A few examples of appraisal values for
NEIGHBORS

• MARTIN LUBNER, THE ENGLISH NEIGHBORSMartin
  MARTIN LUBNER, THE ENGLISH NEIGHBORSMartin Lubner (American, b. 1929)The English Neighbors, 1967oil on canvassigned lower right M Lubner and dated24 x 30in (61 x 76cm) Provenance:Property from the private coll
• G. HARVEY (1933-2017) "THE NEIGHBORS"
  G. HARVEY (1933-2017) "THE NEIGHBORS" 24" X 20"Framed oil painting on canvas, "The Neighbors", Snow, Windmill, House, signed lower right G. Harvey (Gerald Harvey Jones, Texas, 1933-2017), titled at the verso stretcher with inventory number, tag of Pritchard Gallery at verso, sight: 23.5"h, 19.5"w, overall: 31.5"h, 27.5"w
• NORMAN BARR (AMERICAN, 1908-1994). Oil
  NORMAN BARR (AMERICAN, 1908-1994). Oil on canvas. "Neighbors". 1939. Signed and dated lower right. From a New York collection. Dimensions: 22" high x 26" wide Condition: Surface scuffs and scratches.
• 19TH C CHINESE FAMILLE ROSE ENAMEL PLAQUE.
  19TH C CHINESE FAMILLE ROSE ENAMEL PLAQUE. 19th century Chinese Famille Rose enamel decorated plaque displaying an exterior scene with figures at a gateway. Accompanied by a Y.M. Kung Antiques and Arts 10th September 1974 Original Certificate of Period stating, "Description: No. 71359 One piece Old Porcelain wall panel size 18 1/2" x 13 1/2" with frame circa Tung Chih 1862 A.D. The above panel is descirbing a very old Chinese educational story of 221 B.C. "Mencius' Mother Choosing Neighbors."When Mencius was a child, his mother always taught him how to get along with good neighbors and kept away from the bad ones. It was said, that they moved three times in order to avoid from bad neighbors. Evidently his mother thought that good neighbors were often helpful to his education as well as to his upbringing". From a Mamaroneck, NY estate. Dimensions: framed plaque measures approx. 18.675" h x 13.25" w. Condition: Good, with light surface scratches and minor dings/dents. Has not been examined out-of-frame.
• TOM BEECHAM (1926-2000), CATSKILL NEIGHBORS
  TOM BEECHAM (1926-2000), CATSKILL NEIGHBORS Title: Tom Beecham (1926-2000), Catskill Neighbors Dimensions: 18 x 24 Frame dimensions: 32 x 26 x 2
• DAILY LIFE LEDGER, EARLY 18TH CENTURYAn
  DAILY LIFE LEDGER, EARLY 18TH CENTURYAn interesting early 18th century ledger showing transactions with merchants, friends & neighbors as it relates to daily life, earliest entry 1738, likely New England, USA, separation, wear & some loss, but in overall good condition for the age, 14.5" h.
• STEVAN DOHANOS (AMERICAN, 1907-1994)
  STEVAN DOHANOS (AMERICAN, 1907-1994) PORTRAIT OF A YOUN...oil on canvas 38 in. h. x 30 in. w. Biography: A proponent of simplicity as a virtue, Stevan Dohanos has said, "A clean, strong, uncluttered image forms the basis of a good picture." Born in the steel mill town of Lorain, Ohio, Stevan Dohanos, called the 'American Realist' was a founder of the Famous Artists School in Westport, Connecticut.Ê One cannot discuss the illustration art of Dohanos without mentioning Norman Rockwell because their Saturday Evening Post cover images are invariable compared. Whereas Rockwell was noted for idealizing Americans and their way of life, Dohanos had an all-consuming love for the common everyday things in life. He stated "As an artist I have always gloried in finding beauty in the ordinary things of life."Ê Dohanos was influenced by 'The Eight' (Henri, Sloan, Glackens, Shinn, Prendergast, Davies, Lawson, Luks) and the realistic depictions they painted, saying, "the truth and quality of the art could not be long denied." He was more true to fact and form than Rockwell who tended to over indicate and exaggerate. The difference between the two illustrators is more obvious in their choice of subjects rather than in their techniques. It is said that Dohanos focused more on the locale of the people he portrayed rather than the people themselves, making him more objective than Rockwell. Norman Rockwell once described the privilege of painting for the Post, "the greatest show window in America for an illustrator. If you did a Post cover, you had arrived."Ê The proof of Dohanos success was that he painted over one-hundred and twenty-five Saturday Evening Post covers during the 1940's and 50's, illustrating scenes of American life including baseball games, ice cream, mobile homes, gas stations, children with toys or butterfly collections, barns, and of course, Harley-Davidsons.Ê Dohanos also illustrated for Esquire magazine amongst other magazines and designed forty-six stamps for the U.S. Postal Service.Ê Stevan Dohanos studied art in night school, like many other talents who could neither afford the time nor tuition at a fulltime or better-known institution and then later at the Cleveland School of Arts. However, he was able to get a job painting signs and lettering and learned more through hands-on work experience about color, scale, texture, composition and other basics, than he did in art school.Ê Later in his career, he did advertising commissions using still-life subjects rather than lifestyle images, showing people employed in various poses. He completed an advertisement for Dunham's shoes and employing the techniques he acquired as a billboard artist in its preparation.Ê Dohanos was considered the Cultural Spokesman for the Saturday Evening Post because of his clear visual images and their poignant messages of Americana revealed. He cherished his relationship with the Post, and relished the differences between his work, Rockwell's and other Post favorites. Often times he would use images from Westport, Connecticut and local readers could catch glimpses of their neighbors in the backgrounds of scenes depicting everyday activities.Ê Dohanos along with Rockwell came to represent the quintessence of American magazine illustrators. His images were generally slightly humorous, optimistic, manifesting the best of American ideals, and they were always familiar to the reader. Stevan Dohanos is considered "The Delineator of the Heart of America."Ê His paintings are in the collections of the Avery Memorial of Hartford, The Cleveland Museum, New Britain Museum of American Art, the Pennsylvania Academy of the Fine Arts, and the Whitney Museum of American Art. ©2004 National Museum of American Illustration
• ARCHIVE OF MASONIC ITEMSArchive of Nashville,
  ARCHIVE OF MASONIC ITEMSArchive of Nashville, Tennessee related Masonic and Fraternal Organization memorabilia. Includes 1 partially printed, highly decorated certificate for Edward Dickson Hicks certifying he has been "dubbed a Knight of the Red Cross Knight Templar and Knight of Malta", at the Nashville encampment, Sept. 9, 1859. 16" x 12" sight, 22 1/2" x 18 1/2" in molded giltwood frame; 1 Partially printed Master Mason's Diploma for C.C. Giers, Nashville Tenn. Oct. 14 1862, signed Chas. C. Giers, John McClelland, S. Kirkpatrick, R.C. Bransford and C.M. Peden, 18" x 13 1/2", folds into a pocket sized leather pouch labeled Moss & Brother Philadelphia Stationers Binders and Manufacturers of Masonic and Odd Fellows Regalia; 1 small book written in German, published 1864, inscribed inside front cover "Germania Lodge No. 355" (C. C. Giers was a member of Nashville's Germania lodge); 3 C.C. Giers CDVs of members of Nashville masons including Giers himself, Andrew Johnson (later President of the United States); and Frank Steiner; 1 black beaded ribbon with insignia; Book - Tennessee Craftsman or Masonic Textbook, undated, circa 1915, the leather pouch cover stamped "Edward Dickson Hicks Jr. May 1, 1917, Observance Lodge No 686 F. & A. M.; Book: A Digest of the Laws, Decisions, Rules and Usages of the Independent Order of Good Templars, Philadelphia: J.C. Garrigues & Co. 1870 (internal inscription in pencil for H.A. Lynes Nashville); Booklet: By-laws and Membership of Corinthian Lodge # 414 F & A.M. Nashville, dated 1960; Booked - The Lodge of Washington and his Masonic Neighbors, Copyright 1928 by the Alexandria-Washington Lodge, with photos and descriptions of antique relics in President George Washington's lodge; and assorted booklets and letters related to the Knights of Phythias and Phythian Sisters, Domain of Nashville, circa 1898-1918 including Instructions for Forming Temples, programme for an 1898 installation service etc; plus 1 Knights of Phythias white metal belt buckle with chain for sword. Also included is a 1799 Masonic Traveling Certificate on parchment for Thomas Harding (1755-1805) from Lebanon Lodge no. 41 of Gainesburg, Va., Goochland County. Contains numerous hand drawn symbols including the all-seeing eye, coffin, scythe and hands, along with the signatures of William Sanders, S. Warden, John Brown and Henry Bishop. 18" x 15". Provenance: the estate of Giers descendant Sarah Hunter Hicks Green, formerly of Historic Devon Farm, Nashville, Tennessee. (Higher-resolution photos are available at www.caseantiques.com) Condition: All paper items lightly toned with some scattered foxing. Additionally, Hicks certificate: 7" area of staining to upper right corner, scattered chips and cracks to frame gilding. CDVS: corner loss to Johnson CDV, general light grime/fading to all. Belt Buckle and sword chain shows oxidation.
