4d
Egyptian Stuccoed Mask -Stone Eyes, Bronze Brows & Lids
1/4
Description
Egyptian, Saite Period, 26th Dynasty, ca. 664 to 525 BCE. A dramatic sarcophagus mask carved from cedar (or possibly sycamore) wood and presenting a mesmerizing visage comprised of bewitching stone eye inlays - with the irises delineated in a whiter color (possibly once painted with a vegetable-derived pigment) and the sclera more golden - bronze inlaid eyebrows and eyeliners that have oxidized to beautiful blue-green hues, full closed lips, a straight noble nose, and elegant contours, all on a painted gesso (cartonnage that employs plaster and linen over wood) face of sage green hues perhaps intended to represent bronze. Finely carved and skillfully decorated with pigmented gesso as well as bronze and stone inlays - a very special example. Size: 6.25" W x 7.25" H (15.9 cm x 18.4 cm); 10.625" H (27 cm) on included custom stand.
Ancient Egyptians believed it was of the utmost importance to preserve a body of the deceased, because the soul needed a place to reside after the death. Preservation of the body was done via mummification - a process involving the removal of internal organs that were placed in canopic jars, wrapping body in linen, and then embalming. Death masks like this example were created so that the soul could recognize the body and return to it. For this reason, death masks were made in the likeness of the deceased. Artisans used different materials. Earlier masks were carved from wood. Later, cartonnage, a material made from papyrus or linen and soaked in plaster which was then applied to a wooden mold, was used. Royal death masks, perhaps the most famous being that of Tutankhamen, were made from precious metals. All death masks were intended to resemble the deceased subject; however, eyes were always slightly enlarged and lips presented in a subtle smile as we see in this example.
Masks were traditionally carved from cedar. Interestingly, cedar wood was not native to Egypt. Egypt did not have verdant forests filled with tall trees, and unfortunately most of its native lumber was of relatively poor quality. So they relied on importing to acquire hardwoods - ebony imported from Africa, cedar and pine from Lebanon. One fabulous obelisk inscription by Thutmose III attests to the luxury of treasured hardwoods. It reads as follows, "They brought to me the choicest products . . . consisting of cedar, juniper and of meru wood . . . all the good sweet woods of God's Land." (Obelisk inscription by Thutmose III - J. H. Breasted, Ancient Records of Egypt, Part Two, p. 321)
Provenance: private East Coast, USA collection; ex-collection of Louis & Genevieve Rodis, France, acquired in early 1960s
Condition: Overall excellent with some minor consolidation. Expected surface wear commensurate with age with losses to gesso on upper section of head, nose, lips, chin, and peripheries and age cracks and losses to areas of the wood as shown - but overall the surface is strong and stable. Still much of the painted gesso detailing remains as do sections of dowels in drilled hoes for former attachment to mummy. Stone and bronze inlays are in nice condition. Bronze has developed an attractive blue-green patina over the ages. Areas of mineral deposits on visage as well. Collection numbers in black on the verso. Attached to lucite stand with a single screw to the back center.
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.
#143892
Ancient Egyptians believed it was of the utmost importance to preserve a body of the deceased, because the soul needed a place to reside after the death. Preservation of the body was done via mummification - a process involving the removal of internal organs that were placed in canopic jars, wrapping body in linen, and then embalming. Death masks like this example were created so that the soul could recognize the body and return to it. For this reason, death masks were made in the likeness of the deceased. Artisans used different materials. Earlier masks were carved from wood. Later, cartonnage, a material made from papyrus or linen and soaked in plaster which was then applied to a wooden mold, was used. Royal death masks, perhaps the most famous being that of Tutankhamen, were made from precious metals. All death masks were intended to resemble the deceased subject; however, eyes were always slightly enlarged and lips presented in a subtle smile as we see in this example.
