ANTON BRUEHL (AMERICAN, 1900–1983), FREE LABOR WILL WIN, UNFRAMED LINEN-BACK PHOTOGRAPH, OVERALL INCLUDING LINEN BACK: 42 X 30 1/4 IN. (106.68 X 76.84 CM.)Anton Bruehl (American, 1900–1983), Free Labor Will Win, Unframed Linen-Back Photograph,, U.S. Government Printing Office: 1942-O-473674; War Production Board, Washington D.C. Dimensions: Overall including linen back: 42 x 30 1/4 in. (106.68 x 76.84 cm.)
Fine Napoleon III Ormolu-Mounted Ebonized Cabinet, third quarter 19th century, of Louis XVI inspiration, the case with a pair of incised stamps "Grohe Freres Ebenistes Du Roi A Paris", the period noir de Mazy marble top over a case with a drawer over a glazed door, the returns with glass panels, adorned throughout with extraordinarily detailed ormolu mounts, the top edged with egg-and-dart ormolu, the door with a cast cartouche flanked by putti and arabesques, the pilasters with foliate-modeled scroll capitals over a trophy with a bird perched atop a quiver, the base blocks with deeply cast pierced foliate mounts over bun feet, the interior retaining its antique shelf lining, h. 42-3/4", w. 35", d. 15-1/2". Brothers Jean-Michel (b. 1804) and Guillaume Grohe (1808-1885), farmer's sons from the German Grand Duchy of Hesse-Darmstadt, had settled in Paris by 1827, dealing in general works of art. Jean-Michel married Swiss-born Christine-Charlotte Werner, the younger sister of renowned Restauration cabinetmaker Jean-Jacques Werner (1791-1849), and it is undoubtedly with Werner's guidance and tutelage that the Grohe brothers made their first forays into the sale and manufacture of fine furniture in 1829. Their success was immediate; an Egyptian Revival suite shown at the Industrial Exposition of 1834 was purchased by Princess Marie d'Orleans, and an octagonal ebony dresser shown at the 1844 Exposition won a gold medal. The workshop was formally incorporated as Grohe Freres in 1847, and the brothers were awarded the legion d'honneur at the 1849 Exposition. Their success and expansion continued unabated, with commissions for their revivalist furniture coming from King Louis-Philippe, Emperor Napoleon III and Empress Eugenie (who was particularly fond of their Louis XVI pieces). Jean-Michel retired to his home in the Parisian suburb of Montrouge in 1861; Guillaume continued the business alone. Queen Victoria became a client after Grohe's medal-winning entry at the London Exposition of 1862, and his furniture and bronzes at the 1867 Exposition were judged superior to those of the great Riesener. By 1878, he was the vice-president of the entire Exposition and member of the jury, admission and installation committees. He retired with his wife Emilie-Anne Prely to his home in Neuilly-sur-Seine in 1884. With no successor (his only son died in infancy in 1849), the contents of his workshop were sold in February 1884; he died little more than a year later, on April 6, 1885. He and his brother remain among the finest French cabinetmakers of the century, having supplied every King, Emperor and President of France from the July Monarchy to the Third Republic. Examples of their work are conserved at the Chateau de Fontainebleau, the Musee de Canavelet, the Musee Conde a Chantilly, the Palais de Elysee, the Musee National de Chateau de Con and, of course, the Musee du Louvre.
Win Zibeon 1980 "Pop Culture": Win Zibeon 1980 "Pop Culture". Signed. Oil on Canvas. Measures 42 inches high x 51 inches wide.
20th C. Pennsylvania Muzzle Loading Flintlock Rifle: North America, United States, Pennsylvania, ca. second half of the 20th century CE. A beautiful Pennsylvania mountain long rifle with a carbon-steel flintlock mechanism attached to the side of a lustrous tiger maple stock. Attractive brass appliques accentuate the bulky back stock, the trigger guard, the stock opposite the flintlock mechanism, and the small tubes holding the light-brown ram rod. The lengthy . 625 caliber carbon-steel barrel boasts an octagonal design along the back third and a cylindrical profile for the rest, with a small sight at the tip, and no rifling grooves along the interior. The flintlock mechanism has a curved striking plate, a petite flash pan, and a flint fragment secured within the hammer. Lustrous patina envelops the weapon and imbues the composition with an elegant presentation. Size (rifle): 57. 625" L (146. 4 cm); size (barrel): 42" L (106. 7 cm); caliber: . 625. . . Provenance: ex-private estate 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. . We ship worldwide and handle all shipping in-house for your convenience. . #145822 Condition One screw missing from trigger plate. Minor abrasions to stock, flintlock mechanism, and barrel. Light earthen deposits and nice patina throughout. Rifle has not been tested for functionality. Overall Dimensions Unit: Height: 0. 00 Width: 0. 00 Depth: 0. 00 Weight: 0. 00
Large Nazca Polychrome Textile Mantle: Pre-Columbian, South Coast Peru, Nazca culture, ca. 100 to 300 CE. A large textile mantle created from tightly-woven camelid (alpaca or llama wool) fibers dyed in hues of brown, cream, crimson, and wheat. The rectangular mantle is decorated with rows of large diamonds in polychrome colors atop a dark ground, and areas of the periphery are lined with segmented chromatic panels. What do these shapes represent? Some Nazca textiles have fantastical imagery of humans and animals, while others are more abstract, like this example. Mounted atop museum-quality display fabric. Size (textile): 42. 5" W x 60" H (108 cm x 152. 4 cm); size (display fabric): 58" W x 74. 5" H (147. 3 cm x 189. 2 cm). . In Nazca cemeteries, the dead were wrapped in layers of cloth. Elite people were given brightly embroidered textiles like this one, along with jewelry decorated with feathers and precious metals. Many hours of labor would have gone into making this mantle, and the imagery and colors were intended to convey the veneration of the deceased ancestor, as well as to form a bridge between the living and the dead. Analyses of similar textiles in museum collections have shown that the color and motif choices were complex and systematic, with some meaning that we can only guess at today, nearly two thousand years removed from this culture that left no written records. . . Provenance: private Tucson, Arizona, USA collection, acquired between 1950 and 1985. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #147575 Condition Losses and areas of repair to areas of the body and periphery. Light loosening and fraying to some interior and peripheral areas, with light fading to original coloration, and minor creasing. Nice traces of original coloration throughout, and iconography is still visible and clear.
JEFFREY N. BECOM, AMERICAN (B.1953), WOMAN IN BLUE BURKA, 1987, LARGE SCALE PHOTOGRAPH / CHROMOGENIC PRINT, 20"H X 28 3/4"W (SIGHT), 32"H X 42"W (FRAME)Jeffrey N. Becom, American, (b.1953) Woman in Blue Burka, 1987, large scale photograph / chromogenic print edition 6/25. Signed lower right. Jeffrey Becom has been a life-long painter with formal training as an architect. Jeffrey Becom has a magnificent sense of color and form and applies them to his vision of facades, homes, churches and tombs in the environment in which he is currently trying to document with his camera. Born in a small Indiana farming community in 1953, Jeffrey Becom painted from an early age. He began to develop his photographic skills while earning a degree in architecture from the University of Cincinnati. After moving to San Francisco to practice, Becom opted out of an architectural career to immerse himself in a private obsession: observing, studying and recording with camera and paintbrush the wondrous color and detail of the simple houses of farmers and fishermen in remote Mediterranean villages and hill towns. Combining an architect's love of geometry, pattern and texture with a painter's sensitivity to color, light and composition, Becom spent a decade creating the series of photographs collected in his first book, Mediterranean Color (Abbeville Press, New York, 1990), with Pulitzer Prize-winning critic Paul Goldberger. This book documents with camera and words, the fascinating history as well as myths behind the remarkable colors on the simple houses of farmers and fishermen. Becom's work has also been showcased in "For the Colors", an hour-long PBS (public television) documentary joining him in Italy in 1991. In 1993 Becom had a retrospective exhibition of oils, watercolors and photographs at The Octagon's American Architectural Foundation galleries in Washington, D.C. Jeffrey Becom continues to divide his time equally between work in his studio and more recently, extensive travels throughout Mexico and Central America. Maya Color (Abbeville Press, New York, 1997), co-authored with his wife, Sally Jean Aberg, was conceived when Becom began to wonder why so many cemeteries in Southern Mexico are painted blue and green. This curiosity led him and Sally on a journey of eight years' inquiry and research into the painting traditions of the living Maya. They grew to know a remarkable culture whose sacred colors are not merely a matter of preference but a powerful statement of belief stretching all the way back to their ancient painted pyramids. This new book documents the beauty as well as the power within the colorful traditions of Latin American architecture. Jeffrey Becom's limited edition Ilfachrome (i.e. cibachrome) photographs, as well as his watercolors and oil paintings, are represented in public and private collections throughout the world. large scale photograph / chromogenic print Dimensions: 20"H x 28 3/4"W (sight), 32"H x 42"W (frame)
Bolivian Amethyst & Quartz Geode: South America, Bolivia, millions and millions of years old. A sinuously shaped section of amethyst (purple quartz) and white/clear quartz crystals from the interior lining of a large geode. A polished diagonal band near the middle gives it a fascinating appearance. The name of this popular purple gemstone is Greek in origin and means "not drunken. " Some scholars suggest that this was due to the belief that amethyst had the power to stave off the effects of alcohol; however, most believe that the Greeks were probably referring to the near wine-like hue of some amethyst stones. Size: 6. 6" W x 13. 7" H (16. 8 cm x 34. 8 cm); 16. 7" H (42. 4 cm) on included custom stand. . . Provenance: ex-private Bolivian 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. . #144763 Condition Polished in some areas as shown.
