. A beautiful sardonyx cameo of the nymph Arethusa, so finely sculpted with mesmerizing details - note her wavy coiffure with each tress meticulously delineated so as to flow away from her beautiful face, delicate facial features that are quite naturalistic despite the nymph's mythical status, as well as her elegant wreath of grain ears and lovely pearl necklace and earring with three pendants. This cameo was modeled on silver coins minted by the Syracusan ruler Agathocles in the late fourth to early third century BCE. Size: 1.875" H (4.8 cm) Arethusa is the patron figure of Syracuse. She was a nymph and a Nereid, a daughter of Nereus, who fled from the unwanted advances of creepy river god Alpheus. She sought help from Artemis, and ultimately wound up in the sea. When Demeter sought her daughter Persephone, kidnapped by Hades, Arethusa gave the goddess information on her daughter in exchange for Demeter discontinuing her punishment of Sicily. The coins bearing Arethusa's image, surrounded by dolphins, are among the most beautiful from ancient Greece. Exhibited and published in catalogue for "Dressed to Kill in Love and War: Splendor in the Ancient World" (February 1 - March 31, 2019 - Academy Museum, Easton, Maryland, USA, fig. 30, p. 10, discussion p. 4). Provenance: private East Coast, USA collection; Exhibited and published in catalogue for "Dressed to Kill in Love and War: Splendor in the Ancient World" (February 1 - March 31, 2019 - Academy Museum, Easton, Maryland, USA, fig. 30, p. 10, discussion p. 4). 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. #146267 Condition: Near choice. Since the piece is not mounted, the white banding is visible along the sides. The back is flat. Minor scuffs and stain from old collection label on the verso. Another collection label remains.
• PAIR OF VINTAGE INDIAN SILVER
  PAIR OF VINTAGE INDIAN SILVER DANCING FIGURESSouthern Asia, India, ca. early to mid-20th century CE. A charming pair of silver Indian dancers with dangling ornaments and bell-shaped bodies. They both stand on integral and concave pedestals with birds embossed around the rim. Their hollow bodies are comprised of 93% to 96.5% silver sheets molded and shaped to form their tubular legs and billowing skirts. Smaller pieces, twisted wires, and filigree shapes are applied to the surface. The most striking details are the dozens of loops with ball ornaments hanging from their skirts, arms, chests, ears, and headdress. One figure plays a stringed sitar while the other dances with one armed raised. A wonderful and mesmerizing portrayal of music and dancing. Size of smaller: 2.5" W x 9.75" H (6.4 cm x 24.8 cm); weight: 216.6 grams; size of larger: 3" W x 10" H (7.6 cm x 25.4 cm); weight: 336.9 grams; quality of silver: 93% to 96.5% Provenance: private Washington, USA collection, 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. 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. #163091 Condition: Small perforations and holes on the underside of skirt and headdress of both. Bending and indentations to both pedestals and bodies. Surface abrasions and nicks to high pointed areas. Nice iridescent patina on both.
• ROMAN GLASS VESSEL W/ STUNNING
  ROMAN GLASS VESSEL W/ STUNNING IRIDESCENCERoman, Imperial Period, ca. 1st to 3rd century CE. A truly breathtaking vessel free blown from translucent glass and boasting shimmering splotches of neon rainbow iridescence throughout. The gorgeous jar presents an apple-form body with a round shoulder, a conical neck, and a double-rimmed mouth with 1 flared lip and 1 rolled, all sitting upon a concave base. The mesmerizing surface of this elegant example will dazzle any viewer! Truly a wonder to behold! Size: 2.9" Diameter x 3.6" H (7.4 cm x 9.1 cm) 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. 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. #134736 Condition: Repair to rim with small loss and break lines visible. Pontil mark on underside of base. A pontil scar or mark indicates that a vessel was free-blown, while the absence of such a mark suggests that the work was either mold-blown or that the mark was intentionally smoothed away or wore away over time. Otherwise, excellent with gorgeous iridescence. Collection label on base.
