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Lot 203
A vintage mid 20th century enamel bread bin of rectangular form having a scalloped sarcophagus lid with handle atop. White ground with Bread in a soft pastel blue. Together with a stunning late 19th early 20th century cast iron lemon squeezer retaining it's original ceramic inner juicer. Please see images. Measures 36cm high.
Lot 60
A collection of six limited edition ceramic Toby Jugs by Kevin Francis all pertaining to famous potters to include two Josiah Wedgwood 92/350 and 102/350, two Sir Henry Doulton 30/350 and 6/350, George Tinworth 23/350 and Hannah Barlow 71/350 some boxed and some with certificates. Measures 25cm high.
Lot 120
A late 19th century / early 20th century crackle glaze Japanese ceramic figure of a man raised on one leg supporting a bowl together with a Chinese / Japanese vase of rectangular upright form having white ground with character marks in blue to the front. Stamped to base. Tallest measures 28cms high.
Lot 118F
Pre-Columbian, West Mexico, Colima, ca. 300 BCE to 300 CE. A huge and gorgeous mottled red-brown and black stone spear point created from a gorgeous chunk of mahogany obsidian (volcanic glass with iron inclusions). The piece is well-crafted, symmetrically knapped to points at both ends, obviously intended to be an impressive object of prestige given its large scale and rare source of stone. Quite unusual, not only for its size, but also because we do not ofen see obsidian blades created by the Colima. Custom stand. Size: 1.9" W x 12.25" H (4.8 cm x 31.1 cm)Obsidian - "iztli" to the indigenous - fascinated the ancient Mesoamericans; the Aztecs even had a god, Tezcatlipoca, who was the Lord of the Smoking Obsidian Mirror. The shockingly sharp edges and points of this piece demonstrate its great allure. In a world without metal, this sharp quality was especially important for ceremonies of ritual bloodletting and human sacrifice. The difficult-to-obtain material came from volcanic sources in the Sierra Madre of Mexico and in Guatemala, was traded across hundreds of miles to meet the demand for sharp cutting tools and ritual objects, and was struck using a deer antler or small hammer stone to form blades and other shapes. The Colima buried their dead in shaft tombs deep below their residences, alongside the remains of their ancestors. These tombs were richly furnished with ceramic figures, vessels, offerings, and precious stone items of jade and obsidian. Provenance: Ex-Sevilla Collection, Pomona, CA Condition: Slight wear to edges and some white mineral deposits on surface. 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. #119694
Lot 118A
Pre-Columbian, West Mexico, Colima, ca. 300 BCE to 300 CE. A beautiful stone spear point created from a gorgeous chunk of mahogany obsidian (volcanic glass with iron inclusions). The piece is well-crafted, symmetrically knapped to points at both ends, obviously a large prestige item from a rare source of stone. Comes with custom stand. Size: 1.6" W x 9.7" H (4.1 cm x 24.6 cm)Obsidian - "iztli" to them - fascinated the ancient Mesoamericans; the Aztecs even had a god, Tezcatlipoca, who was the Lord of the Smoking Obsidian Mirror. The shockingly sharp edges and points of this piece demonstrate its great allure. In a world without metal, this sharp quality was especially important for ceremonies of ritual bloodletting and human sacrifice. The difficult-to-obtain material came from volcanic sources in the Sierra Madre of Mexico and in Guatemala, traded hundreds of miles to meet the demand for sharp cutting tools and ritual objects, and then were struck using a deer antler or small hammer stone to form blades and other shapes. The Colima buried their dead in shaft tombs deep below their residences, alongside the remains of their ancestors. These tombs were richly furnished with ceramic figures, vessels, offerings, and precious stone items of jade and obsidian. Provenance: Ex-Sevilla Collection, Pomona, CA Condition: One point has a very small loss to the chip. 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. #119695
Lot 157A
Pre-Columbian, northern highlands of Peru, Recuay culture, ca. 200 to 600 CE. A charming stirrup vessel with a long, narrow spout extending from the handle in the form of a llama giving birth. Although the face includes large, round ears, and does not immediately look like a llama, it has two large toes on each foot, clearly marked out, which is indicative of the llama - the only native two-toed ungulate in South America. Fine line back painting gives a design to the body of mother and baby llama. Size: 7.3" L x 3.1" W x 7" H (18.5 cm x 7.9 cm x 17.8 cm)Groups in the highlands area of Ancash began to make fine pottery from kaolinate pastes, which are known to us today as the Recuay culture -- these are some of the most sophisticated ceramic traditions in Andean prehistory, as is obvious from the delicate sculptured artistry and intricate painting of this piece! Provenance: Ex-New Hampshire collection, most acquired prior to 1985 Condition: Intact with much original pigment remaining. 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. #119456
Lot 16
Magna Graecia, Southern Italy, Apulia, Virginia Exhibition Painter, ca. 330 to 300 BCE. A masterful Apulian red-figure amphora attributed to A.D. Trendall’s Virginia Exhibition Painter, the vase of a grand scale, presenting an elegant, sinuous form with intriguing iconography (see extended description below) and extensive decoration, all finely delineated in red-figure technique with additional fugitive white, yellow, and beige pigments. An exceptional and important work displaying superb artistry and technique. Size: 14.75" in diameter x 39" H (37.5 cm x 99.1 cm)Virtually no ancient Greek paintings have survived the tests of time. This makes the painted compositions found on ceramic vessels like this example invaluable sources of information about ancient Greek visual art. Refined vases like this amphora were not merely utilitarian pottery, but rather works of art in their own right, highly prized throughout the classical world. Red figure pieces in particular allowed for the development of more naturalistic imagery