WILLIAM GAY YORKE (NEW YORK/CANADA/ENGLAND, 1817-C. 1888), AMERICA'S CUP 1885, PURITAN VS. GENESTA., OIL ON CANVAS, 22" X 34". FRAMED 32.5" X 42.5".WILLIAM GAY YORKE, New York/Canada/England, 1817-c. 1888, America's Cup 1885, Puritan vs. Genesta. Signed and dated lower left "W.G. Yorke 1885". Dimensions: Oil on canvas, 22" x 34". Framed 32.5" x 42.5". Provenance: Vallejo Gallery, Newport Beach, California, June 1998.The Kelton Collection of Marine Art & Artifacts.The 1885 America's Cup race between Puritan and Genesta was the first in which the cutter design dictated the shape of the competitors. Cutters were primarily raced in England and their design described as "plank-on-edge", with deep hulls and towering rigs that were fast in the strong winds in England. Boston designer Edward Burgess was the master of the "compromise sloop", which were lightweight, with a wide beam and a shallow hull with centerboard. This design paradigm proved ideal for the lighter winds in America during the summer. The American yacht Puritan defeated the English Genesta in two races to win the America's Cup.
MOTOR RACING - Auction Posters for cars (5), viz. Robert Brooks - 'Les Grandes Marques a Monaco' (Sports & Racing Cars of Rare Provenance) at Monaco, May 1990; another similar (May 1992), 59 x 42 & 69 x 46cms., both coloured abstract designs; together with Christie's Auction of Fine Le Mans Winning British Marques, at Monaco, May 1989. 76 x 54cms., coloured pictorial (cars racing); with 2 others (Christie's) of Ferrari, Alfa Romeo & Maserati cars, May 1988 & 1989, 76 x 54cms., coloured pictorial.
Beautiful 19th C. West African Dogon Wooden Lock: West Africa, Mali, Dogon people, ca. 19th to early 20th century CE. A hand-carved vertical beam from a wooden bolt lock, known as a "ta koguru. " This example features two anthropomorphic forms who project from its top and whose feet hang down above its base. These are the primordial couple, "nommo", the offspring of Amma (God) and the Earth. In Dogon mythology, both have characteristics of both sexes and so were able to create the ancestors of all humankind. The geometric motifs carved on the face are also religious - they map the course of a ship that carried civilization from the sky to the earth. At the back is a slot for inserting a cross beam to complete the lock. This type of lock came to sub-Saharan Africa along with the spread of Islam, but the Dogon never converted, and made the technology their own. Size: 4. 7" W x 16. 25" H (11. 9 cm x 41. 3 cm); 16. 7" H (42. 4 cm) on included custom stand. . See a similar example at the Dallas Museum of Art: https://collections. dma. org/artwork/3226865 . . Provenance: ex-John Giltsoff, Girona, Spain; ex-Kevin Conru, Brussels, Belgium. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #145781 Condition Rich, deep patina on surface, with excellent preservation of form. Small scratches, chips, and nicks commensurate with age, but overall very nicely preserved. Overall Dimensions Unit: Height: 0. 00 Width: 0. 00 Depth: 0. 00 Weight: 0. 00
Early 20th C. Ceremonial Naga Mantle w/ Cowrie Shells: **Originally Listed At $400**. . Central Asia, Burma/India border, Nagaland, ca. early to mid 20th CE. A Chang Naga warrior ceremonial textile comprised of finely woven natural cotton cloth and cowrie shells. This composition features one central cowrie shell abstract human figure flanked by six cowrie shell circles sewn to a black cloth decorated with 9 rows of red squares, 4 green stripes to each side of the red squares, and a fringed border. A cloak like this was only worn by warriors of elite status who took more than 6 heads. The practice of headhunting was banned in the 1960's. According to the South Asia Collection, "The cowrie shells are a symbol of immortality, a sign of fertility and a talisman to ward off evil. The human figures represent the dead and the circles represent both heads and the moon, which is also a symbol of fertility. " Size: 61" L x 42" W (154. 9 cm x 106. 7 cm). . A similar example may be found in the South Asia Collection. According to the curatorial team, "Nagaland has a strong warrior tradition and headhunting was a significant part of its culture for many years. Strict rules surrounded the practice of headhunting. For example, heads would only be removed from the body after death. By taking the heads of their enemies Naga warriors could provide evidence of their victory, but they also believed the potency of fertility resides in the human head. By removing the head, the warrior released that life force for the benefit of his community. . This body cloth indicates that its wearer had head-taker and feast-giver status; the highest status amongst the Naga. The cowrie shells are a symbol of immortality, a sign of fertility and a talisman to ward off evil. The human figures represent the dead and the circles represent both heads and the moon, which is also a symbol of fertility. . The Indian Government banned the practice of headhunting in 1960 but Naga jewellery, textiles and festivals continue to reflect this tradition. " (https://thesouthasiacollection. co. uk/object-of-the-month/moh-nei-naga-body-cloth/) . . 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. . We ship worldwide and handle all shipping in-house for your convenience. . #147535 Condition Only slight age wear. A wonderful example.
Tall Greek Hellenistic Terracotta Standing Youth: Greek, Hellenistic, 3rd century BCE. Wonderful, large, and important! Terracotta standing youth, in the style of Centuripe, stepping forward as if alighting, his head turned to the left, the round face with smiling mouth, full bow-shaped lips, and upturned nose, the freely modeled hair bound in a long braid on the crown, framing the forehead in wavy curls, and with projecting curls covering the ears, a flowing cloak over his right shoulder and behind his back, his feet either cloven or deliberately unfinished, a large circular vent hole at the back; remains of gesso and traces of pink and red pigment. Size: 20. 5" H (52. 1 cm); 20. 75" H (52. 7 cm) on included custom stand. . For a very similar example, see Sotheby's, December 2006, lot 42 with a price of $25, 200. . This piece has been tested using thermoluminescence (TL) and has been found to be ancient and of the period stated. A full report will accompany purchase. . . Provenance: private East Coast, USA collection; ex-Gorny & Mosch auction (December, 2009, lot 184); ex-private German collection, acquired in the 1980s. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #139477 Condition In remarkable condition for the fabric; section of rear of cloak and tips of fingers to both hands missing. Legs reattached with restoration over the breaks, small stable stress crack on right proper side.
Japanese Edo Wood Folding Screen w/ 24 Bamboo Arrows: **Holiday Shipping Deadlines**. USA Domestic: 12/14 for Standard; 12/23 for Express; International: 12/7 for Standard; 12/19 for Express. . East Asia, Japan, Edo period, ca. 1603 to 1868 CE. A fine wooden folding screen known as a byobu ("wind wall") with two slender rectangular panels that are hinged in the middle. The top and interior bars of each panel have twelve evenly spaced perforations, and within each perforation is a smooth bamboo arrow with feather 'fins' and an iron tip. Size (screen fully open): 42. 625" W x 28. 6" H (108. 3 cm x 72. 6 cm); (largest arrow): 36. 125" L (91. 8 cm). . . Provenance: private J. H. collection, Beaverton, Oregon, USA, acquired in October 2016; ex-private Onomichi, Hiroshima, Japan 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. . #151244 Condition Screen has small chips to one foot, and metal hinges and screws are modern. Some arrows have losses to some or all of feather fins, and one arrow has loss to iron tip and fissures to tip end. Nice patina throughout.