Masks were traditionally carved from cedar. Interestingly, cedar wood was not native to Egypt. Egypt did not have verdant forests filled with tall trees, and unfortunately most of its native lumber was of relatively poor quality. So they relied on importing to acquire hardwoods - ebony imported from Africa, cedar and pine from Lebanon. One fabulous obelisk inscription by Thutmose III attests to the luxury of treasured hardwoods. It reads as follows, "They brought to me the choicest products . . . consisting of cedar, juniper and of meru wood . . . all the good sweet woods of God's Land." (Obelisk inscription by Thutmose III - J. H. Breasted, Ancient Records of Egypt, Part Two, p. 321)
Provenance: private East Coast, USA collection; ex-collection of Louis & Genevieve Rodis, France, acquired in early 1960s
Condition: Overall excellent with some minor consolidation. Expected surface wear commensurate with age with losses to gesso on upper section of head, nose, lips, chin, and peripheries and age cracks and losses to areas of the wood as shown - but overall the surface is strong and stable. Still much of the painted gesso detailing remains as do sections of dowels in drilled hoes for former attachment to mummy. Stone and bronze inlays are in nice condition. Bronze has developed an attractive blue-green patina over the ages. Areas of mineral deposits on visage as well. Collection numbers in black on the verso. Attached to lucite stand with a single screw to the back center.
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.
#143892
Auction Details
Shipping
T&Cs & Important Info
Ask seller a question
Egyptian, Saite Period, 26th Dynasty, ca. 664 to 525 BCE. A dramatic sarcophagus mask carved from cedar (or possibly sycamore) wood and presenting a mesmerizing visage comprised of bewitching stone eye inlays - with the irises delineated in a whiter color (possibly once painted with a vegetable-derived pigment) and the sclera more golden - bronze inlaid eyebrows and eyeliners that have oxidized to beautiful blue-green hues, full closed lips, a straight noble nose, and elegant contours, all on a painted gesso (cartonnage that employs plaster and linen over wood) face of sage green hues perhaps intended to represent bronze. Finely carved and skillfully decorated with pigmented gesso as well as bronze and stone inlays - a very special example. Size: 6.25" W x 7.25" H (15.9 cm x 18.4 cm); 10.625" H (27 cm) on included custom stand.
Ancient Egyptians believed it was of the utmost importance to preserve a body of the deceased, because the soul needed a place to reside after the death. Preservation of the body was done via mummification - a process involving the removal of internal organs that were placed in canopic jars, wrapping body in linen, and then embalming. Death masks like this example were created so that the soul could recognize the body and return to it. For this reason, death masks were made in the likeness of the deceased. Artisans used different materials. Earlier masks were carved from wood. Later, cartonnage, a material made from papyrus or linen and soaked in plaster which was then applied to a wooden mold, was used. Royal death masks, perhaps the most famous being that of Tutankhamen, were made from precious metals. All death masks were intended to resemble the deceased subject; however, eyes were always slightly enlarged and lips presented in a subtle smile as we see in this example.
Masks were traditionally carved from cedar. Interestingly, cedar wood was not native to Egypt. Egypt did not have verdant forests filled with tall trees, and unfortunately most of its native lumber was of relatively poor quality. So they relied on importing to acquire hardwoods - ebony imported from Africa, cedar and pine from Lebanon. One fabulous obelisk inscription by Thutmose III attests to the luxury of treasured hardwoods. It reads as follows, "They brought to me the choicest products . . . consisting of cedar, juniper and of meru wood . . . all the good sweet woods of God's Land." (Obelisk inscription by Thutmose III - J. H. Breasted, Ancient Records of Egypt, Part Two, p. 321)
Provenance: private East Coast, USA collection; ex-collection of Louis & Genevieve Rodis, France, acquired in early 1960s
Condition: Overall excellent with some minor consolidation. Expected surface wear commensurate with age with losses to gesso on upper section of head, nose, lips, chin, and peripheries and age cracks and losses to areas of the wood as shown - but overall the surface is strong and stable. Still much of the painted gesso detailing remains as do sections of dowels in drilled hoes for former attachment to mummy. Stone and bronze inlays are in nice condition. Bronze has developed an attractive blue-green patina over the ages. Areas of mineral deposits on visage as well. Collection numbers in black on the verso. Attached to lucite stand with a single screw to the back center.