• GEN. JAMES ROBERTSON SIGNED SALE OF
  GEN. JAMES ROBERTSON SIGNED SALE OF LAND TO JOHN DAVISImportant land indenture signed by James Robertson, the explorer and co-founder of Nashville, concerning a transfer of property between himself and John Davis, a fellow early settler and surveyor of Nashville. The document, executed March 20, 1795, records Robertson selling 440 acres of land in Sumner County to his friend Davis (in fact, Davis's daughter Ciddy married Robertson's son Jonathan). According to this document, the land had been a tract of military land originally granted William Powell for his services in the Continental army in the Revolutionary War and then assigned to Col. Hardy Murfree (see related Murfree-Robertson lot in this auction). James Robertson's autograph (J.L. Robertson) is bold and clear, partially covered at the end by remnants of a seal, but nonetheless a very scarce example of the signature of one of Middle Tennessee's most important historical figures. 12" x 13 1/2". Biography (courtesy The Tennessee Encyclopedia of History and Culture): James Robertson, early leader of both the Watauga and Cumberland settlements, has been called the "Father of Middle Tennessee." Born in 1742 in Virginia, he later moved to North Carolina, where he grew increasingly frustrated with the provincial rule of Governor William Tryon. Encouraged by favorable descriptions of the land west of the Appalachian Mountains, Robertson and several of his neighbors set out for the new frontier. In May 1772, when the Watauga settlers met to establish a government, they selected Robertson as one of the five magistrates to lead the Watauga Association. He was also elected commander of the Watauga Fort. In 1777, Richard Henderson of the Transylvania Land Company acquired a large tract of land from the Cherokees, including most of what constitutes present-day Middle Tennessee; Robertson and eight other men were sent to scout it out in 1778. The following year, Robertson returned with a group of about 250 people to establish a permanent settlement, known today as Nashville. In 1791, President George Washington appointed him brigadier general of the U.S. Army of the region, and In 1804, he was commissioned US Indian Agent to the Chickasaw and Choctaw Nations. A journey in 1814 to the Chickasaw Agency at Chickasaw Bluff resulted in his falling ill, and he died a short time later. He is buried in Nashville's City Cemetery. Provenance: the estate of John Davis descendant Sarah Hunter Hicks Green, formerly of Historic Devon Farm, Nashville, Tennessee. (Higher-resolution photos are available at www.caseantiques.com) Condition: Seal remnants and fold across Robertson's name. Toning, particularly along fold lines. Fading to writing, reverse side.
• ANNE WORSHAM RICHARDSON SIGNED LITHODepicting
  ANNE WORSHAM RICHARDSON SIGNED LITHODepicting a Woodpecker on a branch; pencil signed to bottom right corner; triple matted and framed under glass; measures approximately 31" x 27" with frame and has a sight image of approximately 20-3/4" x 16-3/4"; in Good overall condition. Anne Worsham Richardson's love of nature and all living creatures was evident in her watercolor paintings of wildlife and birds exhibited in her gallery in the historic district of Charleston, South Carolina. Her ability to recreate nature in her art began when she would entertain herself with drawing as a child in a highchair. As a teenager, she was painting the neighbors’ pets and farm animals. "I would come home from school and there would be a horse or something tied to the fence. I would ask Mother if they wanted the head or the whole animal. Of course, the commission for the whole animal portrait was more." Later after moving to Charleston, SC, Mrs. Richardson began studying nature, especially birds, through the libraries, the museums, and field trips all over the U.S. The career of South Carolina's most famous bird painter was launched. Now the artist was granted a special Federal permit for the scientific study of birds as they recovered in her sanctuary in Charleston, SC. In her detailed watercolors, you will also observe many species of plant life the artist has studied for her works. The paintings depict wildlife and their habitats. From showings in museums and art galleries to an exhibit in a castle on Germany's Danish border, Mrs. Richardson's paintings have been exhibited all over the world.
• MALI MARKA MASKMarka mask from Mali;
  MALI MARKA MASKMarka mask from Mali; copper affixed to wood with Cowry (Cowrie) shell accents; measures approximately 20" tall; please refer to photographs for condition. The Marka are neighbors of the Bamana (Bambara) people and their artistic styles share striking similarities. Like the Bambara, the Marka fashion their masks with very small mouths with raised lips at the bottom of an elongated face. The nose is usually extremely long and elegantly thin and the eyes are cast downward, a show of respect used in many African masks.
• FANTE FERTILITY DOLLS FROM GHANA, TWO
  FANTE FERTILITY DOLLS FROM GHANA, TWO (2)Fante fertility dolls, seated 18" tall male and female figures from Ghana; please refer to photographs for condition. Living along the Gulf of Guinea and in adjacent inland areas (southern Ghana), the Fanti, an Akan group have distinctive arts belonging to their military companies, Asafo. Fanti military organizations have absorbed and adopted European ideas, motifs, objects, and technologies into their own artistic culture. Each state and most large communities have several Asafo companies. Each company owns certain exclusive colors, motifs, musical instruments, and other insignia, with any violation of such prerogatives by another company being considered an act of aggression. Art, then, may and does cause disputes, which in the old days erupted into virtual warfare. Painted figures and “master” drums, invariably female, are known. The Fanti are one of the peoples generally thought to not possess a masquerading tradition. The Fanti use acua’ba dolls, which differ from those of the Ashanti, their northern neighbors. As this is a matrilineal society, the acua’ba are female. They are used as fertility figurines in shrines or worn by women either to induce conception or, during pregnancy, to assure the birth of a beautiful child, preferably, a daughter. The acua’ba is fed, carried and bathed as if it were a living baby. If the woman has a successful delivery, the figure is returned to the shrine as a form of offering. If the child dies, the acua’ba is kept as a memorial. Usually the Fanti dolls do not have any arms and legs. They mostly appear with rectangular or elongated heads.
