We found 559 price guide item(s) matching your search

14ct gold brand new ex-display large Mayan/Aztec sundial pendant 7.8g

A vintage Inca/Mayan yellow metal and emerald pendant. Designed as a stylised god figure rub-over set at the centre with a square step-cut emerald, stamped '18K', approx. 19mm high, 1.3 grams gross

A vintage Inca/Mayan yellow metal and emerald pendant. Designed as a stylised 'winged god' figure standing on an arched base rub-over set with a square step-cut emerald, the bale stamped '18K', approx. 16mm high overall, 2.1 grams gross

A pre-Columbian Mayan style carved black hardstone figure of a squatting male, length 6cm. Provenance: from the estate of a West Sussex collector. Note: the collector's notes state that this was purportedly found in Southern Mexico.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A pre-Columbian Mayan style carved hardstone head of a chieftain, possibly 400-800 AD, modelled with a top knot and large nose, length 6cm, together with a pre-Columbian Mayan style carved dark green hardstone mask, possibly 600-800 AD, height 5cm, and a Mayan miniature head bead, height 2.2cm, later mounted on a hardstone pedestal, both bearing collector's labels. Provenance: from the estate of a West Sussex collector.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A pre-Columbian carved and mottled hardstone axe head, possibly Mayan, bearing collector's label, length 16cm. Provenance: from the estate of a West Sussex collector.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A pre-Columbian Mayan style carved apple green jade pectoral plaque, finely carved in low relief with a chieftain, height 15cm, width 18.8cm, later mounted on a board. Provenance: from the estate of a West Sussex collector.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

SIX TERRACOTTA WARRIOR FIGURES,largest is 42cm high, along with a pair of Egyptian bird hieroglych bookends and a pair of Mayan style bookends

Henry Moore O.M., C.H. (British, 1898-1986)Reclining Figure numbered '5/7' (on the top of the base); stamped with foundry mark 'C. VALSUANI CIRE PERDUE' (on the side of the base)bronze with a brown patina on a slate base15.2 cm. (6 in.) long (excluding the base)Conceived in 1945Footnotes:ProvenanceWith Thomas Gibson Fine Art, prior to 1997, where acquired byPrivate Collection, U.K.ExhibitedStockholm, Samlaren Gallery, Henry Moore: Skulptur, Teckningar, 1952 (another cast)Stockholm, Akademien, Henry Moore, 1952, cat.no.121 (another cast)LiteratureDavid Sylvester, Henry Moore: Volume 1, Complete Sculpture 1921-1948, The Henry Moore Foundation in association with Lund Humphries, Much Hadham & London, 1988, p.15, cat.no.246During his long and distinguished career, the 'reclining figure' along with the 'mother and child' were the two subjects that obsessed Henry Moore more than any other. Recent information from the Henry Moore Foundation indicates there are 270 examples of the reclining figure and 140 of the mother and child, perhaps confirming the former as the most significant; certainly the most fundamental. By 1968, Moore admitted this was the case: 'From the very beginning the reclining figure has been my main theme. The first one I made was around 1924, and probably more than half of my sculptures since then have been reclining figures' (John Hedgecoe, Henry Moore, London, Thomas Nelson, 1968, p.151). The origins of that first reclining figure (male and now destroyed) can be traced back to the Toltec-Mayan idol Chacmool. Impressed by a life-sized limestone carving from the eleventh or twelfth century found in Chichen Itza in Mexico, Moore came across a plaster cast of Chacmool on a visit to the Trocadero Museum in Paris in 1925. The curious reclining posture of the figure on its back, with knees drawn up and head twisted to the right fascinated Moore and it became 'undoubtedly the one sculpture which most influenced my early work' (Henry Moore Writings and Conversations, ed. Alan Wilkinson, London, Lund Humphries, 2002, p.98).The present work was conceived at the end of World War II in 1945 as a preparatory study for the 30 inch Hornton stone carving Reclining Figure (1947-49, LH 273, now in the collection of the Philadelphia Museum of Art). It was originally modelled in terracotta (whereabouts unknown) with an edition of seven cast in bronze. This was a particularly significant time as the end of conflict meant a renewed availability of metals and Moore was able to break free from the constraints of two dimensions and work more regularly in three. Reclining Figure is therefore one of the first sculptural examples of what the artist had absorbed through his graphic observations of the public sheltering from The Blitz in the London underground. The undulating profile of the sculpture draws on both the example of a body sheltering on the platform floor and the artist's early preoccupations with the naturalistic rendering of bones, rocks and mountainous landscape, as such she can be read as both abstract and human at the same time. Writing of the scaled up carving of the present form, John Russell comments 'After many Reclining Figures in which the central hole was the dominant compositional feature here is one in which, on the contrary, the central area is filled in. Such is the modelling of that area that two complementary movements are set up: one begins below the heart and swings up and away to the left, while the other begins at the bottom of the right thigh and swings up and away to the right. The relationship, here, between the thing seen and the thing imagined is one of the most moving in all Moore's work, in that the spreading and subtly modulated area between heart and knees is continuously alive in terms both of human anatomy and of the landscape-analogy, the sublimations of moorland and bluff, which Moore keeps going at the same time. This is not one of Moore's largest carvings – it is only thirty inches long – but it is one in which social duty is laid aside and the imagination runs free to glorious effect.' (John Russell, Henry Moore, The Penguin Press, London, 1968, p.177).Another example from this edition is in the collection of the Memorial Art Gallery, University of Rochester, U.S.A.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A lot of gold plated and silver plated commemorative coins to include Gold of the Vatican, RMS Titanic, The Guinea 1663, The Mayan Calendar, San Marco Evangelista etc (36) in two flight cases. Condition Report:Available upon request