• VIBRANT ARIZONA TRIASSIC
  VIBRANT ARIZONA TRIASSIC PETRIFIED WOOD POLISHED SLABNorth America, Southwestern United States, Arizona, Late Triassic, ca. 225 million years ago. A massive and gorgeous slab of fossilized, petrified tree trunk, sliced crossways and highly polished on both planar sides to showcase the broad interior rings of the tree - not only beautiful but providing invaluable information about fossilization processes! The exterior bark has also fossilized, replaced by rough stone, while the smooth interior features incredible, colorful quartz, agate, and translucent crystalline structures which are visible in the small vugs (cavities)! It is quite possible these vugs were caused by insect activity before fossilization. The colors are mesmerizing - dominated by warm hues of red and maroon, purple, with creamy white and lilac blue striations and swirls. The photos are nice, but the subtle shimmering crystal are best appreciated in person! This is a stunning piece to display or to use as a side table with the addition of a sturdy base! Size: 15.5" Diameter x 1" W (39.4 cm x 2.5 cm) Fossilized trees from this time period come from the Chinle Formation of the southwestern USA, and the beautiful colors found in this formation - exemplified by the colors of this fossilized tree - give the Painted Desert of Arizona its name. During the Late Triassic, because of plate tectonics, this area was near the equator on the supercontinent Pangaea, with a humid, sub-tropical climate. It was a floodplain below mountains to its south and a sea to its west; as a result, massive trees washed down from the mountains and came to rest in sediments that preserved and fossilized them. The petrification process involves the rapid burial of the tree or pieces under sediment which prevents the usual decay. Flooding and volcanic activity are usually responsible for creating the layers of sand, silt, and ash needed to create the right types and amount of sediment. Mineralized water can then permeate through the wood, coating cell walls and filling the intercellular cavities which then fossilizes into stone. The detailed preservation of the wood, including knots, rings, and bark, are possible because the organic wood molecules become coated and surrounded with smaller silica molecules. Nine different species of tree have been identified in the fossilized deposits in the region; this example may be Araucarioxylon arizonicum, an extinct conifer tree (and the state fossil of Arizona), which is often found. Fascinatingly, the Ancestral Puebloan people who lived in the region approximately one thousand years ago used petrified wood for making tools and even building houses! Provenance: private southwestern Pennsylvania, USA collection, 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. 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. #168558 Condition: Professionally cut and polished. Chips and loss to one planar face and along peripheries. Natural cavities and vugs in the surface. Gorgeous coloration throughout.
• SIGNED JUAN GOMEZ-QUIROZ LITHOGRAPH
  SIGNED JUAN GOMEZ-QUIROZ LITHOGRAPH "STAR HUNTING"Juan Manuel Gomez-Quiroz (Chilean, 1939-1921). "Star Hunting" lithograph, edition 7/50, ca. 1960s. Signed by the artist in pencil on lower right. Titled in pencil on lower left. Numbered 7/50 in pencil at lower center. A mesmerizing piece by Chilean artist Juan Gomez-Quiroz that clearly demonstrates the artist's fascination with abstraction, though the title conjures associations with the celestial world. Gomez-Quiroz was greatly influenced by Abstract Expressionism and the techniques and principles of Action Painting which dominated the art world in the 1950s. Other important influences on Gomez-Quiroz were Roberto Antonio Matta (1911-2002) and Marcel Duchamp (1887-1968). Size of image: 23.625" L x 19.5" W (60 cm x 49.5 cm) Approximate size of sheet: 29.5" L x 22" W (74.9 cm x 55.9 cm) Size of frame: 30.25" L x 22.75" W (76.8 cm x 57.8 cm) Juan Manuel Gomez-Quiroz was born in Santiago de Chile on February 20, 1939. A painter as well as a printmaker, he studied at the Gregorio de la Fuente workshop in 1956 and the following year enrolled at the School of Fine Arts, University of Chile. In 1962 he received a Fulbright Scholarship and traveled to study at the Rhode Island School of Design and Yale University's School of Art and Architecture. Eventually, Gomez-Quiroz settled in New York, studied at the Pratt Graphic Center, and was an adjunct professor of art at NYU (New York University) from 1969 to 1976 and also taught at FIT's (Fashion Institute of Technology) Printmaker Workshop. In 1986, he became a curator at the Museum of Contemporary Hispanic Art, and he was a member of the jury at the Olympic Arts Competition. In addition to the visual art world, Gomez-Quiroz adored literature and explored art book techniques. He created a 3-D book of Pablo Neruda poetry, was president of the H.H. Silverman Publishing Company from 1986 to 1988, and director of the Writer's Space at Hostos Community College from 1995 to 2000. Solo Exhibitions 2006 Museo de la Nacion Lima, Peru 1988 Sutton Galery, NYC 1986 Todd Capp Gallery, NYC 1986 