• FANTE FERTILITY DOLLS FROM GHANA, TWO
  FANTE FERTILITY DOLLS FROM GHANA, TWO (2)Fante fertility dolls, seated 18" tall male and female figures from Ghana; please refer to photographs for condition. Living along the Gulf of Guinea and in adjacent inland areas (southern Ghana), the Fanti, an Akan group have distinctive arts belonging to their military companies, Asafo. Fanti military organizations have absorbed and adopted European ideas, motifs, objects, and technologies into their own artistic culture. Each state and most large communities have several Asafo companies. Each company owns certain exclusive colors, motifs, musical instruments, and other insignia, with any violation of such prerogatives by another company being considered an act of aggression. Art, then, may and does cause disputes, which in the old days erupted into virtual warfare. Painted figures and “master” drums, invariably female, are known. The Fanti are one of the peoples generally thought to not possess a masquerading tradition. The Fanti use acua’ba dolls, which differ from those of the Ashanti, their northern neighbors. As this is a matrilineal society, the acua’ba are female. They are used as fertility figurines in shrines or worn by women either to induce conception or, during pregnancy, to assure the birth of a beautiful child, preferably, a daughter. The acua’ba is fed, carried and bathed as if it were a living baby. If the woman has a successful delivery, the figure is returned to the shrine as a form of offering. If the child dies, the acua’ba is kept as a memorial. Usually the Fanti dolls do not have any arms and legs. They mostly appear with rectangular or elongated heads.
• LOT OF OVER 125 LECTURE NOTES ON MAGIC.Lot
  LOT OF OVER 125 LECTURE NOTES ON MAGIC.Lot of Over 125 Lecture Notes on Magic. American, mid- to late twentieth century. Wrappers or comb-bound. Most illustrated. 4to and 8vo. Filling a single large carton, authors include: Michael Ammar, Sam Sharpe, Corinda, Ken Simmons, Al Baker, Jean Hugard, Joe Berg, Dennis Loomis, Mike Caveney, Ralph Read, John Hotowka, Paul Hallas, Dai Vernon, Daniel McCarthy, Milbourne Christopher, Eric Lewis, Will Dexter, Hen Fetsch, Harry Lorayne, Jeff Busby, Gary Darwin, Paul Diamond, Allan Ackerman, Frank Lane, Bill Simon, Kardyro, Ovette, Walter Gibson, John Carney, David Neighbors, Whit Haydn, Jim Sommers, Paul Osborne, Ben Harris, and others.
• GEORGE A. CUSTER'S OWN S&W NO. 2 ARMY
  GEORGE A. CUSTER'S OWN S&W NO. 2 ARMY REVOLVERThis is a fine, historic Smith and Wesson Model 2 Army Tip-Up Revolver owned personally by George Armstrong Custer from the Dr. Lawrence A. Frost of Monroe, Michigan Custer Collection, marked, “GAC” by Custer and accompanied by a signed document from Wendell Grangaard from The Guns of History, Inc. Sioux Falls, South Dakota. The firearm was examined by Wendell Grangaard, author and historian on Custer, the Battle of the Little Bighorn as well as the Togia language. Wendell noted the firearm being marked as such: On the left grip carved GAC (George Armstrong Custer) illustration 1,; On the bottom of the frame JAE (Jubal Anderson Early) and GAC (George Armstrong Custer) illustration 2; On the back of the frame JAE (Jubal Anderson Early) illustration 3; On the inside of the left grip GAC (George Armstrong Custer) illustration 4. The paperwork also includes the iconic photograph of General George Armstrong Custer and his wife “Libby” Elizabeth Custer in their temporary quarters at Fort Lincoln, Dakota Territory circa 1874 showing the entire photograph with the pistol rack on the right side. Dr. Lawrence A. Frost noted this revolver as being the last pistol on the right-hand side. According to the historic research this firearm, marked with General Jubal Anderson Early of the Confederacy’s initials, (Tom Custer wrote letters to his sister-in-law Elizabeth “Libby” Custer) this firearm was captured on March 2, 1865, by Tom Custer led by George Armstrong Custer and was in General Jubal Anderson Early’s personal war headquarters’ wagon. They recovered Early’s map books, his orders for the Spring offensive, his guns which included a Spencer sporting rifle 56-46 serial number 61391, a Smith & Wesson Model No. 2 Army Tip-up in 32 long RF serial number 34528 (this firearm), a 12 GA Lefeavor shotgun as well as Early’s personal chess set, shaving mug and razor, a small collection of pipes, a good supply of chewing tobacco, his uniforms, clothes and many sets of boots and hats. Custer gave Tom Early’s personal records; he sent the chess set to his wife Elizabeth. On March 28, 1865, George sent a letter to his wife from Petersburg, Virginia: “I am sending by Mr. Stires a black dress pattern, captured with other dry goods in one of Gen’ Early’s wagons. All desire you to have it. I think it will make a very nice dress.” In Lacrosse, Wisconsin in 1973 Wendell Grangaard was with Dr. Lawrence Frost and was shown this Smith & Wesson No. 2 Army serial number 34528 (at the time the right grip broke and was replaced with a grip bearing the serial number 37774). Lawrence noted the pistol has been at the bottom of a leather travel trunk that belonged to Elizabeth Custer. After the Battle of the Little Bighorn, Elizabeth Custer packed up and left Fort Lincoln and moved back to Monroe, Michigan, moving to the farm George had bought from Nevin Custer back in 1871. She put all of George’s possessions in the special barn Nevin called “The Armory”. Libby sold the farm and moved to New York leaving behind most of Custer’s belongings. Lawrence bought the contents. It is documented by Heritage Auction that Dr. Lawrence A. Frost of Monroe, Michigan, had the most extensive private collection of Custer artifacts and relics ever assembled, such as the Spencer Model 1865 serial number 3658 that Heritage sold in December 2012 for $179,250 (shown w/ bp). Dr. Lawrence Frost started collecting in the 1930’s collecting mostly directly from the Nevin Custer’s family, the only direct relatives of George A. Custer. Frost’s neighbors included Col. Brice Custer who, along with Col. Charles A. Custer who sold a notable bulldog to Frost in 1956, he also purchased the Custer guidon made by Libby Custer which sold at auction for over $900,000. The sale includes the signed provenance, several copies of Custer images, several of the denoted illustrations showing the faint marks, a Flayderman’s Guide print-out showing a write up of this model of gun as well as noting Custer as being documented to use one, and the Fort Lincoln image showing this firearm in the corner. The pistol hammer clicks back and holds into place and correctly rotating the cylinder, the spur trigger releases the hammer, appearing the function as well as the barrel releases tipping or swinging up allowing the cylinder to be completely removed quickly for quicker loading. Top of the gun is marked “Smith & Wesson Springfield, MASS.” The JAE and GAC marks are very faint, with the documentation showing written mark ups to better identify. From the Dr. Lawrence A. Frost Monroe, Michigan collection, the most notable Custer collection to ever exist comes with signed paperwork from Wendell Grangaard. Wendell Grangaard was pivotal in identifying the Custer Battlefield firearm sold many years ago by Holabird, as well as the notable Custer and Little Bighorn artifacts which were written about by Cowboys and Indians Magazine and sold in the Little Bighorn auction in this year. This is an Antique Firearm that does not require an FFL.
• ERIK NITSCHE (1908 - 1998) LIECHTENSTEIN
  ERIK NITSCHE (1908 - 1998) LIECHTENSTEIN BUILDINGErik Nitsche (Swiss, 1908 - 1998) "Liechtenstein Building" Signed lower right. Original Mixed Media on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the Liechtenstein Europa 1987 Modern Art - Architecture stamp issued May 12, 1987. The tiny principality of Liechtenstein lies between Switzerland and Austria and like its neighbors is an heir to all the majestic beauty of the towering mountains. Liechtenstein shares many customs with Switzerland and the frontier between the two countries is completely open. In addition, Switzerland manages the telephone, postal and telegraph services for Liechtenstein, but the country issues its own stamps. Although it is a small nation, Liechtenstein boasts many beautiful buildings within its borders, including this magnificent structure. Image Size: 14 x 12 in. Overall Size: 20 x 15 in. Unframed. (B10854) 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.