Campo De Cielo Iron Meteorite - 42 Lbs!!: South America, Argentina, Campo del Cielo, ca. 4. 5 billion years old. A large, naturally-shaped chunk from a massive and extremely heavy, iron meteorite from the very famous Campo del Cielo (also Piguem Nonralta) site in Argentina. The 22 plus craters from this 5000 year old collision with a giant space rock were discovered by Europeans around 1576, but were well known by the local inhabitants. In all, over 100 tons of meteorites have been recovered making this the largest meteorite field on record. Size: 8. 7" L x 6. 5" W x 7. 5" H (22. 1 cm x 16. 5 cm x 19 cm); 42lbs 7 oz, 19249. 3105 grams. . This meteorite also played an interesting role in human history. It provided iron to indigenous people in the region and the Spanish colonists in the area took notice. In 1576, the governor of the province of northern Argentina sent out a military search party to locate the source of the natives' iron weapons. However, it was not until the late 1700s that early natural scientists began to understand the true source of the iron. In 1783, Ruben de Celis used dynamite to clear the area around the craters and discovered that it was not a mine, as previously suspected, but was instead the remains of a single huge mass. Believing the source to be a volcanic eruption, he sent a sample to the Royal Society in London, where it was found to be 90% iron and 10% nickel and thus from a meteor. . . Provenance: ex-private Los Angeles, 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. . #146736 Condition Unpolished and in natural condition, with oxidized surface.
Small Inca Silver Cup w/ Monkey Handle - 42. 6 g: Pre-Columbian, Peru, Inca Empire, ca. 1470 to 1532 CE. A delicate 92% silver offertory cup with a shallow basin and a handle in the form of a crouching monkey with a long, curved tail. The playful monkey figure gives this vessel a charming, personal touch. Size: 2. 25" W x 1. 25" H (5. 7 cm x 3. 2 cm); 42. 6 grams; precious metal quality: 92% silver. . . Provenance: ex-Leonard Lyle Dees, Topeka, Kansas, USA collection, acquired 1950-1970. . 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. . #148159 Condition Slight bending to form. Light deposits on interior. Nicely preserved form.
19TH C. TIBETAN TWO-HEADED DAMARU DRUMCentral Asia, Tibet, ca. 19th to early 20th century CE. A two-headed drum, known as a damaru (damru), made from two human skull caps with stretched skin painted green (also probably human); joined at their apex by a leather and cotton band decorated with a 42% silver Citipati skull applique. The panels of handing cloth form a handle and decorative tassel that is worn with age and use- the once colorful cloth stained black. The damaru drum is used in both Tibetan Buddhism and Hinduism, and in the former it is used in tantric practices as just one of the sacred implements that form their rituals. Traditionally these items are made from a male and a female skull cap joined at their apex. They are often played with the right hand- the dried resin beater pellets attached to cords at the center would hit either skin face as the drum was shaken, and additional pebbles freely roll inside the skull caps as well. Size: 6.25" L x 5" W x 4.75" H (15.9 cm x 12.7 cm x 12.1 cm); silver quality: 42%
Provenance: private Hawaii collection, acquired 2000 to 2010
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
We ship worldwide and handle all shipping in-house for your convenience.
#178669
Condition:
Age and use commensurate wear to the cloth fraying and tears to panels, nearly black with staining and textiles are stiff. Fading to green skin pigment, but intact. Drum emits sound. Drums is in overall excellent condition.
Michael Steinberg (UKRAINIAN, 1933–2007): Michael Steinberg (UKRAINIAN, 1933–2007) Oil On Wood, Heavy. Circa 1994. Measures 42 inches high x 62 inches wide. Available payment options on Bidsquare Congratulations on your winning bid(s)! ALERT! ALERT! ALERT! INVOICES IN EXCESS OF $2, 000. 00 MAY NOT BE MADE VIA PAYPAY. INVOICES OVER $2, 000. 00 MUST BE PAID BY WIRE TRANSFER! PAYPAL WILL NOT REFUND US THEIR FEE IF YOU MISTAKENLY USE THIS METHOD OF PAYMENT THEREFORE THIS FEE WILL BE CHARGED BACK TO YOU. WE REGRET THAT PAYPAL HAS CHANGED POLICY ON THIS LEAVING US NO ALTERNATIVE. Please pay your invoice as soon as you receive it. We accept payment from all major credit cards, cashier's check, bank/wire transfer & cash For local pick-ups . If paying by check please send to auction house address listed above. If your invoice is not paid in 5 business days, disputes will be opened and we reserve the right to offer the lot to the under bidder. To make payment please contact our gallery at (954) 342-9684. Please note: All invoices exceeding $2, 000 USD MUST be paid via bank/wire transfer. Please note all items must be picked up within 10 business days or a $10. 00 storage fee will be charged per lot. WIRING INFORMATION - Kodner Estate Holdings, LLC Domestic Route Wire Code 021000021 International Wire, swift code - CHASUS33 Account Number 926685053 Chase Bank Address. 270 Park Ave NY. NY 10017 Please include $15 for domestic wire transfers and $20. 00 for international wires.
LADISLAV SUTNAR (1897-1976) II OLYMPIAD IN AMERICA. 1947.
36 3/4x23 3/4 inches.
Condition A-: creases in image. Framed.
As a designer and a teacher at the State School of Graphic Arts in Prague, Sutnar's pioneering Functionalist work was largely a fusion of Bauhaus ideas and typography, Constructivism, and his own work with photomontage and design. By the time he moved to America, at the age of 42, he had already revolutionized book design in his home country of Czechoslovakia. In 1929 he was hired as the Art Director for the Druzstevni Prace [Cooperative Works] publishing house, for whom he created a unified, unique and original appearance. This "unity" was the first appearance of a concept that Sutnar would later develop into the creation of corporate identity through visual recognition. Sutnar was also the official designer of the Czechoslovak Government's exhibitions in foreign countries (winning several awards for his work in this field). In 1939 he came to New York to help set up the Czech Pavilion at the New York World's Fair. With the outbreak of war in Europe, Sutnar chose to stay in The United States. Of all of the posters he designed while living in America, including several for the United Nations, Addo-X, and a few other corporate clients, none really came close to the pioneering designs he created in Czechoslovakia, except, perhaps, for this image. With its photograph of Sokol athletes (a nationalist Czech sports movement), signature Sutnar orange (a color he frequently employed in his book jacket designs), blocks of color and dramatic interplay between typography and image, it is clearly a work by Sutnar, even though it is unsigned and previously unrecorded.
Huge Egyptian Coptic Textile Panel Fragment: Egypt, Coptic culture, ca. 3rd to 7th century CE. A beautiful and sizable textile fragment comprised of tightly-woven cotton fibers in warm hues of burgundy and marigold. The interior register exhibits several centered panels of abstract and intricate geometric motifs surrounded by either abstract zoomorphic creatures or additional geometric forms. Two stripes which enclose the central iconographic program feature dozens of strange mask-like faces, and wide bars of faded yellow pigment line the peripheries. Size: 42. 75" L x 14" W (108. 6 cm x 35. 6 cm). . . Provenance: private Davis collection, Houston, Texas, USA. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #140375 Condition This is a fragment of a larger textile item. Losses to some interior and peripheral threads as shown, with fading and staining to original coloration, and extensive creasing. Colors and iconography are still visible.
ANTON BRUEHL (AMERICAN, 1900–1983), FREE LABOR WILL WIN, UNFRAMED LINEN-BACK PHOTOGRAPH, OVERALL INCLUDING LINEN BACK: 42 X 30 1/4 IN. (106.68 X 76.84 CM.)Anton Bruehl (American, 1900–1983), Free Labor Will Win, Unframed Linen-Back Photograph,, U.S. Government Printing Office: 1942-O-473674; War Production Board, Washington D.C. Dimensions: Overall including linen back: 42 x 30 1/4 in. (106.68 x 76.84 cm.)
1966 Ducati Narrow case 250 single, Nova 4 spd, progressive rear shocks, dry clutch, hi-vol oil pump, oil cooler, Forged JE pistons 080 overbore, ported head, 42 mm intake, 38mm exhaust valve, re-profiled rockers, Norris #390 Cam, coil spring conversion, 27/32 con rod, bevel drive housing bearings, dyna ign, elect tach, dellort 38mm carb, New Avon tire, high shouldered alloy rims ss spokes. A fanatically detailed, well-sorted championship winning machine. Estimate $2,000-4,000
42 Native American Virginian Stone Projectile Points: Native American, southwest Virginia, Scott, Smyth, and Washington Counties, new Abingdon, Transitional Paleo-Indian to Woodland Periods, ca. 8500 BCE to 1000 CE (10, 500 to 1, 000 BP). A marvelous group of 42 hand-knapped stone arrowheads presenting a varied array of forms, including lanceolate, triangular, expanding stem, corner notch, contracting stem, basal notch, and side notch. Showcasing hues of burnt sienna, ash grey, taupe, blue-grey, misty rose, charcoal, cream, and white, these ancient artifacts exhibit a multitude of types, such as Mountain Fork, Orient, Paint Rock Valley, Yadkin, Ebenezer, Holston, Savage Cave, Camp Creek, Wade, Vosberg, Decatur, Pine Tree, Steubenville, Eva I, Jacks Reef, Palmer, Hardaway, Kirk, Morrow Mountain I, and Morrow Mountain II. Size of largest: 1. 25" W x 2. 5" H (3. 2 cm x 6. 4 cm); Size of frame: 14. 875" W x 10. 125" H (37. 8 cm x 25. 7 cm) . . Provenance: private Fayetteville, Arkansas, USA collection; ex-Charles (Charlie) Meyer collection, noted collector and famed illustrator for Greg Perino, famed authenticator and writer. . 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. . #163420 Condition Collection number written on 2 points. Losses to tips of 6 points and sides of 4 points. Nicks and chips to peripheries, commensurate with age and use. Otherwise, excellent. Set in a Riker case.
