6
Egyptian Late Period Polychrome Wood Sarcophagus Panel
1/5
Description
Egypt, Late Period, 26th to 30th Dynasties, ca. 672 to 343 BCE. A striking Egyptian polychrome wood bust from an anthropoid sarcophagus of a woman, presenting an intoxicating visage that is at once remarkably human yet theatrical, with a head that is characteristically oversized relative to the body and bold features including very large, dramatically lined open eyes gazing steadfastly ahead framed by elegant brows that lead to a straight nose and gently smiling lips above a rounded chin, with a creamy white complexion, framed by a long tripartite black and blue striped wig. Adorning the chest is an elaborate polychrome collar with lotus flower and Isis iconography as well as beautiful 'beaded' strands, all delineated in cornflower blue, mint green, russet red, and creamy beige hues, the details of which are very well preserved. Size: 18.5" W x 37.25" H (47 cm x 94.6 cm); 39.25" H (99.7 cm) on included custom stand.
The beautiful collar features a blue lotus flower with budded tendrils in blue and red over a red ground at the top - and the goddess Isis sitting upon her knees while spreading her wings and donning her characteristic sun disk flanked by hieroglyphic panels is at the lower end. Between these iconographic highlights are many splendiferous rows of special beads of various shapes and vibrant hues.
Egyptians cultivated lotuses in the marshy land around the Nile, and it was believed that the flower gave them power and strength, perhaps relating to the use of a stylized lotus as a capital motif at the top of columns. Lotuses were also used as funerary adornments - for example, remains of the flower have been found in the tomb of Ramesses II - and as temple offerings and garlands worn by women during rituals.
The goddess Isis' story is central to the resurrection of the god Osiris - who in turn was central to the written and painted symbols of resurrection of the dead that formed such a crucial part of Egyptian cosmology.
These painted sections are made of gesso (a mixture of chalk, pigment, and gypsum) over wide linen strips over wood; a surface like this made for a more stable surface for painting. All in all, the painted iconography on this sarcophagus panel makes for a wondrous example of traditional Egyptian funerary art.
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 and sarcophagus panels like this example were created so that the soul could recognize the body and return to it.
Cf. a full anthropoid sarcophagus from Akhmim, now in the British Museum, illustrated in J. H. Taylor, "Egyptian Coffins" (Aylesbury 1989), fig. 51, p. 62.
Provenance: private East Coast, USA collection; ex-private German collection, acquired in 1980; ex-Norman Bankman collection, New York, USA, acquired in 1950s; purportedly authenticated by Dr. Manfred Weber of Cologne University
Condition: Substantial areas of gesso and polychrome are well preserved. Normal wear with some losses to peripheries and gessoed passages commensurate with age. Verso was comprised of two panels - the separation between them was stabilized at one point. Nice remains of dowels used to secure to coffin.
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.
#145060
The beautiful collar features a blue lotus flower with budded tendrils in blue and red over a red ground at the top - and the goddess Isis sitting upon her knees while spreading her wings and donning her characteristic sun disk flanked by hieroglyphic panels is at the lower end. Between these iconographic highlights are many splendiferous rows of special beads of various shapes and vibrant hues.
Egyptians cultivated lotuses in the marshy land around the Nile, and it was believed that the flower gave them power and strength, perhaps relating to the use of a stylized lotus as a capital motif at the top of columns. Lotuses were also used as funerary adornments - for example, remains of the flower have been found in the tomb of Ramesses II - and as temple offerings and garlands worn by women during rituals.
The goddess Isis' story is central to the resurrection of the god Osiris - who in turn was central to the written and painted symbols of resurrection of the dead that formed such a crucial part of Egyptian cosmology.
These painted sections are made of gesso (a mixture of chalk, pigment, and gypsum) over wide linen strips over wood; a surface like this made for a more stable surface for painting. All in all, the painted iconography on this sarcophagus panel makes for a wondrous example of traditional Egyptian funerary art.
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 and sarcophagus panels like this example were created so that the soul could recognize the body and return to it.
Cf. a full anthropoid sarcophagus from Akhmim, now in the British Museum, illustrated in J. H. Taylor, "Egyptian Coffins" (Aylesbury 1989), fig. 51, p. 62.
Provenance: private East Coast, USA collection; ex-private German collection, acquired in 1980; ex-Norman Bankman collection, New York, USA, acquired in 1950s; purportedly authenticated by Dr. Manfred Weber of Cologne University
Condition: Substantial areas of gesso and polychrome are well preserved. Normal wear with some losses to peripheries and gessoed passages commensurate with age. Verso was comprised of two panels - the separation between them was stabilized at one point. Nice remains of dowels used to secure to coffin.
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.