• 20TH C. FELIPE ARCHULETA WOODEN WOODPECKER
  20TH C. FELIPE ARCHULETA WOODEN WOODPECKER SCULPTUREFelipe Benito Archuleta (Hispanic American 1910-1991), ca. 1970 to 1980s CE, "Woodpeckers." This is a fabulous hand carved and painted wooden sculpture by the folk artist Felipe Archuleta. The piece consists of a large tree trunk that is left in a mostly natural state, with a mother woodpecker carved separately and attached to the trunk, and a wooden chick's head protruding from a natural cavity. The mother has a tuft of dried grass in her mouth to add to the nest inside the cavity. The wood and materials in this piece are all found items; taken from Archuleta’s or his neighbors' land. Archuleta uses chainsaws and chisels to shape each piece and attaches the pieces to each other with nails. An adhesive mixed with sawdust is applied to fill in any gaps and is then painted. Size: 15" W x 28" H (38.1 cm x 71.1 cm) Felipe Benito Archuleta was born in Santa Cruz, New Mexico into a poor family that immigrated from Mexico. He left school at an early age to help support his family as a field laborer, stone mason, and then as a carpenter for most of his adult life. When he was 57, Archuleta fell on especially hard times and turned to religion and intense prayer to seek an answer to his situation and give his life a more purposeful direction. He claims that God spoke to him and commanded Archuleta to use his carpentry talents to carve animals. However, Archuleta also visited a gallery owned by Dr. Rudy Kieve who sold hand-carved sculptures, which may have been his true inspiration. Archuleta quickly gained recognition for his distinctive style and sometimes terrifying creations, often focused on exaggerating the teeth and claws of the animals. He is considered the father of modern "Non Santero" carvings, and his work has been exhibited in many folk-art exhibitions and museums. His son, Leroy Archuleta (1949 to 2002), and grandson Ron Archuleta Rodriguez (1968 to present) have followed in his footsteps and assisted in the workshop, becoming talented carvers as well. For more information, please see the American Folk Art Museum website essay "American Perspectives: Felipe Benito Archuleta." Provenance: ex-William and Jane Frazer, Aspen, Colorado, USA, acquired 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. 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. #166619 Condition: Not signed. Old inactive insect holes on trunk. Nicely weathered patina. Some minor fading to pigments. Intact and great condition.
• 20 ROMAN TERRACOTTA "DOG BONE" TILESRoman,
  20 ROMAN TERRACOTTA "DOG BONE" TILESRoman, Imperial Period, ca. 1st to 2nd century CE. A fantastic ensemble of 20 terracotta paving tiles shaped in a 'dog bone' form, used to line the paths of ancient Rome. Each tile is comprised of two curved, flared ends connected by a corseted midsection that would have fit together almost perfectly with its neighbors when laid. Over time, these tiles have become slightly deformed and worn from the ancient feet that walked upon them, as well as the usual wear and tear from weather and elements. Their ability to fit snugly against one another has diminished, but their overall preservation of shapes are remarkable examples of Roman engineering. Size of each (all are relatively similar): 3.5" L x 2" W x 1.5" H (8.9 cm x 5.1 cm x 3.8 cm) Provenance: ex-Bohmer collection, Germany, before 2000 from an Austrian 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. #161350 Condition: Chips, losses, and abrasions commensurate with age and use. Light mineral and earthen deposits. Most are intact and very good. Great retention of overall 'dog bone' forms.
• 6 COLIMA OBSIDIAN PECTORALS & MANY WHITE
  6 COLIMA OBSIDIAN PECTORALS & MANY WHITE SHELL BEADS**Originally Listed At $500** Pre-Columbian, West Mexico, Colima, ca. 300 BCE to 300 CE. A magnificent ensemble of over 100 hand-carved shell beads and 6 hand-knapped obsidian pectoral pendants/beads. Boasting mottled hues of white, cream, tan, and peach, all the shell beads present discoid bodies with central annular drill holes. Alternatively, each pectoral is rendered in a curved shape perhaps intended to conjure lunar crescents, with perforations at either end for suspension. They display lustrous surfaces in hues of black and dark brown. Size (of largest pectoral): 5.875" L x 4.125" W (14.9 cm x 10.5 cm); Size (of largest bead): 0.3" in diameter (0.8 cm); Size (of modern custom frame): 12.875" W x 18.75" H (32.7 cm x 47.6 cm) Obsidian carvings were coveted offerings found in Colima tombs. Colima, located on Mexico's southwestern coast, was part of the shaft tomb tradition, along with neighbors to the north in Jalisco and Nayarit. In this culture, the deceased were interred in shafts, approximately 3 to 20 meters deep, that were dug vertically or near vertically through the volcanic tuff that makes up the geology of the region. The base of the shaft would open into one or more horizontal chambers with low ceilings. These shafts were almost always dug beneath a dwelling, probably a family home, and scholars posit that they were likely used as family mausoleums, housing the remains of many related individuals. Obsidian - "iztli" to them - fascinated the ancient Mesoamericans; the Aztecs even had a god, Tezcatlipoca, who was the Lord of the Smoking Obsidian Mirror; indeed, obsidian was used to create mirrors as well. Furthermore, in a world without metal, obsidian's ability to be sharp was also especially important for ceremonies of ritual bloodletting and human sacrifice. The difficult-to-obtain material came from volcanic sources in the Sierra Madre of Mexico and in Guatemala, was traded hundreds of miles to meet the demand for sharp cutting tools and ritual objects, and then was struck using a deer antler or small hammer stones to form blades and coveted forms like these. Provenance: private Fayetteville, Arkansas, USA collection; ex-Dr. David Harner collection, Springdale, Arkansas, USA, acquired between the 1950s and 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 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. #162401 Condition: Has not been examined outside of frame. Repair and restoration to 5 pectorals, while remaining 1 (smallest) has chip with loss. Nicks to peripheries of all items commensurate with knapping process, with light abrasions and encrustations to faces. Expected surface wear to beads. Otherwise, excellent. Great surface smoothness throughout. Fit with modern wood and glass frame with metal wire on verso for suspension.
• FINE COLIMA POTTERY SEATED ITHYPHALLIC
  FINE COLIMA POTTERY SEATED ITHYPHALLIC FIGURAL VESSELPre-Columbian, West Mexico, Colima, Protoclassic period, ca. 100 BCE to 250 CE. A hand-built pottery vessel in the form of a seated ithyphallic figure. Highly burnished and covered in red and light orange slip, the figure presents in a seated pose with splayed legs while holding one arm behind his head and the other to the side of his enormous phallus. He wears a set of red trousers indicated by incised lines around the waist and both knees, a thick bangle around each bicep, and a peaked helmet with lengthy ear flaps and a spout on the verso. His expressive visage is formed with a pair of coffee-bean-shaped eyes beneath a bulging forehead, a petite nose, and an incised, toothy mouth. A rare and expressive figural effigy from ancient West Mexico! Size: 7.6" L x 7.8" W x 8.9" H (19.3 cm x 19.8 cm x 22.6 cm) The sculptural creations of the ancient Colima peoples are quite distinctive with smooth, rounded forms presenting remarkable consistency in their warm russet, citrine, and red hues. In addition, the sculpture of the Colima culture is known for a wide range of postures and expressions, making it quite intriguing to us, even some 2000 years after their origination. This example, however, deviates from this structured presentation by imbuing the figure with a sense of movement. Typical Colima statues are rigid, static, and presented with relatively expressionless faces. This figure exhibits a relaxed composure as well as a prideful, almost gloating expression on his face as he presents his phallus for others to see. The smile incised across his face gives him a sense of personality and dynamism not often seen in traditional Colima sculpture, so this is a rather significant, substantive, and exceedingly rare example. Colima, located on Mexico's southwestern coast, was during this time part of the shaft tomb culture, along with neighbors to the north in Jalisco and Nayarit. In this culture, the dead were buried down shafts - 3 to 20 meters deep - that were dug vertically or near vertically through the volcanic tuff that makes up the geology of the region. The base of the shaft would open into one or more horizontal chambers with a low ceiling. These shafts were almost always dug beneath a dwelling, probably a family home, and scholars believe they were used as family mausoleums, housing the remains of many related individuals. This is a figure made to be placed inside those mausoleums, perhaps to mediate between the worlds of the living and the dead. Provenance: private Dodge collection, Superior, Colorado, USA, acquired in San Diego, California, USA around 2014; ex-private California, USA collection formed 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. #170591 Condition: Repaired with restoration along proper left side of chest and around phallus, with resurfacing and overpainting to new material and break lines that do not detract from the overall presentation. Light abrasions and softening to some finer details commensurate with age, with light encrustations within some recessed areas, and fading to pigment on head and body. Great preservation to overall form, and wonderful root marks throughout. Old inventory label beneath base.