Early 19th C. Fijian Rootstock Waka Vividrasa Club: Oceania, Polynesia, Fiji Islands, ca. early 19th century CE. A hefty war club known as a "waka vividrasa" (translated as "fiber-bound root") from the Fijian Islands, hand-carved from incredibly dense rootstock. The lengthy body has a rounded profile and exhibits densely-carved zigzagging "tavatava" motifs along the stocky handle. Layers of original coconut sennet fibers are tightly wrapped around the bulbous pommel as well as the area just above the handle. The head of the club is optimized for skull-crushing efficiency with seven protruding rectangular tabs surrounding the upper knob-shaped projection. The words "I NAVEL" are carved between two of the tabs and likely signifies a later owner from missionary times on the islands sometime after the 1830s. Covered in lustrous caramel and coffee-hued patina, this is a rare and fabulously brutal example of durable Fijian weaponry! Size: 6. 25" W x 42. 625" H (15. 9 cm x 108. 3 cm). . The Waka Vividrasa club was a favorite weapon among the Fijian natives. It utilized the bludgeoning properties of a mace while still maintaining an elegant, uncomplicated form which could be wielded by even novice warriors. The chosen rootstock for any given club comes from a carefully cultivated sapling which, after harvesting, provides for an incredibly dense material from which a club can be carved. The globular striking head is shaped from the thick buttress area of the root and requires a substantial amount of practice and patience to carve so as to preserve its form throughout its lifespan. . While the two-handed club was created for swinging by the strongest of warriors, its primary purpose is one which stems from the macabre. The Fijian people view the head as one of if not the most important component of the human body as it is the conduit from which speech, thoughts, emotions, and the imagination originate; it is also considered the "trophy" of the body. Upon subduing or immobilizing an opposing soldier, Fijian warriors would utilize two-handed clubs like this example to symbolically "take" another individual's "trophy" by rearing a mighty swing and swiftly crushing their opponent's skull. This barbarous method of dispatching a foe imbued a warrior with great honor and high prestige from their fellow fighters, and enabled them to boast the coveted status of "Koroi, " meaning "bravest warrior. " . . Provenance: private Honolulu, Hawaii, USA collection; ex-old collection of Alan Mann, London, England, United Kingdom. . 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. . #138261 Condition Small losses to portions of top projection, tabs, and coconut sennet threads just below head. Surface wear and abrasions commensurate with age and use, small nicks to tabs, top projection, body, and handle, fading to some incised lettering on head, several stable hairline fissures, and light desiccation to coconut sennet threads. Light earthen deposits as well as gorgeous lustrous patina throughout. Overall Dimensions Unit: Height: 0. 00 Width: 0. 00 Depth: 0. 00 Weight: 0. 00
19th C. Indian Red Sandstone Lattice Panel - Jali: Central Asia, India, 19th century CE. A beautiful deep red sandstone panel known as a jali with an interlocking, hexagonal/dodecahedral latticework pattern that is designed to lower the temperature in a building by compressing the air as it passes through the holes. There are three small inscribed letters on one side that appear to be in Hindi but are worn. Imagine the beautiful shadows and light interplay that would have occurred when the sun shone through this window! Size: 27. 25" W x 16. 9" H (69. 2 cm x 42. 9 cm); 18. 5" H (47 cm) on included custom stand. . . See a similar example at the National Museum of Singapore (1997-02975). . . . Provenance: private East Coast, USA collection; ex-Boris Mussienko collection, Upper Marlboro, Maryland, USA, acquired in the 1980s. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #146681 Condition Intact, with surface wear commensurate with age and nice deposits. Some chips, nicks, and losses to edges and corners. Inscription is worn but still visible. Overall Dimensions Unit: Height: 0. 00 Width: 0. 00 Depth: 0. 00 Weight: 0. 00
Framed Joel Greene Painting of New Mexico - 2000: Joel Greene (American, b. 1953), landscape painting of New Mexico, dated 2000. Signed and dated by the artist on the lower right. An elegant, painting of the sun-kissed New Mexican landscape in which Greene uses his signature abstract yet figurative style - masterfully modifying shape, color, line, and tone to define the scene. In a gorgeous palette of golden yellow, earthy sienna, soft rose, verdant green, dove grey, and onyx black hues, Greene captures rock formations, hills, and desert plants of the Southwest. According to Gussie Fauntleroy, author of "Joel Greene New Mexico Modernist", "(Greene) says he has 'always been struck by the geological forces that shape our land: volcanoes, uplift erosion. ' He suggests this visually in a way that brings to mind a toned-down regionalism of Thomas Hart Benton combined with the shorthand abstraction of Milton Avery. " That is no small compliment - indeed, Greene's work resonates with these masters of American Regionalism. Size: 16. 625" W x 12. 625" H (42. 2 cm x 32. 1 cm); 21" W x 17" H (53. 3 cm x 43. 2 cm) including frame. . Fauntleroy also writes, "Through his paintings and prints, Joel Greene . maintains a conversation, a lively exchange with the great Modernists of the past. With the New Mexico landscape permeating his experience, this dialogue echoes especially the artistic voices of New Mexico Modernists of the early 20th century, such as Andrew Dasburg, Josef Bakos and Marsden Hartley. Yet Joel's contribution to the conversation is uniquely his own. As his work has evolved over the years, he has refined a visual vocabulary of swirling shapes and volumetric forms that seem to define the essence of this place and its topography, vegetation and weather, allowing the viewer to take part in the exchange in an ongoing way. As Ernesto Mayans puts it, 'In changing the reality of painting, Joel Greene is also changing our perception of reality'. " (Gussie Fauntleroy, author of Joel Greene New Mexico Modernist, NM Magazine Artist Series). . Born in Denver, Colorado and raised in northern New Mexico, Joel Greene earned his MFA from the University of Iowa where he studied with Mauricio Lasansky. Greene's works have been collected by: Museum of Fine Arts, Santa Fe, New Mexico; Harwood Foundation, Taos, New Mexico; Roswell Museum and Fine Art Center, Roswell; UNM Museum, Albuquerque, New Mexico; Highlands University Library, Las Vegas, New Mexico; Arizona State University, Tempe, Arizona; University of West Virginia Fine Arts Museum, Morgantown, West Virginia; and the Inn of the Anasazi Hotel, Santa Fe, New Mexico. . . Provenance: private Hawaii, USA collection; acquired from Ernesto Mayans Gallery, Santa Fe, New Mexico, USA. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #138257 Condition Frame and painting are both in excellent condition. Signed and dated by the artist on the lower right.
WILLIAM GAY YORKE (NEW YORK/CANADA/ENGLAND, 1817-C. 1888), AMERICA'S CUP 1885, PURITAN VS. GENESTA., OIL ON CANVAS, 22" X 34". FRAMED 32.5" X 42.5".WILLIAM GAY YORKE, New York/Canada/England, 1817-c. 1888, America's Cup 1885, Puritan vs. Genesta. Signed and dated lower left "W.G. Yorke 1885". Dimensions: Oil on canvas, 22" x 34". Framed 32.5" x 42.5". Provenance: Vallejo Gallery, Newport Beach, California, June 1998.The Kelton Collection of Marine Art & Artifacts.The 1885 America's Cup race between Puritan and Genesta was the first in which the cutter design dictated the shape of the competitors. Cutters were primarily raced in England and their design described as "plank-on-edge", with deep hulls and towering rigs that were fast in the strong winds in England. Boston designer Edward Burgess was the master of the "compromise sloop", which were lightweight, with a wide beam and a shallow hull with centerboard. This design paradigm proved ideal for the lighter winds in America during the summer. The American yacht Puritan defeated the English Genesta in two races to win the America's Cup.