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.
#143892
Ancient Egyptians believed it was of the utmost importance to preserve a body of the deceased, because the soul needed a place to reside after the death. Preservation of the body was done via mummification - a process involving the removal of internal organs that were placed in canopic jars, wrapping body in linen, and then embalming. Death masks like this example were created so that the soul could recognize the body and return to it. For this reason, death masks were made in the likeness of the deceased. Artisans used different materials. Earlier masks were carved from wood. Later, cartonnage, a material made from papyrus or linen and soaked in plaster which was then applied to a wooden mold, was used. Royal death masks, perhaps the most famous being that of Tutankhamen, were made from precious metals. All death masks were intended to resemble the deceased subject; however, eyes were always slightly enlarged and lips presented in a subtle smile as we see in this example.
Masks were traditionally carved from cedar. Interestingly, cedar wood was not native to Egypt. Egypt did not have verdant forests filled with tall trees, and unfortunately most of its native lumber was of relatively poor quality. So they relied on importing to acquire hardwoods - ebony imported from Africa, cedar and pine from Lebanon. One fabulous obelisk inscription by Thutmose III attests to the luxury of treasured hardwoods. It reads as follows, "They brought to me the choicest products . . . consisting of cedar, juniper and of meru wood . . . all the good sweet woods of God's Land." (Obelisk inscription by Thutmose III - J. H. Breasted, Ancient Records of Egypt, Part Two, p. 321)
Provenance: private East Coast, USA collection; ex-collection of Louis & Genevieve Rodis, France, acquired in early 1960s
Condition: Overall excellent with some minor consolidation. Expected surface wear commensurate with age with losses to gesso on upper section of head, nose, lips, chin, and peripheries and age cracks and losses to areas of the wood as shown - but overall the surface is strong and stable. Still much of the painted gesso detailing remains as do sections of dowels in drilled hoes for former attachment to mummy. Stone and bronze inlays are in nice condition. Bronze has developed an attractive blue-green patina over the ages. Areas of mineral deposits on visage as well. Collection numbers in black on the verso. Attached to lucite stand with a single screw to the back center.
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.
#143892
Exceptional Antiquities, Asian, Ethnographic
Sale Date(s)
Venue Address
P.O. BOX 714
Erie
Colorado
80516
United States
For Artemis Gallery delivery information please telephone +1 7208907700.
Important Information
An important one-day auction featuring museum-worthy examples of Egyptian, Greek, Roman, Etruscan, Near Eastern, Far East / Asian, Pre-Columbian, African / Tribal, Oceanic, Native American, Spanish Colonial, Russian, Fossils, Ancient Jewelry, Fine Art, so much more! All items offered for sale have been legally acquired, are legal to sell and are guaranteed to be as described or your money back. All shipping is handled in-house for your convenience.