• COLIMA POTTERY STANDING SHAMAN FIGURE
  COLIMA POTTERY STANDING SHAMAN FIGURE W/ INCISED MOTIFS...Pre-Columbian, West Mexico, Colima, Protoclassic Period, ca. 100 BCE to 250 CE. A superb pottery figure of a shaman shown standing atop thick legs and large feet with arms at his sides. Displaying a flat, rectangular body, the ancient figure wears an elaborate ensemble comprised of a one-shouldered poncho and a skirt that falls to mid-shin, both skillfully incised with complex geometric motifs. His sizeable head presents a solemn visage with slit-form eyes, a prominent, curved nose, a straight mouth, and a square jaw, all flanked by a pair of elongated ears with square adornments. A broad band with a projecting horn - a typical shaman headdress - crowns his towering skull, while a striated coiffure extends down the back of his neck. Size: 6.8" W x 11.9" H (17.3 cm x 30.2 cm) Colima, located on Mexico's southwestern coast, was during this time part of the shaft tomb culture, along with neighbors to the north in Jalisco and Nayarit. In this culture, the dead were buried down shafts - 3 to 20 meters deep - that were dug vertically or near vertically through the volcanic tuff that makes up the geology of the region. The base of the shaft would open into one or more horizontal chambers with a low ceiling. These shafts were almost always dug beneath a dwelling, probably a family home, and seem to have been used as family mausoleums, housing the remains of many related individuals. This is a figure made to be placed inside those mausoleums, perhaps to mediate between the worlds of the living and the dead. Provenance: private Hidden Valley Lake, California, USA collection; ex-Litchfield Auctions, Litchfield, Connecticut, USA (May Auction, May 11, 2019, lot 190); ex-Arthur and Lilian Weiss, Little Deer Isle, Maine, 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. #170499 Condition: A few expected nicks and abrasions, commensurate with age. Otherwise, intact and excellent with nice manganese deposits and impressive preservation of detail. Old collection label on foot.
• PREHISTORIC MIMBRES BLACK ON WHITE BOWL
  PREHISTORIC MIMBRES BLACK ON WHITE BOWL W/ KILL HOLENative American, Southwestern United States, New Mexico, Mimbres Valley, Mimbres, ca. 1025 to 1250 CE. A coil-and-scrape pottery bowl featuring beautiful black motifs on the gray-white ground. The bowl exhibits a round but relatively stable base, tall walls, and a thick rim that surrounds the deep basin. Within the basin is a broad register of abstract, stripe-filled geometrics that mimic large S-shapes that are adjoined to their neighbors but separated from the surrounding solid black pigment. Marking the center is a kill hole which researchers believe was ritually punctured prior to placing the vessel over the face of a deceased individual, perhaps to provide a channel for the spirit to the afterlife while keeping out malevolent forces. Size: 8.25" W x 3.5" H (21 cm x 8.9 cm) Provenance: ex-John B. Kendrick II collection, Denver, Colorado, USA, acquired 1965 to 1990; John B. Kendrick II was that son of John B. Kendrick, Wyoming governor and US senator 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. #172436 Condition: Professionally repaired and restored with resurfacing and overpainting along new material and break lines; original kill hole left unrestored with only repairs along commensurate break lines. Minor abrasions and fire-darkening to exterior, with light fading to original pigment. Nice preservation to decorative motifs within basin.
• RARE & LARGE JALISCO BICHROME NUDE SEATED
  RARE & LARGE JALISCO BICHROME NUDE SEATED FEMALE FIGURE...Pre-Columbian, West Mexico, Jalisco, ca. 300 BCE to 300 CE. A splendid pottery female figure shown seated with legs stretched before her and slender arms bent at elbows exposing her palms to the viewer. Adorned in horizontal stripes of burnt orange and creamy beige slip, she sits upright displaying a bulbous - possibly pregnant - belly, voluptuous breasts, and stippled shoulders. Her elongated head faces forward, addressing the viewer with ovoid eyes that sit just above her huge, curved nose and gently opened mouth, all flanked by a pair of low-set ears with dangling adornments. A pair of armbands decorate each of her biceps, while a thick headband sits near the top of her towering forehead. Size: 10.5" W x 16.2" H (26.7 cm x 41.1 cm) Jalisco, located on Mexico's southwestern coast, was during this time part of the shaft tomb culture, along with neighbors in Colima and Nayarit. In this culture, the dead were buried down shafts - 3 to 20 meters deep - that were dug vertically or near vertically through the volcanic tuff that makes up the geology of the region. The base of the shaft would open into one or more horizontal chambers with a low ceiling. These shafts were almost always dug beneath a dwelling, probably a family home, and seem to have been used as family mausoleums, housing the remains of many related individuals. Within the tombs, they arrayed skeletons radially with their feet positioned inward, and clay offerings, like this one, placed alongside the walls facing inward, near the skulls. A large effigy like this one would most likely have flanked the entrance to a tomb in a way that archaeologists have interpreted as guarding. Some scholars have connected these dynamic sculptures of the living as a strong contrast to the skeletal remains whose space they shared, as if they mediated between the living and the dead. Provenance: ex-private Bishop Family Trust collection, the Trust of the late Bill Bishop, a noted antiquarian with shops in Scottsdale, Arizona and Allenspark, Colorado, 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. #172889 Condition: Small chips to toes of left foot, headband, and peripheries of ears. Areas of fire-darkening to feet and slight wobble to base. Otherwise, intact and excellent. Impressively preserved with great remaining pigments and detail as well as nice manganese deposits.
• COLIMA POTTERY STANDING SHAMAN FIGURE
  COLIMA POTTERY STANDING SHAMAN FIGURE W/ INCISED MOTIFS...Pre-Columbian, West Mexico, Colima, Protoclassic Period, ca. 100 BCE to 250 CE. A superb pottery figure of a shaman shown standing atop thick legs and large feet with arms at his sides. Displaying a flat, rectangular body, the ancient figure wears an elaborate ensemble comprised of a one-shouldered poncho and a skirt that falls to mid-shin, both skillfully incised with complex geometric motifs. His sizeable head presents a solemn visage with slit-form eyes, a prominent, curved nose, a straight mouth, and a square jaw, all flanked by a pair of elongated ears with square adornments. A broad band with a projecting horn - a typical shaman headdress - crowns his towering skull, while a striated coiffure extends down the back of his neck. Size: 6.8" W x 11.9" H (17.3 cm x 30.2 cm) Colima, located on Mexico's southwestern coast, was during this time part of the shaft tomb culture, along with neighbors to the north in Jalisco and Nayarit. In this culture, the dead were buried down shafts - 3 to 20 meters deep - that were dug vertically or near vertically through the volcanic tuff that makes up the geology of the region. The base of the shaft would open into one or more horizontal chambers with a low ceiling. These shafts were almost always dug beneath a dwelling, probably a family home, and seem to have been used as family mausoleums, housing the remains of many related individuals. This is a figure made to be placed inside those mausoleums, perhaps to mediate between the worlds of the living and the dead. Provenance: private Hidden Valley Lake, California, USA collection; ex-Litchfield Auctions, Litchfield, Connecticut, USA (May Auction, May 11, 2019, lot 190); ex-Arthur and Lilian Weiss, Little Deer Isle, Maine, 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. #170499 Condition: A few expected nicks and abrasions, commensurate with age. Otherwise, intact and excellent with nice manganese deposits and impressive preservation of detail. Old collection label on foot.