Early 20th C. Papua New Guinea Ramu River Wood Mask: Oceania, Papua New Guinea, Sepik River Region, ca. early to mid 20th century CE. A striking Papua New Guinea ancestor mask, hand-carved from a single piece of hardwood, with an expressive visage and finely rendered low to high relief as well as painted details. The elongated ovoid mask displays a pair of deep-set slit eyes flanking a prominent curved nose with enlarged openwork contiguous nostrils. Below this is a slight smile and delineated nasolabial folds. The face is trimmed with a fretted band - perhaps delineating facial hair or scarring- and cup-shaped ears at upper ends of this band. Atop the head is an avian headdress with a high-relief visage surrounded by incised plumage. Representative of an ancestral figure, this is a wonderful example from Papua New Guinea! Size: 13. 25" L (33. 7 cm); 16. 875" H (42. 9 cm) on included custom stand. . . Provenance: ex-private lifetime collection of Dr. Saul Tuttman and Dr. Gregory Siskind, New York, New York, USA, 1960s to 1970s. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #149194 Condition Expected surface wear with minute nicks to high-pointed areas commensurate with age.
Beautiful Greek Hellenistic Core-Form Glass Alabastron: Ancient Greece, ca. 2nd to 1st century BCE. A core-formed glass alabastron, so-named because many vessels that assumed this form were made of alabaster. The opaque bi-chrome vessel is comprised of primarily cobalt-blue glass with trails of yellow glass that have been combed into a festoon decoration. Additional trails of yellow glass coil across both ends of the fusiform body as well are the discoid rim. A pair of applied lug handles adorn the upper body and are formed from solid dark-blue glass. Brilliant rainbow iridescence scattered across several small areas of the composition make this an elegant example of Hellenistic artistry. Size: 1. 375" W x 4. 75" H (3. 5 cm x 12. 1 cm); 5. 375" H (13. 7 cm) on included custom stand. . The alabastron is a long-bodied vessel with a rounded bottom, a cylindrical neck, and a flat disk for a mouth. Though usually without handles, some alabastra have eyes or lugs, like this example. According to the Beazley Archive of the University of Oxford, the alabastron shape's history extends back to Corinth, but was only preserved in Athenian pottery examples back to the mid-sixth century BCE. Alabastra were created in many materials, including alabaster, and the Greek term for this stone. Alabastron (most likely of Egyptian origin) - was the source of inspiration for the name of this shaped vessel. Many examples were finished with a white ground, as if to imitate this stone. We know from vase painting imagery of women using alabastra following a bath, that these vessels most likely held perfumed oils. . According to the Corning Museum of Glass, core forming is "the technique of forming a vessel by winding or gathering molten glass around a core supported by a rod. After forming, the object is removed from the rod and annealed. After annealing, the core is removed by scraping. " (https://www. cmog. org/glass-dictionary/core-forming). This process of glass making was begun in the late 16th century BCE by glassmakers of Mesopotamia, and then adopted by Egyptian glassmakers in the 15th century BCE. The technique almost came to an end in the so-called Dark Ages of Mediterranean civilization (1200 to 900 BCE); however, by the 9th century BCE a new generation of glassmakers took up the technique once again, and between the 6th and 4th century BCE core-forming spread throughout the Mediterranean. . A very similar, slightly-smaller example with a different-colored tooling pattern hammered for $10, 625 at Christie's, New York Antiquities Auction (sale 2856, June 5, 2014, lot 42): https://www. christies. com/lotfinder/ancient-art-antiquities/an-eastern-mediterranean-core-formed-glass-alabastron-circa-5800553-details. aspx?from=searchresults&intObjectID=5800553&sid=9bcf1355-aa4a-4657-9525-61e888d9c2ba . . Provenance: private East Coast, USA collection; ex-private Allan Stone collection, acquired in 1960s to 1980s; ex-Art for Eternity, New York, New York, USA. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #140535 Condition Repaired from multiple pieces with light restoration, resurfacing, and overpainting along break lines. Minor pitting across surface and nicks to rim, body, and base. Scattered areas of rainbow iridescence.
Early 20th C. Tibetan Gilt Silver Gau / Prayer Box: Central Asia, Tibet, early 20th century CE. A beautiful gilt silver gau or prayer box used as a personal shrine for traveling practitioners of Tibetan Buddhism. The back of the gau can be removed and filled with petite statues of deities, tsa tsas, and holy items; its central window is perhaps intended for displaying a central plaque or figure. The front panel is elaborately decorated with raised clouds and flowering vines, as well as eleven heavily gilded (42% gold, equivalent to 10K+) copper adornments, including ten gilded appliques that include several Buddhist auspicious symbols (lotus flowers, parasols, endless knot or mandala, pair of golden fish, conch shell, parasol, victory banner, and treasure vase) and a central gilded window surround of floral, cloud, botanical, and symbolic motifs. Precious metal quality: side panels 90. 5% silver; face plate: 95. 5% silver, 3. 4% gold; gilt copper appliques: 42% gold (equivalent to 10K+) Size: 2. 875" L x 6. 5" W x 7. 5" H (7. 3 cm x 16. 5 cm x 19 cm); 9" H (22. 9 cm) on included custom stand. . There are also three tabs on the interior, surrounding the central opening, that were probably intended to secure a plaque or figure. The profile panels are engraved with flowering, leafy vines. In addition two generous loops rise from each side of the gau for attachment or suspension, and the piece is set on a wooden pedestal for display. Gau like this example were typically worn as an ornament during festivals and kept in a prayer niche in a family home when not in use. A stupendous example of fine Tibetan religious artistry! . . Provenance: private Evergreen, Colorado, collection, USA; ex-private Denver, Colorado, USA, collection; acquired 1960 to 2000. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #163057 Condition Box and heavily gilded copper appliques are intact and very nice. Expected age wear with slight waviness and indentations. Silver and gilt silver elements have developed a warm patina. Box opens and closes easily. Turquoise bead-like pieces held inside the gau. Orange felt on underside of wooden base to prevent sliding. Minor scuffs to wooden base. Gau is attached to base.
Rare 19th C. Mexican Painted Wood Military Trunk: **Originally Listed At $800**. . Latin America, Mexico, ca. 19th century CE. An antique wooden trunk created for a Mexican military officer and probably used to carry personal effects. It is hand painted with the Mexican coat of arms in the Mexican Republic style based upon the Aztec symbol for Tenochtitlan (modern day Mexico City) that references a legend that inspired the Aztecs to settle on a lake island. The image features an eagle holding a serpent in its talon and perched atop a prickly pear cactus which is generally shown growing upon a rock that rises above a lake. According to the Aztec legend, the gods told the people to build a city where they discovered an eagle on a nopal, eating a serpent. This image was painted on the front and side panels, although the painting on front panel is the best preserved. Size: 32. 75" L x 16" W x 16. 75" H (83. 2 cm x 40. 6 cm x 42. 5 cm) . . Provenance: private Glorieta, New Mexico, USA collection; acquired in Laredo, Texas in 2015; ex Monclolva, Mexico collection where there was a Spanish/Mexican presidio for a number of years. . 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. . #152219 Condition The lid opens when one tips the chest back to release the latch. Age cracks and inactive insect wear as shown. Painted imagery is most visible on the front panel. Some glue visible on underside of lid. Perhaps
Gordon Steele Modern Industrial Docks Painting: Gordon Steele, New York, 1906-1961. Modernist depiction of an industrial dock with abstracted city skyline in the background. As an artist Gordon Steele had a prolific career in Upstate New York and New England that most do not know of. His early career consisted of training through the W. P. A. and exhibitions with the Springfield Art League, Smith Museum, and Wadsworth Athenaeum before getting involved with the Federal Art Project in 1936. From that point Steele worked intermittently as an artist until settling in Syracuse in 1945 after taking a job as the Art Director for John Flack Studios. In Syracuse Steele became heavily involved in the arts evolving his technique and career winning a total of forty-seven accolades and awards. He had exhibited at the Terry Art Institute of Miami, the Butler Institute of American Art, Youngstown, Ohio, the Corcoran Gallery of Washington, the Columbia Biennial in South Carolina, the Audubon, and National Academy amongst other shows. Alongside his exploding art career in 1957 Gordon became a teacher in the School of Art at Syracuse University before landing his first solo show in New York City with Harry Salpeter (1895-1967) and Salpeter Gallery in 1958. The following year Steele was featured in the December, 1959 issue of American Artist highlighting his career with noted praise for rising without fighting Madison Ave crowds. Today Gordon Steele's artwork is held in the permanent collections of Syracuse University, Munson-Williams-Proctor Art Institute, Springfield Museum of Fine Arts, Everson Museum of Fine Arts, and Butler Institute of American Art among others. Board 22 1/2" x 42 1/2", Frame 26 3/4" x 46". Signed and dated "Gordon Steele 58" in upper right corner, verso retains original exhibition label "Gordon Steele #41 Docks 1958 oil 23 x 43". Signed and dated "Gordon Steele 58" in upper right corner, verso retains original exhibition label "Gordon Steele #41 Docks 1958 oil 23 x 43".