14ct gold brand new ex display large Mayan/Aztec sundial pendant 7.8g

Old decorated terracotta figures of Mayan King & Queen

A quantity of books on Japanese and Chinese architecture, Mayan art, Moorish Arcturus and others

14ct gold brand new ex display large Mayan/Aztec sundial pendant 7.8g

A reproduction Mexican seated terracotta figure of Mayan form, inscribed 'Mexico' to base, bearing paper label 'Zapotec Xopichil', 24cm high

Antiquities - Pre Columbian type Mayan Jaina island clay figure, with 'scarification' marks, modelled in seated cross-legged pose with top-knot and headdress, bowl-shaped medallion between crossed arms, 18cm highCondition report: Old losses to front and rear of headdress. Minor rubbing to highpoints. Rectangular slot to one armpit is probably a deliberate vent from production. Affixed to later base.

GAYLORD SOLI (Dakota, USA, 1939)."Mariam, 2017.Oil on canvas.Signed, dated and titled on the back.Certificate of authenticity enclosed.Size: 67 x 61 cm; 97 x 81 cm (frame).Gaylord Soli's artistic production is imbued with a feeling of freedom and spontaneity in both image and technique. Thematically, an idea is allowed to metamorphose, expand and grow as the work is executed. The works he creates are based on his years of travels in Mongolia, Pakistan, Iran and the Amazon basin, and his lifelong fascination with primitive cultures. As the present work exemplifies, with a rich palate, he layers, sketches and textures his canvases in a unique kinship with early artistic and organic processes. His paintings show the influence of Picasso, Tamayo, Auerbach and Hans Hoffman, and are informed by a deep love of music and the spiritual.Gaylord Soli was born in 1939 on a farm in North Dakota, shortly after his parents emigrated from Oslo, Norway. At the age of three, Gaylord's family moved to Los Angeles, California. He has made Southern California his home ever since, and currently works daily in his studio in Orang County. Much of Gaylord's early years were spent on adventures around the world. These missions ranged from camera safaris to the Kalahari Desert in Africa, anthropological research on the native tribes of the Amazon River, studies of the Mayan ruins of Chitchen Itza on the Yukatan Peninsula, and the ancient world of Alexander the Great from Syria to Mongolia. All of these places and experiences have had a causal effect leading to the exotic overtones, the romantic spirit and, at times, a primitive quintessence found in Gaylord's paintings. Gaylord himself is quoted as acknowledging the profound influence these early experiences have on his art: "I have been fortunate to have travelled extensively around the world. This has allowed me to explore and experience primitive cultures. I think my art reflects these experiences. Having built a series of successful businesses around his passion for art and design, Gaylord Soli founded Clearwater Publishing in the 1980s and began producing high quality screen prints for fine artists such as Ivan Earl, Richard Diebenkorn, Mel Ramos and Peter Max.