• JALISCO POTTERY NUDE PREGNANT FEMALE,
  JALISCO POTTERY NUDE PREGNANT FEMALE, EX-SOTHEBY'SPre-Columbian, West Mexico, Jalisco, Late Preclassic period, ca. 300 to 200 BCE. A charming pottery figure of a pregnant female figure depicted nude as she stands atop tall legs with arms bent at the elbows to rest her hands above her voluptuous breasts. Crowned by a conical headdress with a bulbous extension at the back, she displays distinguished West Mexican characteristics of an elongated head, a narrow-pointed nose, coffee bean-shaped eyes, and a smiling mouth. A pendant in the shape of a ceremonial axe head hangs from a chain at her neck, while a pair of earrings resembling seashells flank her face. Her body and face are additionally adorned with mesmerizing linear motifs. Size: 2.9" W x 8.7" H (7.4 cm x 22.1 cm); 9.1" H (23.1 cm) on included custom stand. Jalisco, located on Mexico's southwestern coast, was during this time part of the shaft tomb culture, along with neighbors in Colima and Nayarit. In this culture, the dead were buried down shafts - 3 to 20 meters deep - that were dug vertically or near vertically through the volcanic tuff that makes up the geology of the region. The base of the shaft would open into one or more horizontal chambers with a low ceiling. These shafts were almost always dug beneath a dwelling, probably a family home, and seem to have been used as family mausoleums, housing the remains of many related individuals. Within the tombs, they arrayed skeletons radially with their feet positioned inward, and clay offerings, like this one, placed alongside the walls facing inward, near the skulls. Some scholars have connected these dynamic sculptures of the living as a strong contrast to the skeletal remains whose space they shared, as if they mediated between the living and the dead. Published in Sotheby's New York "Pre-Columbian Art" Monday, November 24, 1997, lot number 276 (1 of 2), page 126. 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 Hawaii, USA collection; ex-Sotheby's New York City, November 24, 1997 (sale 7057), lot 276 (1 of 2); ex-private New England, 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. We ship worldwide and handle all shipping in-house for your convenience. #177583 Condition: Some light surface wear commensurate with age. Otherwise, intact and excellent with liberal remaining pigments and nice mineral deposits to surface.
• JALISCO AMECA ETZATLAN WARRIOR FIGURE,
  JALISCO AMECA ETZATLAN WARRIOR FIGURE, TL TESTEDPre-Columbian, West Mexico, Jalisco, Ameca-Etzatlan type, Protoclassic Period, ca. 100 BCE to 250 CE. A hand-built pottery warrior figure of sizable form, standing tall upon lengthy feet, who brandishes a fragmentary club or spike in both hands. The padded waistband is adorned with zigzagging black stripes and is shown attached to the barrel armor above in 3 areas via raised bars around the waist, perhaps meant to emulate leather straps. Additional black pigment embellishes the cup-shaped helmet and emphasizes several of the facial features. Size: 9.75" L x 9.25" W x 17.1" H (24.8 cm x 23.5 cm x 43.4 cm) West Mexican shaft tomb figures like this example derive their names from the central architectural feature that we know of from this culture. Jalisco, located on Mexico's southwestern coast, was part of the shaft tomb culture during this time, along with neighbors in nearby Colima and Nayarit. These people would build generally rectangular vertical or near-vertical shafts down from the ground level - usually about 3 to 20 meters deep - through tepetate, the volcanic tuff that makes up the geology of the region, to narrow horizontal tunnels that led to one or more vaulted or rounded burial chambers. These shafts were almost always dug beneath a dwelling, probably a family home, and seem to have been used as family mausoleums, housing the remains of many related individuals. Figures like this one were placed into the tombs; researchers believe that they were placed around the edges facing inward, as if in conversation with the dead. Grouped with other figures, and alongside clay bowls, and boxes, figures this one were positioned around the body (or bodies) near the skull, and warriors like this example were meant as a means of spiritual protection from evil spirits. 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 will accompany the item upon purchase. Provenance: private Hidden Valley Lake, California, USA collection, acquired Heritage Auction, Lot 1250, June 25, 2019; ex-Heritage Auction, Dallas, Texas, USA; ex-private 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. #170722 Condition: Professional repair and restoration in some areas. Loss to lower section of club as shown, with fading to pigment, abrasions and nicks, and some spalls and earthen deposits. Great size and presentation. Modern felt pad beneath each foot.
• JALISCO AMECA ETZATLAN POLYCHROME NUDE
  JALISCO AMECA ETZATLAN POLYCHROME NUDE FEMALE FIGUREPre-Columbian, West Mexico, Jalisco, Ameca-Etzatlan type, Protoclassic Period, ca. 100 BCE to 250 CE. A hand-built pottery female figure seated with legs folded beneath a skirt and presenting sizable breasts. Her left hand grasps the bottom of a deep bowl while she places her right hand atop her centrally-parted coiffure, and painted cicatrice spots and stripes in black and red pigment accentuate her chest, face, neck, earrings, and back down her spine. Supported by square shoulders, her elongated head exhibits a calm countenance of deep-set, almond-shaped eyes, a sharp nose, and thin lips parted slightly. Size: 5.5" L x 10.75" W x 13.3" H (14 cm x 27.3 cm x 33.8 cm) West Mexican shaft tomb figures like this example derive their names from the central architectural feature that we know of from this culture. Jalisco, located on Mexico's southwestern coast, was part of the shaft tomb culture during this time, along with neighbors in nearby Colima and Nayarit. These people would build generally rectangular vertical or near-vertical shafts down from the ground level - usually about 3 to 20 meters deep - through tepetate, the volcanic tuff that makes up the geology of the region, to narrow horizontal tunnels that led to one or more vaulted or rounded burial chambers. These shafts were almost always dug beneath a dwelling, probably a family home, and seem to have been used as family mausoleums, housing the remains of many related individuals. Figures like this one were placed into the tombs; researchers believe that they were placed around the edges facing inward, as if in conversation with the dead. Grouped with other figures, and alongside clay bowls, and boxes, figures like this one were positioned around the body (or bodies), near the skull. Provenance: private New York, New York, USA collection; ex-private New York, USA collection, acquired from Stair Auction, December 4, 2015, sale 120515, lot 313, from a 1990s estate 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. #179564 Condition: Repair to proper left leg and top of skirt, with small chips and light adhesive residue along break lines. Small fissure and chipping to right hand behind head, with fading to pigment commensurate with age, and light earthen deposits, otherwise in great condition. Wonderful preservation to facial features.