Holland and Holland Double Barrel Hammer Rifle: . 450 EX, underlever action, 14-1/2 in. LOP, 26 in. barrel, 42-1/2 in. overall, finely engraved with flourishes and markings "12751" and "charge 4 drams case 3-1/4 inches" also "Holland & Holland, 98 New Bond Street, London" and "winners of all the field rifle trials London"; Note: M. C. Wiest (1921 – 2000) was born and raised in Jamestown, North Dakota. Known as “Red”, or “M. C. ” he had a life-long interest in how things worked, which led to an interest in firearms and gunsmithing. M. C earned a degree in chemical engineering at the University of North Dakota in 1943 and was immediately recruited to serve in the top-secret WWII Manhattan Project in Oak Ridge, Tennessee. After the war his gunsmithing hobby became a family business. M. C. Wiest became widely known as a firearms authority and developed an award -winning antique firearm collection and gun book collection. ; Provenance: From the Collection of M. C. "Red" Wiest, Oak Ridge, Tennessee Dimension Condition no visible pitting, only slight wear to wood elements, scratches to right barrel, some to left
Ruger M77 Mark II RifleIn .270 Win Caliber. Serial #788-44789. Overall 98% with Very Good bore and near Excellent stock with minor scratches. Mounted with Nitrex TR One 6-20x 50mm scope. Barrel 22" L., overall 42 1/2" L. *Registration Required
Frederick Wagner (1864 - 1940): Frederick Wagner (Pennsylvania, 1864 - 1940) Oil on canvas portrait of a woman. Signed lower left. Old gallery label on frame verso. Sight size: 42 x 34 in. Overall Size: 49. 75 x 41. 75 in. Provenance: Private Florida Collection. Wagner was a member of the Philadelphia Sketch Club and exhibited at the Pennsylvania Academy over 35 times from 1906-1940, winning prizes in 1914 and 1922. Wagner exhibited at the Carnegie 14 times from 1898 - 1925. He showed two works at the Armory Show, and exhibited 11 times at the Corcoran between 1907 - 1935. He had a special exhibit of 100 pastels, at the Corcoran in April 1924. Wagner exhibited at the National Academy of Design in 1884, 1907, 1925 and 1928.
JEFFREY N. BECOM, (AMERICAN, B. 1953), WOMAN IN BLUE BURKA, 1987, LARGE SCALE PHOTOGRAPH / CHROMOGENIC PRINT, 20"H X 28 3/4"W (SIGHT), 32"H X 42"W (FRAME)Jeffrey N. Becom (American, b. 1953) Woman in Blue Burka, 1987 large scale photograph / chromogenic print edition 6/25. Signed lower right. Jeffrey Becom has been a life-long painter with formal training as an architect. Jeffrey Becom has a magnificent sense of color and form and applies them to his vision of facades, homes, churches and tombs in the environment in which he is currently trying to document with his camera. Born in a small Indiana farming community in 1953, Jeffrey Becom painted from an early age. He began to develop his photographic skills while earning a degree in architecture from the University of Cincinnati. After moving to San Francisco to practice, Becom opted out of an architectural career to immerse himself in a private obsession: observing, studying and recording with camera and paintbrush the wondrous color and detail of the simple houses of farmers and fishermen in remote Mediterranean villages and hill towns. Combining an architect's love of geometry, pattern and texture with a painter's sensitivity to color, light and composition, Becom spent a decade creating the series of photographs collected in his first book, Mediterranean Color (Abbeville Press, New York, 1990), with Pulitzer Prize-winning critic Paul Goldberger. This book documents with camera and words, the fascinating history as well as myths behind the remarkable colors on the simple houses of farmers and fishermen. Becom's work has also been showcased in "For the Colors", an hour-long PBS (public television) documentary joining him in Italy in 1991. In 1993 Becom had a retrospective exhibition of oils, watercolors and photographs at The Octagon's American Architectural Foundation galleries in Washington, D.C. Jeffrey Becom continues to divide his time equally between work in his studio and more recently, extensive travels throughout Mexico and Central America. Maya Color (Abbeville Press, New York, 1997), co-authored with his wife, Sally Jean Aberg, was conceived when Becom began to wonder why so many cemeteries in Southern Mexico are painted blue and green. This curiosity led him and Sally on a journey of eight years' inquiry and research into the painting traditions of the living Maya. They grew to know a remarkable culture whose sacred colors are not merely a matter of preference but a powerful statement of belief stretching all the way back to their ancient painted pyramids. This new book documents the beauty as well as the power within the colorful traditions of Latin American architecture. Jeffrey Becom's limited edition Ilfachrome (i.e. cibachrome) photographs, as well as his watercolors and oil paintings, are represented in public and private collections throughout the world. 20"H x 28 3/4"W (sight), 32"H x 42"W (frame) large scale photograph / chromogenic print Dimensions: 20"H x 28 3/4"W (sight), 32"H x 42"W (frame)
WW1 POSTER: TOGETHER WE WIN, JAMES MONTGOMERY FLAGG, 1918 38"H X 28"W (SIGHT), 53 1/4"H X 42 3/4"W (FRAME)WW1 poster: Together we Win, James Montgomery Flagg, 1918, "United States Shipping Board Emergency Fleet Corporation" Dimensions: 38"H x 28"W (sight), 53 1/4"H x 42 3/4"W (frame)
Romano-Egyptian Cartonnage Ensemble for a Child: Egypt, Romano-Egyptian period, ca. 1st century CE. A stunning gathering of mold-formed cartonnage panels used for adorning a mummified body. The white-painted face bears almond eyes with elongated canthi, a slender nose above red lips, blue swaths across the cheeks, a slender necklace with a jarlet amulet, and a motif of triangles, frets, and lotus blooms on the throat, all beneath a sun disk flanked with bull horns. The chest piece has an elaborate wesekh-collar surmounted with two heads of Ra-Horakhty, four mourners, and a djed pillar, with a sun disk flanked with winged uraei above the Sons of Horus and an addition djed pillar, and dozens of polychrome rungs enclosing a black hieroglyph inscription. The red, sandaled feet bear several ankle bands, a lower floral periphery, and textured soles underneath. This ensemble was perhaps intended for a child from a wealthy family. Custom wooden display box included. Size of largest (chest): 8. 25" W x 18. 625" H (21 cm x 47. 3 cm); size (wooden case): 8. 75" L x 12. 6" W x 42. 625" H (22. 2 cm x 32 cm x 108. 3 cm). . Ancient Egyptians believed it was of the utmost importance to preserve the body of the deceased, because the soul needed a place to reside after the death of the physical corpus. Preservation of the body was done via mummification - a process involving the removal of internal organs that were placed in canopic jars, wrapping the body in linen, and then embalming. Artisans were able to employ the use of different materials when crafting sarcophagi or any elements to be placed atop the body of the deceased. Earlier mummy accoutrements were carved from wood, while later examples were made of cartonnage, a material formed from papyrus or linen that is soaked in plaster which is then applied to a wooden mold. . Featured on the chest and leg panels are some of the most recognizable and symbolically significant figures in ancient Egyptian mythos: The Sons of Horus. The four Sons of Horus are the baboon-headed Hapi - representative of the north and guardian of the lungs who is protected by the goddess Nephthys; the human-headed Imsety - representative of the south and guardian of the liver who is protected by the goddess Isis; the jackal-headed Duamutef - representative of the east and guardian of the stomach who is protected by the goddess Neith; and the falcon-headed Qebehsenuef - representative of the west and guardian of the intestines protected by the goddess Serqet. Horus's sons were the ones charged with protecting the various internal organs, as they had originally been charged with protecting the body of Osiris; as a result, their heads often form the lids of canopic jars. . Altogether, this cartonnage ensemble would have protected a mummy's body, likely that of a child; the highly trained artists who created it as well, as the bereaved family members who commissioned it, believed in the power of the symbols and words they painted to aid the deceased in their journey to and tasks while in the afterlife. . For an example from the Ptolemaic period of how these components would be placed on a linen-wrapped mummy body, please see The Metropolitan Museum of Art, accession number 86. 1. 51. . . Provenance: private J. H. collection, Beaverton, Oregon, USA; ex-Relics of the Nile, Lexington, Kentucky; ex-private S. O. Simonian collection, Switzerland, acquired in Egypt and transported to Switzerland in 1972, where they have been held in storage since 2010. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #149581 Condition Repair to fissure on top of head stretching to forehead; chipping and fading to original pigment, and a couple of stable fissures. Nicks to chest piece, with fraying to some peripheral linen threads, and one fissure on top edge. Fissure to bottom of feet, with possible repairs to sides and area of heel. Minor fading to original pigmentation, with slight deformation to individual pieces, and desiccation commensurate with age. Fissures and loss to one upper corner of acrylic frame for chest piece.