Sutton Gallery, NYC 1984 Omar Rayo Museum, Rodalnillo, Colombia 1983 Sutton Gallery, NYC 1982 Held-Koupernikoff Gallery, Boston, MA 1980 Sutton Gallery, NYC San Sebastian Gallery, San Juan, Puerto Rico 1979 Museo del Grabado Latinoamericano, San Juan, Puerto Rico 1977 Shubert Gallery, Marbella, Spain 1976 Galerie Balcons des Images, Montreal, Canada Galeria Pecanins, Mexico City 1975 Galeria Ars-Concentra, Lima, Perú 1972 Alonzo Gallery, NYC Summit Art Center, New Jersey 1971 Ten Downtown, NYC 1970 Alonzo Gallery, NYC 1968 Alonzo Gallery, NYC 1964 Ledesma Gallery, NYC Kie Kor Gallery, New Haven, CT 1961 Sala Decor Facultad de Bellas Artes, Santiago, Chile Group Exhibitions - Nearly one hundred, internationally Permanent Collections Solomon Guggenheim Museum, NYC Metropolitan Museum of Art, NYC Museum of Modern Art, NYC De Menil Collection, Houston, TX Museum of Fine Arts, Boston, MA Brooklyn Museum, NYC Bronx Museum of Art, NYC Cincinnati Art Museum, OH Center for Inter-American Relations, NYC The Chase Manhattan Bank Everson Museum of Art, Syracuse, NY Museo de Bellas Artes, Santiago, Chile Massachusetts Institute of Technology, Cambridge, MA Museo de Arte Contemporaneo, Santiago, Chile New York Public Library, NYC New York University Art Collection, NYC University of Massachusetts Amherst, MA Cornell University, NY Instituto de Cultura Puertorriquena, Puerto Rico Instituto de Cultura, Lima, Perú. Provenance: Private Los Angeles, California, 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 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. #167819 Condition: This lithograph has not been examined outside the frame but appears to be in excellent condition. One can see the Arches watermark on the upper right of the sheet. It is signed by the artist in pencil on lower right., titled in pencil on lower left, and numbered 7/50 in pencil at lower center. There are Couturier Gallery stamps on the verso. Frame shows normal scuffs and stains commensurate with age but is intact, fitted with suspension wire, and ready to display.
• 2ND C. GANDHARAN SCHIST HEAD OF
  2ND C. GANDHARAN SCHIST HEAD OF BUDDHACentral Asia, Pakistan, India, and Afghanistan, Gandharan, ca. 2nd to 3rd century CE. A hand-carved miniature grey schist Buddha head, depicted nearly in the round, with a wavy coiffure, a generous ushnisha (topknot) as well as a mesmerizing face that is skillfully modeled with elegant features including almond-shaped, downcast eyes, an arched browline leading to an aquiline nose, and full, closed lips. The drama of this visage with its stylized wavy tresses and meditative expression does not discount its naturalism. Notice how skillfully the sculptor rendered the philtrum (vertical groove in midline above the upper lip), the Cupid's bow of the upper lip, the tear troughs between the eyes and nose, the nasal bridge and nostrils, and the contours of the chin. A wonderful example. Size: 1.6" W x 2.4" H (4.1 cm x 6.1 cm); 4" H (10.2 cm) on included custom stand. Alexander the Great conquered Gandhara in 330 BCE and with the help of the Indo-Greek kings introduced classical traditions that would influence Gandharan art for the following seven centuries. The stylized curly Mediterranean hair and top knot derive from classical sculptures such as the Apollo Belvedere (330 BCE), and the sensitive modeling of the expressive visage demonstrates a classical influence as well. A rare example of Greco-Buddhist art that demonstrates a strong syncretism between eastern and western traditions. The head of the Buddha is perhaps the most significant element of the deity as it represents the immense body of knowledge and wisdom of Buddha along with the tranquil nature that emanates from his expression. What's more, in this example the sculptor's adept modeling technique allows for a moving spiritual interpretation as opposed to other comparatively colder, stiffer renderings. A peaceful countenance with a rounded ushnisha symbolizing the wisdom and knowledge acquired after attaining enlightenment, and elongated ears, a physical feature symbolic of the Buddha's time as a prince when he wore elaborate ear ornaments to demonstrate wealth and prosperity. Of course, the prince stopped wearing them when he left the palace to become an ascetic; however, his earlobes remained stretched signifying a conscious decision to reject the material world in exchange for spiritual enlightenment and simultaneously suggest that the Buddha can hear all that is asked for and needed in the earthly world. Those half-closed eyes indicate a meditative state - at once looking both outward and inward. Furthermore, the curled hair of the Buddha signifies the nobility of Buddha. Beyond the multi-layered meaning embodied in the iconography of this piece, the sculptor's artistry and technique is exceptional. Provenance: private J.H. collection, Beaverton, Oregon, 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. #154804 Condition: The head is a fragment from a larger sculpture and thus the back of the head and the neck are rough and uncarved. Otherwise in good condition with wear commensurate with age and nice preservation of details. Great deposits on surface.