AMAZING SPIDER-MAN #547, 548, 549, 551, 552, 553, 554, 555, 556, 558 - (10 in Lot) - (2007/2008 - MARVEL) - Includes Mr. Negative, Inner Demons (First appearance), The Karnelli Family (First appearance), Menace (Lily Hollister), Freak, Mayan Warriors, Dr. Benjamin Rabin (First appearance), Vern (First appearance) appearances - Flat/Unfolded

A Circle of Friends figure group, Mayan, pre-Columbian style 19cmH and a brass figure of the sacred spiritual symbol 'Om'

Antiquities - a Pre Columbian Toltec idol, seated figure; Mayan stamp seal tablet; Mask head bottle flask; Colima dog flask; Shipibo pot (5)

Hermes, a Mexique silk scarf, designed by Caty Latham, first issued in 1985, featuring a magnificent ancient Mayan display, measuring 90 by 90cmCondition- Overall very good condition- No noticeable marks- Is without maker's box- For enquiries about this lot please contact Sophie Higgs at sophie@kinghamsauctioneers.com

A Hand-Carved Obsidian Mayan Aztec God Figurine with Inlaid Mother of Pearl and other semi-precious gemstones. 13cm tall.

Hand-Crafted Obsidian Mayan God Mask with Inlaid Semi-Precious Gemstones. 19 x 18cm

A pre-Columbian Mayan style carved rock crystal owl effigy amulet, probably 900-1000 AD, with pierced holes to top edge, bearing collector's label to reverse, height 6cm, width 7.5cm. Provenance: from the estate of a West Sussex collector.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A pre-Columbian Mayan style carved green jade figural pendant, probably 400-800 AD, modelled as a seated ruler tending to his elaborate hair, height 4.6cm. Provenance: from the estate of a West Sussex collector.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A pair of pre-Columbian Mayan style pale green hardstone waterlily ear spools, probably 250-550 AD, modelled with internal stoppers, width 4.6cm. Provenance: from the estate of a West Sussex collector. Note: the collector's notes state that these were purportedly found in Guatemala.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A pre-Columbian Mayan style green hardstone carving, probably 400-800 AD, modelled as the head of a beast devouring a reptile, length 7.6cm. Provenance: from the estate of a West Sussex collector.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A substantial pre-Columbian Mayan style carved white hardstone zoomorphic effigy vessel, probably 400-800 AD, bearing collector's label to underside, length 26cm (chipped). Provenance: from the estate of a West Sussex collector.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Large gold plated Mayan Calendar token. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

Mayan culture bowl; Copan, Honduras, 500-900 A.D.Polychrome ceramic.Measurements: 7 x 18 cm (diameter).Bowl made of ceramic and decorated with red and black motifs on a cream background, representing dignitaries on the outside and a band with glyphs on the inside. Mayan ceramics cover a wide variety of typologies, both for use and rituals, pieces decorated with reliefs and incised motifs, monochrome engobes or with figurative polychrome motifs, later on. They were always pieces made by modeling, since this culture did not know the potter's wheel. The colors used were always engobes, with a clay base, and the vessels were fired at a low temperature of approximately 800ºC. Unlike monuments, which were intended to be seen by everyone, ceramics enjoyed great freedom among the Maya, since they were intended for private use, whether daily or funerary. Hence the multiplicity of decorative styles and typologies, including jars for storing essences and medicines, tableware, incense burners and even articulated statuettes.

Mayan culture bowl. Classic period, 250-900 A.D.Terracotta.Measurements: 13 cm (height) x 15.5 cm (diameter).Mayan pottery covers a wide variety of typologies, both for use and rituals, pieces decorated with reliefs and incised motifs, monochrome engobes or with figurative polychrome motifs, later on. They were always pieces made by modeling, since this culture did not know the potter's wheel. The colors used were always engobes, with a clay base, and the vessels were fired at a low temperature of approximately 800ºC. Unlike monuments, which were intended to be seen by everyone, ceramics enjoyed great freedom among the Maya, since they were intended for private use, whether daily or funerary. Hence the multiplicity of decorative styles and typologies, including jars for storing essences and medicines, tableware, incense burners and even articulated statuettes. Unlike monuments, which were intended to be seen by everyone, ceramics enjoyed great freedom among the Maya, since they were intended for private use, whether for daily or funerary purposes. Hence the multiplicity of decorative styles and typologies, including jars for storing essences and medicines, tableware, incense burners and even articulated statuettes.