Late 15th C. German Iron Sallet Helmet w/ Brass Rivets: Central/Western Europe, Germany, late Gothic era, ca. late 15th century to early 16th century CE. A fine German sallet helmet shaped from hammered carbon-steel plates that form the domed design and squat top crest. The neck guard and lower peripheries that sweep back and terminate in a point are of an identifiably German design and have in-folded lips for additional thickness. A rectangular sight hole is cut from the front and is protected by a swiveling visor bearing a slit-form sight hole, a protruding nasal point, a vertical crest that follows that of the helmet dome, and a petite attachment perforation on one side. Sixteen cast-brass rivets decorate the back, six of which are adorned with radiating incised grooves, and the entire helmet is enveloped in fine patina. Size: 14. 875" L x 8. 5" W x 9. 2" H (37. 8 cm x 21. 6 cm x 23. 4 cm). . For two strikingly similar examples, please see The Metropolitan Museum of Art, accession numbers 04. 3. 226 and 29. 158. 11. . An example bearing strong stylistic similarities - forged from a single piece with no visor and of a smaller form - hammered for GBP 32, 450 ($42, 093. 65) at Christie's, London, South Kensington "Antique Arms, Armour and Collectors Firearms" auction (sale 3136, November 23, 2011, lot 91). . . Provenance: private J. H. collection, Beaverton, Oregon, USA, acquired in September 2016; ex-private Ertingen, Germany collection; ex-private old Southern German house 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. . #153524 Condition Professionally cleaned and preserved with oil. Loosening to some rivets with one rivet missing. Minor abrasions and pitting to helmet dome, neck flap on verso, and visor, with slight bending to some peripheral areas and visor elements, and light encrustations. Light earthen deposits and great patina throughout. Visor still articulates on rivets.
Artist Unknown, Circa 1980s Snow Leopard: Artist Unknown, Circa 1980s Snow Leopard. Signed. Grant ??? Chrome Modern Frame. Measures 42 inches wide x 44 inches high. Linen on board. Available payment options on Bidsquare Congratulations on your winning bid(s)! ALERT! ALERT! ALERT! INVOICES IN EXCESS OF $2, 000. 00 MAY NOT BE MADE VIA PAYPAY. INVOICES OVER $2, 000. 00 MUST BE PAID BY WIRE TRANSFER! PAYPAL WILL NOT REFUND US THEIR FEE IF YOU MISTAKENLY USE THIS METHOD OF PAYMENT THEREFORE THIS FEE WILL BE CHARGED BACK TO YOU. WE REGRET THAT PAYPAL HAS CHANGED POLICY ON THIS LEAVING US NO ALTERNATIVE. Please pay your invoice as soon as you receive it. We accept payment from all major credit cards, cashier's check, bank/wire transfer & cash For local pick-ups . If paying by check please send to auction house address listed above. If your invoice is not paid in 5 business days, disputes will be opened and we reserve the right to offer the lot to the under bidder. To make payment please contact our gallery at (954) 342-9684. Please note: All invoices exceeding $2, 000 USD MUST be paid via bank/wire transfer. Please note all items must be picked up within 10 business days or a $10. 00 storage fee will be charged per lot. WIRING INFORMATION - Kodner Estate Holdings, LLC Domestic Route Wire Code 021000021 International Wire, swift code - CHASUS33 Account Number 926685053 Chase Bank Address. 270 Park Ave NY. NY 10017 Please include $15 for domestic wire transfers and $20. 00 for international wires.
Custom Engraved and Carved Winchester Model 71, c. 1956, serial number 44025, 348 Winchester, ornately carved walnut stock with leaves and foliate designs, and a cap on the bottom of the pistol grip in bone marked ERB, receiver and lever engraved with the same leaves and foliate designs, with a deer on the left side, LYMAN marked peep sight, breech is also engraved with foliate designs and marked MADE IN NEW HAVEN, CONN. U.S. OF AMERICA/WINCHESTER PROOF STEEL/WINCHESTER/TRADE MARK/MODEL 71-348 WIN., barrel lg. 24, overall lg. 42 1/4 in. Provenance: Carved, engraved, and finished by Kurt Jaeger while the consignor was in the service in Germany during the 1950s. Note: FFL. Estimate $2,000-3,000 Gun is in overall very good condition with a few very light spots on the hammer and trigger. 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. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.
19th C. Native American Santee Sioux Beaded Hide Shirt: Native American, Santee Sioux (Central and Northern Plains), ca. late 19th to early 20th century CE. A beautifully preserved, hand-tanned antelope hide shirt featuring colorful beaded embroidery around the cuffs, outlining the broad collar, and highlighting the single chest pocket. The shirt features a triangular opening that extends nearly halfway down the front of the shirt from the collar and is buttoned up with four plastic buttons that are a modern addition to the shirt. The open neck style is the result of the potent cultural milieu of this era, as Native Americans and settler Americans engaged in trade of goods and ideas - including fashion. Size when laid flat: 16. 75" W x 33. 25" H (42. 5 cm x 84. 5 cm). . The beaded embroidery is incredibly well preserved. Delicate pink and purple five-petaled flowers on narrow deep green stems with leaves create bursts of color that draw the eye to the edges of the shirt. The pocket features a maroon, cornstalk-like plant surrounded by a pink border with green leaves. This style was common in the Northern Plains and Western Great Lakes during the late 19th century. . See a similar Native American shirt from the Brooklyn Museum (32. 2099. 32577). . . Provenance: private Glorieta, New Mexico, 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. . #149324 Condition Beaded embroidery is all in beautiful condition except for a few tiny losses to the area on the back of the collar. The plastic buttons are a modern addition. The shirt itself has some loose stitches and wear commensurate with age and having been worn. This includes some light staining and areas where the hide has been rubbed.
Mid-20th C. Yoruba Wood Egungun Headpiece: West Africa, Nigeria, Yoruba peoples, ca. mid-20th century CE. A beautiful example of one of the most distinctive forms of West African masks, this helmet mask shows a gentle face topped with an elegant plaited coiffure and an enormous pony-tail hanging to one side. The face exhibits a broad nose, large ovoid eyes with black-painted pupils atop white irises, cupped ears, and several incised scarification marks along her cheeks, chin, and forehead. The face and neck are painted with layers of yellow, white, and light-blue pigment, and a fillet of small shells across her brow alternates between hues of burgundy and emerald-green with yellow upper tips. This type of headdress, the Egungun, is meant to embody the fore of the ancestors and is worn during a joyful ceremony in celebration of the dead. Size: 14. 5" W x 14. 75" H (36. 8 cm x 37. 5 cm); 16. 8" H (42. 7 cm) on included custom stand. . . Provenance: ex-private Pearson collection, Denver, Colorado, USA. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #144840 Condition Repairs to pony tail and area of base with small chips and light adhesive residue along break line. Restoration to area of coiffure on verso. Chips and abrasions to base, face, coiffure, and verso, with fading and chipping to original pigmentation, some insect damage, and a few stable fissures. Nice earthen deposits and traces of original pigmentation throughout.
Late 19th C. Papua New Guinea Huron Gulf Wood Pounder: Oceania, Papua New Guinea, ca. late 19th to early 20th century CE. A handsome wooden food pounder with a highly abstract anthropomorphic form on its handle - two long noses above a small mouth, one on either side. One set of nostrils is pierced and may have once had a ring. Size: 3. 2" W x 15. 2" H (8. 1 cm x 38. 6 cm); 16. 75" H (42. 5 cm) on included custom stand. . . Provenance: private Newport Beach, California, USA collection; field collected by Michael Hamson. . 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. . #141633 Condition Dark patina with weathered surface.