than black figure examples. This innovative technique involved creating figures by outlining them in the natural red of the vase, making it possible for the painter to then enrich the figural forms with black lines to suggest volume, perspectival depth, and movement, bringing those silhouettes and their environs to life. Beyond this, fugitive pigments made it possible for the artist to create additional layers of interest and detail.Side A of this amphora features a pair of warriors sheltered by an ionic naiskos, one on horseback wielding a spear, his horse's right front leg lifted to mirror his own attack gesture targeted at his opponent who counters with his weapon and shield. Above this dramatic depiction of the pair of rivals, on the shoulder of the vase, is a female bust emerging from a blossom, a signature of the Virginia Exhibition Painter as well as the elite White Sakkos Painter. The Virginia Exhibition Painter also included floral elements beneath the warriors as well as a pair of plume-like elements beside the rider's torso, perhaps elements of his helmet and/or armor. This compares to another Apulian artist's (the Ganymede Painter's) penchant for adding iconography beyond the figures under the naiskos. On the obverse is a pair of draped standing youths facing one another, perhaps mourners of whomever did not survive the rivalry depicted on Side A, one leaning upon a staff or walking stick, with a distinct maker's mark between their heads. In addition to the figural imagery are the extensive decorative elements which are quite characteristic of the Virginia Exhibition Painter's known oeuvre. Note the ivy leaf motif beneath the rim created via fugitive white and creamy beige pigments, the black fan palmettes and white vertical rays on the neck painted just above the female bust who emerges from a blooming, foliated blossom with elaborate spiraled tendrils on the shoulder, this underscored by a tongue pattern, all in red-figure with fugitive white and yellow. Adorning the central naiskos scene are ivy leaf vines flanking the ionic columns as well as registers of dotted, scrolled, linear, and wave motifs below the scenes and continuing around the circumference of the vessel. Finally, beneath the elegant twin handles are large, double, red-figure palmettes.A remarkable vase of the so-called Ornate Style by the Virginia Exhibition Painter of a grand scale, decorated in an elaborate manner with intriguing scenes and figures as well as a great deal of subsidiary ornament in added colors. For a comparable example at Royal Athena Galleries listed at $125,000, follow this link: http://www.masterart.com/Greek-the-Virginia-Exhibition-Painter-330-300-Apulian-large-red-figured-amphora-the-Virginia-Exhibition-Painter-PortalDefault.aspx?tabid=53&dealerID=361&objectID=502940Trendall named this artist the Virginia Exhibition Painter, because five of his vases which came from the same tomb were first featured in an exhibition of South Italic vases at the Virginia Museum of Fine Arts in 1982, and a few were published in the accompanying catalogue - M. E. Mayo and K. Hamma, "The Art of South Italy: Vases from Magna Graecia" (Richmond 1982). Cf. especially the naiskos scene on p. 179. No. 73, and the woman on the shoulder of no. 76 (p. 185), the latter also a neck-amphora. Provenance: Ex-Royal Athena Gallery, NYC, NY. Condition: Handles reattached. Drilled hole beneath one handle for thermoluminescence testing. Surface wear with expected scratches, pigment losses, and mineral deposits commensurate with age. Small chip on right column of naiskos. Painting still quite vivid and impressive. 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. #118744
Lot 122
Pre-Columbian, West Mexico, Colima, ca. 200 BCE to 200 CE. A rather large Colima redware early (Tico) type of flat figure, sometimes called a 'gingerbread' figure for obvious reasons, abstract in form with a characteristic elongated pointy head, minimized facial features, and large nose, hands held to sides. This example has pierced ears which originally held feathers or other perishables, now lost to time. Nicely adorned with appliqued headdress, multistrand pectoral with 'feather' ornaments, armbands, and belt. Size: 5.25" W x 8.5" H (13.3 cm x 21.6 cm)An excellent example from the West Mexican shaft tomb tradition. Ceramic figurines such as this are among the most expressive and dramatic created in Mesoamerica. According to scholars of this tradition, such ceramic figures were the primary outlet for artistic expression for the shaft tomb cultures and there is little record of monumental architecture, stelae, or public art associated with these cultures. Nicely burnished surface with some mineral deposits. Provenance: Ex-Private LA County collection acquired in the 1980's Condition: Surface wear with small nicks to back of left leg and back of right arm. Nice manganese deposits and burnishing marks. 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. #119027
Lot 139
Western Mexico, Tecoman and coastal area, Colima, ca. 200 BCE to 200 CE. The style of this unslipped buff figurine is typical of Tecoman and the coastal area. It blends the typical coffee-bean eyes and facial features with a plate-flat body and string arms. The Colima would have placed such a figure with his characteristic cap-shaped helmet, ear ornaments, ornamented breechcloth, pectoral, and armbands in a tomb either to protect or resemble the deceased. Size: 4.25" W x 7.75" H (10.8 cm x 19.7 cm)An excellent example from the West Mexican shaft tomb tradition. Ceramic figurines such as this are among the most expressive and dramatic created in Mesoamerica. According to scholars of this tradition, such ceramic figures were the primary outlet for artistic expression for the shaft tomb cultures and there is little record of monumental architecture, stelae, or public art associated with these cultures. Nice mineral deposits and root marks. Provenance: Ex-Private Arizona collection Condition: Right arm reattached. Upper section of head reattached. Nice manganese deposits and root marks. 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. #118976
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163696 item(s)/page