Mayan culture bowl. Honduras-El Salvador, 500-800 A.D. Polychrome terracotta. Measures: 9 x 20 cm (diameter). Unlike monuments (which were intended to be seen by all), ceramics enjoyed great freedom among the Maya, since they were intended for private use, whether for daily or funerary purposes. Mayan pottery covers a wide variety of typologies, both for use and rituals, pieces decorated with reliefs and incised motifs, monochrome engobes or with figurative polychrome motifs, later on. They were always pieces made by modeling, since this culture did not know the potter's wheel. The colors used were always engobes, with a clay base, and the vessels were fired at a low temperature of approximately 800º C.

A 19th century Peruvian earthenware two-handled vase, Mayan culture and two others 22cm

Four Super Nintendo Games, to include Parodius (original box, insert and manual), Another World (original box, insert, club Nintendo card and information booklet) Pitfall The Mayan Adventure (original box, insert, manual, club Nintendo card and information booklet), Mortal Kombat (original box, insert, manual and information booklet) (4)

Mola Assortment (3) hand-appliqued textiles from Central / South America, each depicting colorful stylized animals with (2) matted and framed under glass and the third framed without glass; together with a reproduction Mayan temple rubbing stretched on fabric Property from: a Chicago, Illinois (Lincoln Park) estate Height: 15 3/4 inches, Width: 18 1/4 inches (largest mola sight)Frame Size: 22 1/4 inches by 24 1/4 inches Condition: Very Good, stains to crab mola; light dirt accumulation; staples to raw edge of a mola; scuffs and soiling to margins of temple rubbing Disclaimers: not examined out of the frames Category: Decorative Arts > Ethnographic Estimated Sale Time: 12:21 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5

Pre-Columbian Mayan Style Copador Pottery Assortment (3) polychrome items including a cylinder vase having (3) deities in panels; a deep bowl having (3) stylized birds below a band of glyphs; and a low flat-bottomed bowl having flaring sides, showing extensive root marks from burial Provenance: Bowl purchased April 30, 2011 from Haig's of Rochester, Rochester, Michigan (original receipt included); cylinder purchased on July 6, 2001 from Arte Primitivo, New York (original receipt included) Property from: a Chicago, Illinois (Lincoln Park) estate Height: 6 3/8 inches, Diameter: 5 7/8 inches (cylinder vase) Condition: Very Good, surface irregularities typical of hand potted wares; no chips or cracks noted; cylinder having chalky accretions to interior of rim; all having light to moderate manganese deposits; overall light to moderate wear consistent with normal use Category: Decorative Arts > Ethnographic Estimated Sale Time: 12:22 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5Photograph #6

Pre-Columbian Style Figural Pottery Assortment (6) items including a Mayan style handled urn depicting the old fire god; a Jalisco style seated figure holding a bowl; a Jaina style seated figure; a whistle in the form of a monkey; an animal whistle; and a Teotihuacan style mold-made flat figure; together with a Mayan style jadeite jade face pendant, a jadeite jade ear-spool and Costa Rican style carved stone figurine Property from: a Chicago, Illinois (Lincoln Park) estate Height: 7 inches, Width: 4 3/4 inches, Depth: 5 1/2 inches (large urn) Condition: Very Good to Good, surface flaws typical of hand-potted wares; manganese accretions and soil deposits; minor abrasions but no chips or cracks to urn and Jalisco figure; Jaina lacks an arm and both feet; monkey whistle repaired; chips to animal whistle; both whistles working when tested; Teotihuacan figure fragmentary; ear-spool chipped; no chips to pendant noted; overall light wear consistent with normal use Category: Decorative Arts > Ethnographic Estimated Sale Time: 12:25 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3

Pre-Columbian Style Pottery Assortment (6) items including a Mayan effigy pot depicting a native stingless bee; a Colima loop-handled censer lid representing a dog; a Lambayeque style black ware bottle depicting Lord Naymlap with flanking attendants and captives; a Chimu style figural black ware whistle vessel; a Chimu style gray ware bottle; and an unidentified animal head fragment Property from: a Chicago, Illinois (Lincoln Park) estate Height: 5 1/2 inches, Length: 7 inches, Width: 5 1/2 inches (Mayan bee effigy) Condition: Very Good, surface irregularities typical of hand-potted wares; repaired cracks to handle and leg of Colima censer lid; minor chips to spout of Chimu bottle; animal head fragment from a larger object; overall light wear consistent with normal use Category: Decorative Arts > Ethnographic Estimated Sale Time: 12:26 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3