Terms & Conditions
Please read the following "Terms of Sale" carefully. Your submission of bids in this auction constitutes your acceptance of these "Terms of Sale." 1. All items in this auction have been legally acquired, are legal to sell, and guaranteed to be as described or your money back. 2. By bidding in this auction, the bidder personally guarantees payment. The auctioneer has final discretion in all matters. In case of dispute, the lot(s) in question may be resold. Lots will be sold in their numerical sequence unless the auctioneer directs otherwise. 3. HIGH and LOW ESTIMATES are provided for each lot for reference only. The actual selling / hammer price may be higher or lower based on bidder demand. 4. No lots will be released / shipped until payment has been made in full. Payment (in U.S. funds) may be made via personal check or money order, via credit card (MasterCard, Visa, Discover), PayPal or Bank Wire Transfer. For PayPal payments please use "artemisgallery@gmail.com" email address for processing payments. 5. BUYER'S PREMIUM: A 24.5% Buyer's Premium will be added to the final price of each lot purchased through Artemis Gallery and will be paid by all bidders without exception. 6. CO SALES TAX: Appropriate Colorado Sales Tax will be added to all invoices, unless a valid CO seller's permit is on file with Artemis Gallery/Artemis Gallery Live prior to any bidding in the auction. Items shipped outside of CO (United States or international) are also sales tax exempt. 7. RETURN POLICY: In the event of an authenticity dispute, written notification of the dispute must be provided to Artemis Gallery within two business days from receipt of the item as shown by FedEx, UPS, or USPS tracking data. After Artemis Gallery is notified of the dispute, a written letter from a recognized expert in the field pertaining to the item in dispute must then be presented. If Artemis Gallery concludes that the assessment of the piece is accurate, a full refund, including item price, buyer's premium (if applicable), and shipping costs will be provided. Artemis Gallery will either provide a pre-paid return shipping label or will reimburse the return shipping charge. Artemis Gallery will only remit refund after the item has been returned. In the event of an error in item description, condition report, provenance, or dimensions, written notification of the error must be given within two business days from receipt of the item as shown by FedEx, UPS, or USPS tracking data. A full refund, including item price, buyer's premium (if applicable), and shipping costs will be provided. Artemis Gallery will either provide a pre-paid return shipping label or will reimburse the return shipping charge. Artemis Gallery will only remit refund after the item has been returned. If a return is requested for any reason other than the above, written notification with reason for return must be given within 15 days from receipt of the item as shown by FedEx, UPS, or USPS tracking data for Artemis Gallery to issue a refund to the original payment method. If notification is given after 15 days, the item may be returned for credit toward a future purchase or may be consigned for sale through Artemis Gallery. The item must be returned to Artemis Gallery at the buyer's expense and a refund or credit of the item price and buyer's premium (if applicable) will be provided after the item is returned. Original shipping charges will not be refunded. All items to be returned must be adequately insured and must be received by Artemis Gallery in the same condition as when shipped. In no event may any item be returned after 90 days from the date of delivery. 8. SHIPPING: As a convenience to our buyers, shipping is handled in-house. All buyers will receive an invoice detailing their purchases, sales tax (if applicable), buyer's premium, and shipping/insurance charges. Items will be shipped only upon receipt of payment in full and will be insured for their full value. **For shipments outside of the USA, customs and duties may apply upon entry into said country; this fee, if any, is the buyer's responsibility. Also, please be aware that Artemis Gallery will NOT falsify customs value on any international shipments - what you pay is what we declare, no exceptions. There are a small number of international countries we cannot ship to. If you have questions about this, please inquire BEFORE bidding** 9. REQUEST TO DELAY SHIPPING FOR LOTS WON: We are happy to delay shipping on all paid lots for up to 30 days with no storage fees. After 30 days, storage fees will accrue based on a 2% of invoice total. 10. In the event a successful bidder fails to make payment when due, Artemis Gallery reserves the right to re-sell the merchandise and bidder agrees to pay for the reasonable cost of such a sale and to pay any difference between the resale price and the previously successful bid, together with any incidental costs of sale and disbursements. 11. If the auction invoice is not paid for in full when due per invoice terms, including any applicable credit card processing fees, the unpaid balance will bear interest at the highest rate permitted by law until paid in full. If the matter is referred to an attorney for collection, bidder agrees to pay all reasonable attorney fees, court costs and other collection cost incurred by Artemis Gallery to collect past due invoices and that the services of process by certified or registered mail, return receipt requested, shall be sufficient to confer "in personam" jurisdiction over bidder. 12. Buyer agrees that any claim of controversy arising out of, or relating to the formation, interpretation of performance of these terms and underlying transactions or the breach thereof, is subject to arbitration or judicial proceedings and shall take place within the County of Boulder, CO subject to the laws of the State of Colorado. 13. QUESTIONS? Feel free to email us at info@artemisgallery.com with questions prior to bidding or feel free to call us at 720-890-7700. Please be sure to ask all questions at least 30 minutes prior to auction start time, as we will not be able to take calls or answer emails sent to us during the auction.