• ROBERT LOUIS THOMPSON, (AMERICAN, 1937-1966),
  ROBERT LOUIS THOMPSON, (AMERICAN, 1937-1966), THE RAISING OF LAZARUS, 1965, OIL ON CANVAS, 9 X 12 IN.ROBERT LOUIS THOMPSON (American, 1937-1966) The Raising of Lazarus 1965, oil on canvas signed, dated, and titled B Thompson '65 / Raising of Lazarus / [indistinct], verso 9 x 12 in. 1965, oil on canvas Dimensions: 9 x 12 in. Provenance: The Estate of Drs. Dorothy and Norman Zinberg. Bob Thompson's short but brilliant eight year career was bookended by summers in Provincetown, Massachusetts, first as an art student in 1958, then,Âin 1965, after a meteoric rise in the New York art scene, as an established artist. In the intervening years Thompson received numerous grants to study and work in Europe, settling at times in France, Spain, and Italy, studying and reimaging the Old Masters thatÂsurrounded him. He rejected abstract expressionism, instead filling his canvases with tightly composed, spontaneously and brightly colored figures, a style of figurative abstraction complete with its own lexicon of symbols. His love of jazz, of poetry, of movement, and of color informed his reinterpretation of the Renaissance and Baroque themes he so intensely respondedÂto. As his friend and fellow student in Provincetown Emilio Cruz wrote, "...it was the time when all young men dripped and splashed, loved Kline and DeKooning, sang praises to Jackson Pollock. Bob didn't do it. Bob loved Ray Charles, Miles Davis, and Piero Della Francesca, a strange toast salad. But it all tasted good because like Bob the ingredients were fresh, vibrating with life and filled his world; he overflowed with color." Like Thompson himself, the present work - painted just one year before Thompson's untimely death at age 28 - overflows with color. Reds and yellows and blues and greens come togetherÂin a compositionÂthat deftly deconstructs and reimagines a classical narrative, in the process highlighting the artist's singularÂvision and distinctive style. During the Black Lives Matter protests in Boston this June, our gallery door was spray painted with the message "#BLM DO BETTER, ART WORLD!" With the consignment of thirteen works by Black artists to The Fall Auction, we have identified an opportunity to do so. Grogan & Company will contribute 5% of our proceeds from the sale of lots 16 through 28 to Boston's Artists For Humanity. Our donation will provide support to the next generation of BIPOC artists, and is meant to encourage others in the art world to take the challenge to “Do Better.” Artists For Humanity (AFH) provides under-resourced teens the keys to self-sufficiency through paid employment in art and design. Visit Artists For Humanity's website to learn more. Grogan & Company is pleased to offer at auction sixteen works from the collection of the late Drs. Dorothy and Norman Zinberg. Both Zinbergs were accomplished scientists who met as graduate students at Harvard in the 1950s. Dorothy was a beloved Harvard Kennedy School scholar and a pioneering sociologist and biochemist who focused on the relationship between science and public policy. Throughout her storied career, she was a mentor to and advocate for women in the sciences and higher education. Remembered as a generous, humble, and stalwart friend, Dorothy was known for her ability to bring together individuals from all walks of life, hosting legendary salons at her Cambridge home. She and Norman also spent time in Provincetown, Massachusetts, where they were neighbors and good friends of the artist Robert Motherwell. Condition: This work is not framed. Minor wear at edges consistent with being out of frame, otherwise in good condition. Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
• FRITZ BULTMAN, (AMERICAN, 1919-1985),
  FRITZ BULTMAN, (AMERICAN, 1919-1985), BEFORE + AFTER III, 1982, OIL, GOUACHE, PAPER, AND ELMER'S GLUE ON CANVAS, 50 1/2 X 28 IN., FRAME: 52 X 29 1/2 IN.FRITZ BULTMAN (American, 1919-1985) Before + After III 1982, oil, gouache, paper, and Elmer's glue on canvas signed and dated FB 82 lower right; inscribed verso Fritz Bultman / Before + After III / June 1982 50 1/2 x 28 in., frame: 52 x 29 1/2 in. 1982, oil, gouache, paper, and Elmer's glue on canvas Dimensions: 50 1/2 x 28 in., frame: 52 x 29 1/2 in. Provenance: The Estate of Drs. Dorothy and Norman Zinberg. Grogan & Company is pleased to offer at auction sixteen works from the collection of the late Drs. Dorothy and Norman Zinberg. Both Zinbergs were accomplished scientists who met as graduate students at Harvard in the 1950s. Dorothy was a beloved Harvard Kennedy School scholar and a pioneering sociologist and biochemist who focused on the relationship between science and public policy. Throughout her storied career, she was a mentor to and advocate for women in the sciences and higher education. Remembered as a generous, humble, and stalwart friend, Dorothy was known for her ability to bring together individuals from all walks of life, hosting legendary salons at her Cambridge home. She and Norman also spent time in Provincetown, Massachusetts, where they were neighbors and good friends of the artist Robert Motherwell. Condition: Not examined out of frame, but appears to be in overall good condition. Plexi is scratched but there are no noticeable issues with the work itself. Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
• HERMAN MARIL, (AMERICAN, 1908-1986),
  HERMAN MARIL, (AMERICAN, 1908-1986), TREES, 1944, GOUACHE, WATERCOLOR, AND PENCIL ON PAPER, SIGHT: 9 3/4 X 15 1/4 IN., FRAME: 16 1/2 X 21 3/4 IN.HERMAN MARIL (American, 1908-1986) Trees 1944, gouache, watercolor, and pencil on paper signed and dated Herman Maril - 44 lower left, inscribed To Dorothy and Norman for a merry life! sight: 9 3/4 x 15 1/4 in., frame: 16 1/2 x 21 3/4 in. 1944, gouache, watercolor, and pencil on paper Dimensions: sight: 9 3/4 x 15 1/4 in., frame: 16 1/2 x 21 3/4 in. Provenance: The Estate of Drs. Dorothy and Norman Zinberg. Grogan & Company is pleased to offer at auction sixteen works from the collection of the late Drs. Dorothy and Norman Zinberg. Both Zinbergs were accomplished scientists who met as graduate students at Harvard in the 1950s. Dorothy was a beloved Harvard Kennedy School scholar and a pioneering sociologist and biochemist who focused on the relationship between science and public policy. Throughout her storied career, she was a mentor to and advocate for women in the sciences and higher education. Remembered as a generous, humble, and stalwart friend, Dorothy was known for her ability to bring together individuals from all walks of life, hosting legendary salons at her Cambridge home. She and Norman also spent time in Provincetown, Massachusetts, where they were neighbors and good friends of the artist Robert Motherwell. Condition: Scattered foxing in the lower half of the image, otherwise in fine condition. Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
• HERMAN MARIL, (AMERICAN, 1908-1986),
  HERMAN MARIL, (AMERICAN, 1908-1986), LONE BIRD, INK WASH ON PAPER, SIGHT: 10 X 17 IN., FRAME: 17 3/4 X 22 3/4 IN.HERMAN MARIL (American, 1908-1986) Lone Bird ink wash on paper signed Herman Maril lower right; inscribed To Dorothy and Norma - for a happy life! - H.M lower center sight: 10 x 17 in., frame: 17 3/4 x 22 3/4 in. ink wash on paper Dimensions: sight: 10 x 17 in., frame: 17 3/4 x 22 3/4 in. Provenance: The Estate of Drs. Dorothy and Norman Zinberg. Grogan & Company is pleased to offer at auction sixteen works from the collection of the late Drs. Dorothy and Norman Zinberg. Both Zinbergs were accomplished scientists who met as graduate students at Harvard in the 1950s. Dorothy was a beloved Harvard Kennedy School scholar and a pioneering sociologist and biochemist who focused on the relationship between science and public policy. Throughout her storied career, she was a mentor to and advocate for women in the sciences and higher education. Remembered as a generous, humble, and stalwart friend, Dorothy was known for her ability to bring together individuals from all walks of life, hosting legendary salons at her Cambridge home. She and Norman also spent time in Provincetown, Massachusetts, where they were neighbors and good friends of the artist Robert Motherwell. Condition: Paper rough/abraded approx. 1 in. upper right, approx. 1/2 in. lower center, possibly from artist erasing something. Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