BOURKE-WHITE MARGARET: (1904-1971) American photographer, the first American female war photojournalist, remembered for her work for Life magazine. A.L.S., Margeret Bourke-White, three pages, 4to, Darien, 24th October 1954, to Edna Robb Webster. Bourke-White informs her correspondent that she is sending her two photographs under separate cover, explaining 'In one I am sitting in the Kennebec River in Maine taking pictures in a bathing suit; in the other I am in tropical helmet and rain cape riding on a mule thru the mountains of Honduras (working with priests on the Jesuit story - riding to very remote villiages (sic) thru the jungle', further apologising that there has been so much red tape regarding the Life pictures, 'All I can say about that is that it used to be much worse. There was a time when almost nothing that was taken for Life could be reproduced outside, but they've loosened up on that policy a great deal. Since I couldn't tell them for what magazine the pix were intended (note blank spaces in stamps on the backs) - just let me know soon as you can' and continuing 'I fully understand the reasons given in your letter. Only please stay away from the Ladies Home Journal, and from the McCalls-Good Housekeeping group, as my book publishers may do something in these directions - later - when my own book is finished…..I'm glad to have you do it, on the basis of your excellent article, and am only sorry there has been such delay at this end. Good luck on it.' In concluding Bourke-White adds that she will not be in California until next spring, 'it is for a good reason. The aero-color shots of Food & Harvest regions went so well that Life has already put the story to bed & no room for more. It was laid out just this week - and will be the lead story in the magazine - 10 pages in color - I'm very proud & dazzled by it as you can imagine for it's unusual to give such space to a piece like this. It will be called The Look of the Land, and will be in the special food issue of Jan. 1. '55'. A letter of good content for its references to Bourke-White's photography, and in particular with Life. Some light age wear, otherwise VG   Edna Robb Webster (1896-1978) American author, poet, explorer and historian of Mayan culture.

Mexico.- Past (Ambar) Okotz (Xun) and Xpetra Ernandes. Incantations by Mayan Women, one of 200 copies, original silkscreen illustrations by numerous artists, original hand-made pressed paper boards in relief design of a mask with holes for eyes, original cardboard decorated box, 4to, Chiapas, Mexico, 2005.

Decorative Object Assortment (10) items including a bronze sculpture depicting (2) abstracted nude figures standing face to face signed 'Grossman' on base and mounted on a wood plinth; a terracotta sculpture depicting octopi signed 'I. Grossman' on back of base; a bronze face presented on a stand; a terracotta scoop form having blue glaze presented on a stand; a ceramic platter having a fish motif; a ceramic duck; a Mexican style pottery cat; a Mayan style terracotta pitcher; a ceramic wall plaque having figural decoration, illegibly signed on the backside and dated ''87'; and a cast plaster mascaron Property from: a Dixon, Illinois estate Height: 11 1/2 inches, Length: 20 inches, Width: 8 inches (Mexican pottery cat) Condition: Very Good to Good, overall light wear consistent with normal use; nude bronze plinth loose and having paint loss; scuffs and scratches with paint loss to both stands; duck having paint drip on back feathers; scoop form having (4) small chips to long edges and a 1-inch internal chip with loss at mouth crease; light dirt accumulation; terracotta Grossman sculpture having an expansion crack in base; mascaron having some small chips to edges; glazed face of wall plaque having crazing Category: Decorative Arts > Objects Estimated Sale Time: 11:00 am (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4

A silver Suarti NOS (New Old Stock) pendant necklace having a polished circular shell panel within a silver mount featuring Anglo-Indian motifs and a Mexican silver brooch having a pair of carved Mayan green stone faces within silver Aztec style mounts and being marked Mexican Sterling to the verso. Chain measures 74cm in length. Total weight 48.52g 