• 20TH C. INDONESIAN WOOD FEMALE
  20TH C. INDONESIAN WOOD FEMALE FIGURE - AITOS**Originally Listed At $1000** Southeast Asia, Indonesia, Timor Island, Tetum, ca. early to mid-20th century CE. A stunning hand-carved wood female figure of sizeable form known as an aitos or offering post and likely representing an ancestor. The fascinating female is shown standing or crouching with her arms bent and her large hands resting below her bulbous breasts. A hemispherical headdress or coiffure sits atop her elongated head, as she gazes forwards from generously lidded, almond-shaped eyes above a triangular nose, and protruding lips. Her large, heavy brow is flanked by a pair of petite ears. The impressive figure is heavily adorned with several layers of collared necklaces, as well as a series of mesmerizing geometric designs of spiraling circles, triangles, and squares on the lower portion of her body and her back. This remarkable example likely served as an altar or ancestor figure. Size: 8.5" L x 8" W x 63.5" H (21.6 cm x 20.3 cm x 161.3 cm); 64.75" H (164.5 cm) on included custom stand. Provenance: private Johnson collection, 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. 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. #163555 Condition: Stable fissures with some loss to wood. Chips, nicks, and abrasions, as shown. Otherwise, excellent with nicely preserved detail.
• ANN CHRISTOPHER BRONZE - THROUGH
  ANN CHRISTOPHER BRONZE - THROUGH THE DARK (1985)Ann Christopher (British, b. 1947). "Through the Dark" bronze sculpture, 1985. Stamped "AC 1.9" to indicate artist's initials and edition number on lower edge of the bronze. A mesmerizing abstract bronze sculpture by British Royal Academician Sculptor Ann Christopher entitled "Through the Dark" - cast number 1 of 9. Ann Christopher's oeuvre is comprised of non-figurative sculptures - usually cast in bronze, stainless steel, silver, or fabricated corten - that conjure images of ancient monoliths, landscapes, and rock formations. In 1980, she became a member of the Royal Academy, and in 1989, she was elected to become a Royal Academician - one of 80 artists who guide the Royal Academy of Arts in London. A wonderful piece by Ann Christopher who has described her practice as "a visual diary of my physical and emotional life" on an attractive slate base. Size: 4.25" W x 10.125" H (10.8 cm x 25.7 cm); 11.125" H (28.3 cm) on included custom stand. The following is a brief biography of the artist according to the Royal Academy, "Ann Christopher attended Harrow School of Art from 1965 to 1966 and went on to study sculpture at the West of England College of Art from 1966 to 1969. Christopher’s first solo exhibition was held in 1969, with subsequent solo exhibitions throughout the 1970s. In 1989 she was given a retrospective of work produced between 1969 and 1989 at the Dorset County Museum and Art Gallery. Christopher has completed numerous public and private commissions both in the UK and USA and has exhibited in numerous group exhibitions both nationally and internationally. Recent solo exhibitions include: All the Cages Have Open Doors, Pangolin London (2016); The Lines of Time, Tennant Gallery, Royal Academy (2016); Marks on the Edge of Space, Rabley Drawing Centre, Marlborough (2014); To Know Without Remembering, Pangolin London (2013); The Power of Place, Sir Hugh Casson Room, Royal Academy (2007); Still Lines, Jubilee Park, Canary Wharf, London (2004). She was awarded Silver Medal for Sculpture of Outstanding Merit by the Royal Society of British Sculptors (1994) and the Otto Beit Medal of Sculpture of Outstanding Merit (1997). Christopher was elected a member of the Royal Academy in 1980, becoming a Royal Academician in 1989 and elected a Fellow of the Royal Society of British Sculptors in 1992. She is represented by Pangolin London and lives and works near Bath." We would like to add that in 1992, Ann Christopher was names a Fellow of the Royal Society of British Sculptors. Furthermore, her works have been acquired by the University of Bristol, the City of Bristol Museum & Art Gallery, the Chantrey Bequest, and the Contemporary Art Society. Provenance: private Santa Fe, New Mexico USA collection, acquired circa January 2018 by descent; ex-Allen Davis collection, Santa Fe, New Mexico, USA - Mr. Davis purchased "Through the Dark" from the Royal Academy annual Summer Exhibition 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. 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. #169104 Condition: Stamped "AC 1.9" to indicate the artist's initials and the edition number of the piece on the lower edge of the bronze. Overall, bronze sculpture and slate base are both very nice. Some of the black patina has rubbed off as shown; however, this could be easily remedied at a fine art foundry; the edges are highly polished. There is green felt on the underside of the stand to protect from scratching display surface.