• HERMAN MARIL, (AMERICAN, 1908-1986),
  HERMAN MARIL, (AMERICAN, 1908-1986), SAILBOAT IN HARBOR, 1949, OIL ON BOARD, 10 1/2 X 14 1/2 IN., FRAME: 16 X 20 IN.HERMAN MARIL (American, 1908-1986) Sailboat in Harbor 1949, oil on board signed and dated Herman Maril 49; inscribed verso by Herman Maril / 1949 / Sailboat in Harbor 10 1/2 x 14 1/2 in., frame: 16 x 20 in. 1949, oil on board Dimensions: 10 1/2 x 14 1/2 in., frame: 16 x 20 in. Provenance: The Estate of Drs. Dorothy and Norman Zinberg. Grogan & Company is pleased to offer at auction sixteen works from the collection of the late Drs. Dorothy and Norman Zinberg. Both Zinbergs were accomplished scientists who met as graduate students at Harvard in the 1950s. Dorothy was a beloved Harvard Kennedy School scholar and a pioneering sociologist and biochemist who focused on the relationship between science and public policy. Throughout her storied career, she was a mentor to and advocate for women in the sciences and higher education. Remembered as a generous, humble, and stalwart friend, Dorothy was known for her ability to bring together individuals from all walks of life, hosting legendary salons at her Cambridge home. She and Norman also spent time in Provincetown, Massachusetts, where they were neighbors and good friends of the artist Robert Motherwell. Condition: A bit dusty, but otherwise in good condition. Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
• ROBERT MOTHERWELL, (AMERICAN, 1915-1991),
  ROBERT MOTHERWELL, (AMERICAN, 1915-1991), ART 1981 CHICAGO PRINT, LITHOGRAPH, SHEET: 34 X 25 IN., FRAME: 36 X 27 IN.ROBERT MOTHERWELL (American, 1915-1991) Art 1981 Chicago Print lithograph signed and numbered Motherwell ap 2/25 lower right sheet: 34 x 25 in., frame: 36 x 27 in. lithograph Dimensions: sheet: 34 x 25 in., frame: 36 x 27 in. Provenance: The artist; to his friends, Drs. Dorothy and Norman Zinberg. Grogan & Company is pleased to offer at auction sixteen works from the collection of the late Drs. Dorothy and Norman Zinberg. Both Zinbergs were accomplished scientists who met as graduate students at Harvard in the 1950s. Dorothy was a beloved Harvard Kennedy School scholar and a pioneering sociologist and biochemist who focused on the relationship between science and public policy. Throughout her storied career, she was a mentor to and advocate for women in the sciences and higher education. Remembered as a generous, humble, and stalwart friend, Dorothy was known for her ability to bring together individuals from all walks of life, hosting legendary salons at her Cambridge home. She and Norman also spent time in Provincetown, Massachusetts, where they were neighbors and good friends of the artist Robert Motherwell. Condition: Overall good condition, hinge mounted at top corners, floated in frame. Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
• ROBERT MOTHERWELL, (AMERICAN, 1915-1991),
  ROBERT MOTHERWELL, (AMERICAN, 1915-1991), L'AMOUR, 1984, ETCHING, IMAGE: 4 1/2 X 5 3/4 IN., SHEET: 12 1/2 X 13 3/4 IN., FRAME: 15 1/4 X 16 1/4 IN.ROBERT MOTHERWELL (American, 1915-1991) L'Amour 1984, etching signed and numbered RM trial in pencil lower right image: 4 1/2 x 5 3/4 in., sheet: 12 1/2 x 13 3/4 in., frame: 15 1/4 x 16 1/4 in. 1984, etching Dimensions: image: 4 1/2 x 5 3/4 in., sheet: 12 1/2 x 13 3/4 in., frame: 15 1/4 x 16 1/4 in. Provenance: The artist; to his friends, Drs. Dorothy and Norman Zinberg. Grogan & Company is pleased to offer at auction sixteen works from the collection of the late Drs. Dorothy and Norman Zinberg. Both Zinbergs were accomplished scientists who met as graduate students at Harvard in the 1950s. Dorothy was a beloved Harvard Kennedy School scholar and a pioneering sociologist and biochemist who focused on the relationship between science and public policy. Throughout her storied career, she was a mentor to and advocate for women in the sciences and higher education. Remembered as a generous, humble, and stalwart friend, Dorothy was known for her ability to bring together individuals from all walks of life, hosting legendary salons at her Cambridge home. She and Norman also spent time in Provincetown, Massachusetts, where they were neighbors and good friends of the artist Robert Motherwell. Condition: Floated in frame, archivally mounted to backing along upper edge. A few pinpoint spots of foxing in margin, concentrated in lower right corner. Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
• ROBERT MOTHERWELL, (AMERICAN, 1915-1991),
  ROBERT MOTHERWELL, (AMERICAN, 1915-1991), FIVE WORKS FROM HOLLOW MEN SUITE, 1986, ETCHING AND AQUATINT, EACH SHEET APPROX. 11 1/2 X 12 IN., EACH FRAME APPROX. 13 1/2 X 14 1/2 IN.ROBERT MOTHERWELL (American, 1915-1991) Five Works from Hollow Men Suite 1986, etching and aquatint each signed and numbered RM Trial in pencil lower right each sheet approx. 11 1/2 x 12 in., each frame approx. 13 1/2 x 14 1/2 in. 1986, etching and aquatint Dimensions: each sheet approx. 11 1/2 x 12 in., each frame approx. 13 1/2 x 14 1/2 in. Provenance: The artist; to his friends, Drs. Dorothy and Norman Zinberg. Grogan & Company is pleased to offer at auction sixteen works from the collection of the late Drs. Dorothy and Norman Zinberg. Both Zinbergs were accomplished scientists who met as graduate students at Harvard in the 1950s. Dorothy was a beloved Harvard Kennedy School scholar and a pioneering sociologist and biochemist who focused on the relationship between science and public policy. Throughout her storied career, she was a mentor to and advocate for women in the sciences and higher education. Remembered as a generous, humble, and stalwart friend, Dorothy was known for her ability to bring together individuals from all walks of life, hosting legendary salons at her Cambridge home. She and Norman also spent time in Provincetown, Massachusetts, where they were neighbors and good friends of the artist Robert Motherwell. Condition: Foxing in margins. Chine colle lifting slightly at edges. Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
• ROBERT MOTHERWELL, (AMERICAN, 1915-1991),
  ROBERT MOTHERWELL, (AMERICAN, 1915-1991), DELTA, 1982, AQUATINT, SHEET: 27 1/8 X 32 3/4 IN., FRAME: 30 7/8 X 36 1/4 IN.ROBERT MOTHERWELL (American, 1915-1991) Delta 1982, aquatint signed Robert Motherwell in brown ink lower right; inscribed For Dorothy + Norman Zinberg in brown ink lower left sheet: 27 1/8 x 32 3/4 in., frame: 30 7/8 x 36 1/4 in. 1982, aquatint Dimensions: sheet: 27 1/8 x 32 3/4 in., frame: 30 7/8 x 36 1/4 in. Provenance: The artist; to his friends, Drs. Dorothy and Norman Zinberg. Grogan & Company is pleased to offer at auction sixteen works from the collection of the late Drs. Dorothy and Norman Zinberg. Both Zinbergs were accomplished scientists who met as graduate students at Harvard in the 1950s. Dorothy was a beloved Harvard Kennedy School scholar and a pioneering sociologist and biochemist who focused on the relationship between science and public policy. Throughout her storied career, she was a mentor to and advocate for women in the sciences and higher education. Remembered as a generous, humble, and stalwart friend, Dorothy was known for her ability to bring together individuals from all walks of life, hosting legendary salons at her Cambridge home. She and Norman also spent time in Provincetown, Massachusetts, where they were neighbors and good friends of the artist Robert Motherwell. Condition: Scattered specks of foxing in the lower margin, none evident in image field. Float in frame, archivally mounted to backing along top edge. Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.