JEAN-PIERRE RAYNAUD (born 1939)Mur 815 1968 signé et daté 1968 au reversassemblage de polyester, métal, tôle émaillée et peinturesigned and dated 1968 on the reversepolyester, metal, enamelled sheet metal and paint300 x 75 cm. 118 1/8 x 29 1/2 in.Footnotes:ProvenanceGalerie Mathias Fels, Paris Collection particulière, France (acquis auprès de celle-ci)Puis par descendance au propriétaire actuel ExpositionsParis, Musée des Arts Décoratifs, Peintres Européens d'Aujourd'hui, 1968, n.p., n° 78, illustré en noir et blancLausanne, Musée Cantonal, IIIe Salon International des Galeries Pilotes, 1970LittératureDenyse Durand-Ruel, Jean Pierre Raynaud. Catalogue Raisonné 1962–1973, Tome 1, Paris 1998, p. 112, n° 200, illustré en noir et blancJean-Pierre Raynaud est un véritable visionnaire, dont la trajectoire artistique, bien qu'alignée sur le Pop Art européen, est demeurée absolument unique et profondément liée au readymade de Duchamp, aux monuments modernistes de Brancusi et au Nouveau réalisme. Deux œuvres cruciales et de qualité muséale sont aujourd'hui proposées à la vente, qui sont représentatives de l'avant-garde française des années 1960 : l'une de ses pièces les plus célèbres et reconnaissables, le Grand Demi-Pot, de 1969 – une œuvre qui constitue indubitablement le couronnement artistique de sa série des Psycho Objets (1964-1968) – et Mur 815, l'un des premiers « murs » créés par Raynaud en 1968, témoin de son récent intérêt pour l'architecture et sa fonction en tant qu'art. Cette idée a cheminé dans son esprit au point de devenir un projet qui a occupé une longue période de sa vie : sa maison à La Celle Saint-Cloud, qu'il a minutieusement habillée de carreaux blancs pendant 25 ans, avant de la démolir finalement et de la reconstituer comme une œuvre d'art en 1993.Raynaud a fait des études d'horticulture et a exercé le métier de jardinier. Toutefois, c'est en 1962 qu'il a fait le « saut » conceptuel qui allait ensuite définir la suite de toute sa carrière artistique, en remplissant l'espace vide d'un pot de jardin afin de créer ce qui lui est apparu comme une forme sculpturale parfaite. Raynaud a trouvé dans le pot un totem capable de soutenir une multitude d'idées ; depuis le pot, conçu comme un vaisseau qui donne et abrite la vie, jusqu'à la forme inversée qui rappelle les angles aigus du Cubisme ou la grandeur des structures mayas antiques. Pot Rouge, qui mesure près de deux mètres de haut, frappe par son immensité et son audace. Son échelle, sa simplicité et sa perfection produisent un effet de dépaysement, accentué par le fait qu'il est coupé en deux et semble surgir tout naturellement du mur ou du sol.Initialement créé comme un pot entier par l'artiste, avant d'être coupé en deux pour les besoins de l'exposition de Raynaud à l'Hôtel George V, qui avait commandé des œuvres à Raynaud en 1969, Grand Demi-Pot était la pièce centrale de la présentation, où il trônait à l'horizontale dans la cour de cet hôtel parisien. C'était une installation spectaculaire, qui présentait non sans humour un pot de jardin surdimensionné dans un jardin ornemental, était monumentale et frappante, et évoquait une profonde sobriété pour Raynaud. Commentant son inspiration pour les œuvres présentées, l'artiste déclarait : « Le George V ressemble à un cimetière. À l'intérieur on y rencontre des vieilles femmes prêtes à mourir, qui se traînent dans les couloirs. Je me suis dit qu'il fallait continuer dans cette voie » (Marc Sanchez, 'Jean Pierre Raynaud; Chronologie 1939 – 1998', en ligne). L'œuvre présentée aujourd'hui reflète un sentiment de vulnérabilité et un sens profond de la condition mortelle de l'homme, le pot comme présage du cycle de la vie et de la mort. Scellé et rempli, coupé en deux, l'autre moitié étant mise au rebut puis partiellement enterrée dans le sol, Pot Rouge est devenu un objet de contemplation, doué d'une forte charge émotionnelle et empreint d'une beauté silencieuse.Mur 815 reprend les codes iconiques de l'œuvre de Raynaud. Dans cette œuvre réalisée dans le rouge iconique qui caractérise sa production au cours de cette période, l'artiste a associé au mur une échelle trouvée et des balances dont il a marqué chacune de ses œuvres consacrées au « mur ». Fragment de la réalité, comme tombé d'un immeuble, Mur 815 révèle les différences profondes et saisissantes entre le Pop Art américain et européen des années 1960. Chez Raynaud, le caractère ordinaire et banal de l'objet n'est que le point de départ de l'œuvre d'art, alors qu'il est pour Warhol l'essence même de sa démarche artistique. L'œuvre ici présentée s'inscrit parfaitement dans la lignée des autres « murs » de Raynaud. La comparaison avec ces autres œuvres révèle non seulement la continuité dans laquelle s'inscrit l'œuvre ici présentée, mais également la signification non dite de celle-ci.Raynaud a représenté la France à la Biennale de Venise en 1993, en plus d'être collectionné par des institutions majeures, parmi lesquelles le MoMA, New York, le Musée National d'Art Moderne, Paris et le Musée Hara, Tokyo. Autant dire que la postérité d'Erró, en tant qu'artiste majeur du Pop Art européen des 60 dernières années, est assurée. Les deux œuvres monumentales et sereines ici présentées sont deux pièces muséales, représentatives de la période de création la plus complexe et audacieuse de l'artiste, qui représentent des icônes de l'art français des années 1960.Jean-Pierre Raynaud is a true visionary, charting a career arc that, whilst aligned with European Pop Art, remained utterly unique and deeply connected to the Duchampian readymade, Brancusi's modernist monuments, and Nouveau réalisme. Presented here for sale are two seminal, museum quality works that embody the French avant-garde of the 1960s: one of his most celebrated and recognisable pieces, Grand Demi-Pot, from 1969 – a work that is undoubtedly the crowning artistic achievement of his Psycho Objets series (1964-1968) – and Mur 815, one of the first 'walls' that Raynaud made in 1968 that established his newfound interest in architecture and its function as art. This would be an idea that would grow into a lifelong project for Raynaud: his house in La Celle Saint-Cloud that he would fastidiously clad in white tiles for 25 years, before its ultimate destruction and reconstitution as an artwork in 1993. Raynaud himself studied horticulture and was a practicing gardener. However, it was in 1962 that he made the conceptual leap that would largely define his artistic career subsequently, filling the empty internal space of a garden pot to create what appeared to him a perfect sculptural form. In the pot, Raynaud found a totem that was able to sustain a matrix of ideas; from the pot as a vessel that gives and harbours life, to the inverted form that evinces the hard edges of Cubism or the grandeur of ancient Mayan struc... For further information on this lot please visit Bonhams.com