• NATIVE AMERICAN CHACO
  NATIVE AMERICAN CHACO BLACK-ON-WHITE POTTERY OLLANative American, Southwestern United States, Four Corners region, New Mexico, Chaco Canyon area, ca. 1050 to 1200 CE. A superb pottery olla boasting a simple yet elegant form of a hemispherical body with impressively thin walls that span out to a wide shoulder and then inward to an annular rim above a deep basin, all sitting upon a rounded base. Skillfully hand-painted with black-on-white decoration, the exterior of the dish presents 2 horizontal registers of 6 interlocking pairs of steppe motif, one of which is painted completely black, while the other is filled with a series of parallel, diagonal striations. These mesmerizing patterns are intended to represent the union of earth and sky, with the striped steppe motif as the earth and the black symbolizing the sky. They have also been considered to be the Ancestral Puebloan equivalent of Yin and Yang indicating balance and harmony in nature via combined male and female elements. Size: 11.25" Diameter x 9.5" H (28.6 cm x 24.1 cm) The mouth of the vessel is additionally decorated with a series of petite, vertical dashes. Pottery of this kind is some of the most important found in the ancient Southwest. The Chaco Project, the major excavations of Chaco Canyon (today a National Historical Park that is well worth a visit), recovered more of this pottery than any other style. Chaco was the center of the ancestral Puebloan (Anasazi) culture, a vast city of monumental architecture, including massive stone Great Houses of multiple stories and kivas of all sizes. Roads from Chaco Canyon radiated to outlying settlements for hundreds of miles, and it seems to have been a religious, social, and trade hub for a vast region. Today many Native peoples in the Southwest connect their own histories to Chaco, seeing it as a stop along their sacred migrations. Provenance: private Pennsylvania, USA collection, acquired July 16, 2003 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. #164450 Condition: Some minor nicks, abrasions, and pitting, all commensurate with age. Areas of fire darkening and light staining. A small area of restoration over a stable fissure visible on interior. Otherwise, intact and excellent with nice pigments and impressive detail.
• ENORMOUS 20TH C. SHIPIBO POLYCHROME
  ENORMOUS 20TH C. SHIPIBO POLYCHROME PORTRAIT JARSouth American, Upper / Western Amazon Basin, Ucayali River, Peru, Shipibo people, ca. mid-20th century CE. Wow! A marvelous pottery portrait jar of a tremendous size featuring a dramatically wide hip, a sloped shoulder, a conical neck, and a flared rim, all sitting upon a narrow base. Quite captivating, the neck of the vessel presents the visage of an individual, displaying petite eyes with round pupils, a pinched nose with delineated nostrils, and a slender mouth held in a gentle smile, all flanked by a pair of cupped ears. A lovely burnt orange slip envelops the area below the hip as well as the interior rim, while the exterior of the shoulder, neck and rim are adorned with a mesmerizing, mazelike design of black and orange painted interlocking motifs atop a creamy beige ground. Size: 20.5" Diameter x 19" H (52.1 cm x 48.3 cm) These symmetrical geometric patterns, known as kene, are not only said to represent the paths of life, but are also inspired by nature, such as in the coils and scaled skin of a snake, which are also symbolic of the coiling of the pottery as the vessel is constructed. Layers of zigzag patterns arch below the jutting chin of the face, possibly representing a beard or collar necklace, while black resin embellishes the interior walls of the jar. The Shipibo-Conibo tribe are an indigenous people along the Ucayali River in the Amazon rainforest in Peru. Shipibo vessels are visually distinctive and instantly recognizable, the result of a tempering technology that is millennia old, allowing for some of the largest, thinnest-walled vessels produced in the New World. These vessels are made by Shipibo women in a style that grew out of the pre-Columbian Marajoara. The chomo is a vessel that can be placed into a hole dug in the ground to store and ferment masato, a ceremonial beverage