#145060
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Egypt, Late Period, 26th to 30th Dynasties, ca. 672 to 343 BCE. A striking Egyptian polychrome wood bust from an anthropoid sarcophagus of a woman, presenting an intoxicating visage that is at once remarkably human yet theatrical, with a head that is characteristically oversized relative to the body and bold features including very large, dramatically lined open eyes gazing steadfastly ahead framed by elegant brows that lead to a straight nose and gently smiling lips above a rounded chin, with a creamy white complexion, framed by a long tripartite black and blue striped wig. Adorning the chest is an elaborate polychrome collar with lotus flower and Isis iconography as well as beautiful 'beaded' strands, all delineated in cornflower blue, mint green, russet red, and creamy beige hues, the details of which are very well preserved. Size: 18.5" W x 37.25" H (47 cm x 94.6 cm); 39.25" H (99.7 cm) on included custom stand.
The beautiful collar features a blue lotus flower with budded tendrils in blue and red over a red ground at the top - and the goddess Isis sitting upon her knees while spreading her wings and donning her characteristic sun disk flanked by hieroglyphic panels is at the lower end. Between these iconographic highlights are many splendiferous rows of special beads of various shapes and vibrant hues.
Egyptians cultivated lotuses in the marshy land around the Nile, and it was believed that the flower gave them power and strength, perhaps relating to the use of a stylized lotus as a capital motif at the top of columns. Lotuses were also used as funerary adornments - for example, remains of the flower have been found in the tomb of Ramesses II - and as temple offerings and garlands worn by women during rituals.
The goddess Isis' story is central to the resurrection of the god Osiris - who in turn was central to the written and painted symbols of resurrection of the dead that formed such a crucial part of Egyptian cosmology.
These painted sections are made of gesso (a mixture of chalk, pigment, and gypsum) over wide linen strips over wood; a surface like this made for a more stable surface for painting. All in all, the painted iconography on this sarcophagus panel makes for a wondrous example of traditional Egyptian funerary art.
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 and sarcophagus panels like this example were created so that the soul could recognize the body and return to it.
Cf. a full anthropoid sarcophagus from Akhmim, now in the British Museum, illustrated in J. H. Taylor, "Egyptian Coffins" (Aylesbury 1989), fig. 51, p. 62.
Provenance: private East Coast, USA collection; ex-private German collection, acquired in 1980; ex-Norman Bankman collection, New York, USA, acquired in 1950s; purportedly authenticated by Dr. Manfred Weber of Cologne University
Condition: Substantial areas of gesso and polychrome are well preserved. Normal wear with some losses to peripheries and gessoed passages commensurate with age. Verso was comprised of two panels - the separation between them was stabilized at one point. Nice remains of dowels used to secure to coffin.
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.
#145060
The beautiful collar features a blue lotus flower with budded tendrils in blue and red over a red ground at the top - and the goddess Isis sitting upon her knees while spreading her wings and donning her characteristic sun disk flanked by hieroglyphic panels is at the lower end. Between these iconographic highlights are many splendiferous rows of special beads of various shapes and vibrant hues.
Egyptians cultivated lotuses in the marshy land around the Nile, and it was believed that the flower gave them power and strength, perhaps relating to the use of a stylized lotus as a capital motif at the top of columns. Lotuses were also used as funerary adornments - for example, remains of the flower have been found in the tomb of Ramesses II - and as temple offerings and garlands worn by women during rituals.
The goddess Isis' story is central to the resurrection of the god Osiris - who in turn was central to the written and painted symbols of resurrection of the dead that formed such a crucial part of Egyptian cosmology.
These painted sections are made of gesso (a mixture of chalk, pigment, and gypsum) over wide linen strips over wood; a surface like this made for a more stable surface for painting. All in all, the painted iconography on this sarcophagus panel makes for a wondrous example of traditional Egyptian funerary art.
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 and sarcophagus panels like this example were created so that the soul could recognize the body and return to it.
Cf. a full anthropoid sarcophagus from Akhmim, now in the British Museum, illustrated in J. H. Taylor, "Egyptian Coffins" (Aylesbury 1989), fig. 51, p. 62.
Provenance: private East Coast, USA collection; ex-private German collection, acquired in 1980; ex-Norman Bankman collection, New York, USA, acquired in 1950s; purportedly authenticated by Dr. Manfred Weber of Cologne University
Condition: Substantial areas of gesso and polychrome are well preserved. Normal wear with some losses to peripheries and gessoed passages commensurate with age. Verso was comprised of two panels - the separation between them was stabilized at one point. Nice remains of dowels used to secure to coffin.
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.
#145060
Exceptional Day 1: Antiquities Asian Fine Art
Sale Date(s)
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686 S Taylor Ave
Ste 106
Boulder
Colorado
80027
United States
For Artemis Gallery delivery information please telephone +1 7208907700.
Important Information
Day 1 of an important 2-day auction featuring exceptional art from around the world - Egyptian, Greek, Etruscan, Roman, Viking, Russian, Near Eastern; Asian Art from China, Japan, Thailand, Vietnam, Burma, India; Fine Art from the 17th century to present.
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. All lots will sell to the highest bidder without hidden / confidential reserves. 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.