Winchester Model 42 Serial #132434. Cal. 410. Pigeon grade. Full choke w/vent rib. Deluxe 24k win #5 engravings. Overall L 45''E
1762 British New York Land Grant - Abeel Family: Colonial North America, British New York, ca. 1762 CE. A land grant, handwritten on parchment and stamped with two thick red wax seals, displayed in a frame completely unfolded aside from the signatures, which are folded over in a thin strip at the bottom of the front. The back side as displayed here is the outside of the document when it is folded, with writing indicating the interior contents. The land grant is signed by David Abeel (1705-1777) and his wife Maria Abeel (1702-1780) and pertains to land around Crown Street, which is in modern day Crown Heights, Brooklyn. Displayed in a wooden frame with both sides visible. Size of parchment: 22. 05" W x 16. 85" H (56 cm x 42. 8 cm); size of frame: 24. 25" W x 19. 5" H (61. 6 cm x 49. 5 cm). . The Abeel family were some of the first colonists to settle in Albany after arriving from Amsterdam in the later 1640s, and they went on to be successful merchants in the 17th and 18th centuries and prominent patriots during the Revolutionary War. David Abeel was sent to New York City to be apprenticed to David Schuyler, who had a dry goods business. The Schuyler family were also prominent Dutch colonists, and included Elizabeth Schuyler, Alexander Hamilton's wife. In 1726, Abeel married Maria, nee Duyckingh (yet another prominent Dutch immigrant family that counts Eleanor Roosevelt among its descendants), and they had four children. Abeel went on to fight in the Revolutionary War as the captain of the 5th company of militia in the city and county of New York. . . Provenance: private Long Island, New York, 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. . #147442 Condition A few watermarks as shown and small losses to peripheries. The lower right side (facing) of the front is faded and crumpled, but overall the writing aside from the watermarked areas is quite clear. The back side is similarly readable.
EXCEEDINGLY RARE 14 STAR-10 STRIPE UNITED STATES PARADE AND RALLY FLAG, ASSOCIATED WITH NATHAN BEMAN (ONE OF ETHAN ALLEN’S "GREEN MOUNTAIN BOYS"). One of three known United States flags displaying 14 stars, representing Vermont’s admission as the 14th state in 1791. This flag measures 20-1/4" on its hoist edge by 30-1/4" on its fly. Its field is composed of ten alternating, horizontal, white and red, 2" wide stripes commencing at the top with white and ending with red. Each is composed of strips of silk ribbon sewn together by hand. A sky-blue, silk canton, 10-3/4" square, has been sewn to the obverse side of the field in the upper staff corner, and extending part way (1/2") into the sixth (a red) stripe. No canton appears on the reverse side. After the appliqué of the canton to the obverse side, fourteen (14) white, silk, 5-pointed, 1 1/4" diameter stars were sewn to the canton, which consists of a star in the center of the canton surrounded by a pentagon of five stars. Eight more stars (in pairs) radiate to each of the four corners of the canton. Leading edge of the flag (but not the canton) has been wrapped around a soft wooden staff, 42" long and tapering between 1/2" (at top) and 5/8" (at bottom) and glued in place so that the flag could be waved at patriotic rallies or parades. This flag was found in the attic of a home in Chateaugay, New York at a date after the house’s sale in 1961. House had been the home of Frank Beman (great-great-grandson of one of Ethan Allen’s "Green Mountain Boys" Nathan Beman (b.1757,d.1846). 1920’s era newspaper clipping from Malone, New York includes a photograph of Frank Beman with this flag, and states Nathan Beman, who was orig from Shareham, VT, later moved to and helped settle Chateaugay. It also states that the flag passed thru Nathan's son George Beman, his children, then to its current owner (in 1921), Frank Beman. Nathan Beman assisted Ethan Allen during the surprise attack and capture of Fort Ticonderoga. It was the capture of its cannons and the eventual delivery to Dorchester Heights in Boston that allowed Washington to beat the British and win Boston in the early days of the Revolution. CONDITION: Very good. Except for the separation of the staff and that portion of the flag glued to it, this flag is in remarkable condition for its age (estimated to have been made as a gift to Nathan Beman at some time between 1795 and 1815). Flag’s colors are rich and bright, and the flag shows little use. Several vertical separations in the silk along the flag’s fly edge due to exposure when rolled on its staff. Two small oil stains are also evident on the flag’s third red stripe (from the top). 4-55274 HMM (10,000-15,000)
ORNATE 8TH C. JAVANESE GOLD LEAF MASK OF KALASoutheast Asia, Indonesia, East Java, Classic Period, ca. 8th to 11th century CE. Stunningly detailed and brimming with sophistication, an ornate funerary mask made from 60.83% to 67.04% gold leaf (equivalent to 14K+ to 15K+) containing between 30.42% and 37.43% silver content as well. The ovoid vizard depicts the characteristic face of Kala, the Javanese god of death and the underworld, who peers outwards with enormous, bulging eyes beneath deeply furrowed and flame-licked brows. His bared teeth, wavy lip, rounded and cupped ears imbue the countenance with an intimidating presentation, and the luster of the gold leaf provides a wondrous opulence. The use of masks like this example started around the 6th century CE and were perhaps status symbols for the dead in the afterlife so they could differentiate themselves from amongst the throngs of deceased commoners. Size: 6.125" W x 6.8" H (15.6 cm x 17.3 cm); 8.6" H (21.8 cm) on included custom stand; gold quality: 60.83% to 67.04% (equivalent to 14K+ to 15K+); silver quality: 30.42% to 37.43%; weight: 70.8 grams
Cf. earlier examples in the Yale University Art Gallery, accession number 2008.21.90 and The Museum of Fine Arts, Houston, object number 2004.2231; a 14th century example can be seen at The Metropolitan Museum of Art, accession number 1995.569.2
Provenance: private Hawaii, USA collection, purchased in June 2008; ex-Dalton-Somare African and Asian Art, Milan, Italy
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.
#170948
Condition:
Stabilization to both orbitals, nose, right cheek, teeth on right side, and upper forehead with thick putty visible along verso. Losses to several areas around peripheries, teeth, nose, and left side of face as shown. Over 2 dozen petite perforations around composition, with minor bending to some interior and peripheral areas, several stable fissures and tears to gold leaf, softening and abrasions to finer details, smooth encrustations within many recessed areas, and several petite indentations.
BAR AND FOUR STOOLS. Ohio fourth quarter 20th century. Cherry bar with reeded columns strage shelves and built in refridgerator 42.5''h. 73.5''w. 61.5''d. Has four oak ladderback stools with rush seats 30'' seat h. 44'' overall. This bar is a replica of an award winning bar at Gamekeeper's Tavern in Chagrin Falls OH. Provenence included.
19th C. Turkoman Gilt Silver & Agate Bracelet: Central Asia, Turkmenistan and Afghanistan, Turkoman (Turkman) Tekke peoples, ca. 19th century CE. A striking cast 86. 5% to 90% silver bracelet consisting of four horizontal panels adorned with incised scrollwork motifs and inlaid ovoid agate stones of fiery red hues. The exterior is covered in a thin layer of gilding - comprised of up to 42% gold - making for a golden glow that contrasts with the exposed silver of the 18 spikes that line the opening, 9 on either side. Quality of silver: 86. 5% to 90%. Quality of gilding: up to 42%. Size: 4. 125" L x 2. 625" W (10. 5 cm x 6. 7 cm). . Fabulous jewelry like this was a hallmark of elite men and women in the Turkoman society. Powerful people wore the items they commissioned or gave them as diplomatic gifts to rulers and elites in other countries as a way of showcasing the wealth of their own region. Jewelers worked on commissions from the richest members of society, obtaining precious metal from various mountains in the area, including Ferghana and the Zartalash east of Tashkent. Jewelers worked with a variety of different precious and semi-precious stones, also sourced from far afield. Artisans in cities like Bukhara, Samarkand, and Tashkent kept alive metalworking traditions once common in the medieval period long after Europeans lost them. . . Provenance: private Hawaii, USA collection, ex Beverly Hills 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. . #140969 Condition Some wear to gilding as shown, else excellent.
19th C. Chinese Marble Bust of Bodhisattva / Kuan Yin: East Asia, China, ca. mid-19th century CE. Masterfully carved from a single piece of beautiful white marble, a bust depicting Guan Yin/Kuan Yin in the traditional manner, donning a white flowing robe (white symbolizing her purity), wearing a multistrand necklace designating her as royalty - featuring round beads (pearls?) and a lotus blossom pendant, as she was 'born of the lotus', her hair arranged in a top knot with flowing locks to her shoulders, wearing a lotus crown. A tranquil faced rendering of Guan Yin expressing eternal peace. Size: 11" W x 16. 75" H (27. 9 cm x 42. 5 cm). . Bodhisattvas are among the most compassionate beings in the universe, devoting themselves to saving the suffering and helping others achieve enlightenment and Buddhahood. Traditionally depicted as less austere than Buddhas with graceful postures and elegant garments, a nod to the riches of the Northwestern Chinese Silk Road, this piece is no exception. Bodhisattvas or Guanyin are associated with compassion and mercy - their long ears significant, because they rescues all human beings by hearing their cries for help and the sounds of suffering. . . Provenance: private Hagar Collection, Missouri, USA. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #119276 Condition Some abrasions/losses to high relief sections - lotus blossom pendant, lips, folds of her robe, scarves from her headdress, round beads, and lower end.