used in ceremonies like the Joni-Ati, an initiation ritual to mark a girl's passage into womanhood. The Shipibo, unlike many other Amazonian tribes, are matriarchal. This massive vessel would have played an important role in the life of these fascinating people. Shipibo art generally appears in multimedia enveloped in elaborate geometric designs in a baroque trilevel style. Decorated first, the upper level is comprised of broad form lines in rectilinear (pontequeneya) and curvilinear (mayaqueneya) patterns. Artists are inspired by covering her eyelids with the leaves of an iponquene plant - named after a small but complexly patterned armor-headed catfish - in an effort to absorb their intricate tracery, as well as via dreams and visions. The original designs were from hallucinogenic visions of shamans using ayahuasca (or nishi) and strong tobacco. According to the Smithsonian National Museum of the American Indian, "In mythic times these patterns covered everything - the sky, trees, huts, people, animals, et cetera - in a continuous tissue of design. But due to the misdeeds of failed protohumans, this idyllic union ruptured and differentiated into floating, superimposed planes: Nete shama (the sky world), Mai (the earth world), and Jene shama (the subaquatic underworld). Simultaneously, periodicity (day and night, or time), mortality, and speciation appeared. And the geometric lineaments ruptured. Now they appear only on specific design fields, such as the upper parts of fineware pottery, people's faces, or the blades of war clubs. All these designs are pre-existent; the artist has only to grasp and fix them in her mind (shinan picotai, 'the thoughts emerge'), lay them over the design field, and cut where they match that field, letting the rest of the design fade back into invisibility. The visible design remains as a window into the vast reticulate intricacy of the universe." Cf. Smithsonian National Museum of the American Indian, 26/3329 and 23/9608. Provenance: private Hidden Valley Lake, California, USA collection; ex-Clark's Auction Company, Scotts Valley, California, USA, "CA Estates Native American & WWII Collections," April 26th, 2020, lot 133 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. #170428 Condition: Expected nicks, abrasions, scratches, and pitting in some areas, commensurate with age. Loss to some black resin on interior. A few scattered areas of minor peeling to surface. Otherwise, intact and excellent with impressive remaining pigments and nice preservation of painted detail.
• FINE MAYA PLUMBATE POTTERY VESSEL
  FINE MAYA PLUMBATE POTTERY VESSEL W/ DEATH SCENE, TL'DPre-Columbian, Mayan Territories, Guatemala, Maya, Post-Classic Period, ca. 1000 to 1200 CE. A hand-built plumbate pottery vessel incised with elaborate motifs, resting on a flat base, the tall walls swelling slightly before the flared rim. The cylindrical walls are skillfully carved with low relief iconography of violent deities portrayed with skull like visages and dressed in crocodile armor- both in dynamic conquering poses- one god grasps a kneeling victim by the hair and the other deity holds a knife with a skull/ trophy head in his other hand, while standing on a prostrate figure- all set within mesmerizing glyphs and motifs. Ceramics like this example were gifted to elite individuals, vases were a functional gift, created by artist/scribes who came from elite families and who took pains to recreate the stories of Mayan mythology and religion as well as to depict royal and godly personages in their artwork to reinforce the ruling ideology of Mayan society. Size: 3.25" Diameter x 7" H (8.3 cm x 17.8 cm) This piece has been tested using thermoluminescence (TL) analysis and has been found to be ancient and of the period stated. Provenance: private Hidden Valley Lake, California, 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 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. #170642 Condition: Stable hairline fissure on base and interior of vessel. Chips and nicks to rim and high pointed relief areas. Black manganese blooms on interior. One old TL drill hole on base, 1 new TL drill hole on base, and 1 new TL drill hole inside of top rim.
• EGYPTIAN WOOD & PAINTED GESSO
  EGYPTIAN WOOD & PAINTED GESSO SARCOPHAGUS MASKEgypt, Late Dynastic Period, 26th to 31st Dynasty, ca. 664 to 332 BCE. An attractive sarcophagus mask that is hand-carved from hardwood and perhaps depicts a high-class woman. Covered in a layer of white gesso and painted with vibrant colors, the elegant visage presents with enormous, almond-shaped eyes outlined in black with elongated canthi, a pair of sweeping eyebrows, a slender nose with lightly flared nostrils, slightly concave cheeks, and full lips turned up into a slight smile. The yellow-white hue of the face makes for a great ground atop which areas of ochre, crimson, and blue pigment are applied to create decorative 'beadwork' along the top of the headdress as well as a large sun disc just above the brow. A set of 8 dowel holes on the verso indicate how the mask was attached to the head of a mummy or sarcophagus lid, and some still retains fragments of their original dowels. A mesmerizing mask from ancient Egypt! Size: 11" H (27.9 cm); custom display stand included. Mummy masks were principally used to protect the face of the deceased, but they could also act as a substitute for the mummified head in the case of loss or damage. In addition, the ancient Egyptians believed that the "ba" (often incorrectly translated as "spirit") could leave the tomb and travel freely in the world of the living. To make sure that upon returning it would recognize the mummy, whose face was hidden by layers of bandages, the mask functioned as a portrait. Nevertheless, most masks had idealized features and were rarely particularized portraits. Provenance: private New York, New York, USA collection; ex-Arte Primitivo, New York, New York, USA; Sold to Ezeldeen Taha Eldarir by Salahaddin Sirmali on May 15, 1930; Authenticated and appraised by Mr. Hossen Rashed, head of the Egyptian Antiquities house. 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. #170406 Condition: Losses to several areas of peripheries as shown. Light touch-up painting around eyes. Abrasions, chipping, and fading to painted gesso, with several stable fissures visible along unpainted areas, with damage to some dowels and dowel holes on verso, and age-commensurate desiccation to exposed wooden areas. Nice preservation to pigment color in most areas, and great preservation to facial detailing.
• VIBRANT TRIASSIC ARIZONAN PETRIFIED
  VIBRANT TRIASSIC ARIZONAN PETRIFIED WOOD SLABNorth America, Southwestern United States, Arizona, Late Triassic, ca. 225 million years ago. A massive and gorgeous slab of fossilized, petrified tree trunk, sliced crossways and highly polished on one of the planar sides to showcase the broad interior rings of the tree - beautiful and astoundingly colorful! The exterior bark is fossilized, replaced by rough stone, while the smooth interior features incredible, colorful quartz, and agate. The colors are mesmerizing - dominated by warm hues of red, rusty orange, and maroon with creamy white, gray-blue, lilac, and mauve swirls and striations. The flat face is sealed to protect the surface, and the bottom has a felt pad - this slab could be displayed on a tabletop and even used as giant coaster! Size: 17" Diameter x 1.125" W (43.2 cm x 2.9 cm) Fossilized trees from this time period come from the Chinle Formation of the southwestern USA, and the beautiful colors found in this formation - exemplified by the colors of this fossilized tree - give the Painted Desert of Arizona its name. Due to plate tectonics, this area was near the equator on the supercontinent Pangaea during the Late Triassic, which gave it a humid, sub-tropical climate. It was a floodplain below mountains to its south and a sea to its west; as a result, massive trees washed down from the mountains and came to rest in sediments that preserved them and fossilized them. The petrification process involves the rapid burial of the tree or pieces under sediment which prevents the usual decay. Flooding and volcanic activity are usually responsible for creating the layers of sand, silt, and ash needed to create the right types and amount of sediment. Mineralized water can then permeate through the wood, coating cell walls and filling the intercellular cavities which then fossilizes into stone. The detailed preservation of the wood, including knots, rings, and bark, are possible because the organic wood molecules become coated and surrounded with smaller silica molecules. Nine different species of tree have been identified in the fossilized deposits in the region; this example may be Araucarioxylon arizonicum, an extinct conifer tree (and the state fossil of Arizona). Fascinatingly, the Ancestral Puebloan people who lived in the region approximately 1000 years ago used petrified wood for making tools and even building houses! Provenance: private southwestern Pennsylvania, USA collection, 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. 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. #159992 Condition: Professionally cut and polished on both faces. Protective sealant on planar face and felt pad added to other face for stability. Minor surface chips and abrasions. Amazing coloration throughout.