ROYAL MINT, WESTMINSTER & OTHER CROWNS & COLLECTABLE COINAGE including three sets William IV retro crowns - limited mintages, INA pattern collection, various £5 coins, commemoratives, Guernsey, Aztec gold calendar coin, Mayan long-count calendar coin and various others

A talismanic hollow form double sided figure in standing pose with impressed decoration, Mayan style, pre-Columbian, h.18cm.

* A carved stone face mask, h.15cm, together with one other smaller example and a Circle of friends figure group, Mayan, pre-Columbian style. (3)

* A pottery stirrup vessel, of typical squat circular form, Northern Peru, pre-Columbian, circa 600 AD, h.14cm, together with a polychrome painted Mayan style pottery bowl, dia.14cm. (2)Condition report: Stirrup vessel base section only.

* A redware pottery bowl, the exterior frieze polychrome decorated with zoomorphic figures, Mayan, probably 13th century, dia.19cm.Condition report: Has been broken into three pieces and restored, large chip to the rim with further smaller chip.

Central America.- Mayan ruins.- [Catherwood (Frederick)] Four plates from "Views of Ancient Monuments in Central America", comprising nos. 3, 10, 12 and 15, lithographed with fine hand-colouring, heightened with gum arabic, trimmed to margins and laid onto mounts as issued, numbered in ink below the sheet, some chipping, spotting and tearing to mounts, each sheet c.385 x 265 or the reverse, [1844].⁂ These plates extracted from the deluxe issue of which purportedly only 50 copies were printed.

18ct Mayan style pendant in the form of an Inca tribesman, 4.9cm L approx, 11.7g

A VINTAGE COLOUR PRINT OF ANCIENT MAYAN FIGURES 43 x 50cm

POSTERS, PRINTS & DRAWINGS: a folder including a 1908 print of the actress Lily Brayton (as 'Althea') signed underneath by Brayton as well as the artist, Frank O Salisbury, posters to include 20th century art, sculpture and photography exhibitions (including Bakst), St Martin-in-the-Fields college furniture and film school posters, c.1930s French architectural plan of an exhibition gallery, several earlier English information posters (1876-194), signed Mayan art print by Eliezur Canul, 1814 print of Smolenkso by R Bowyer. (Qty)

A Valdivia female torso Ecuador, circa 3500 BC clay with red slip body and black head with linear incised hair, 3cm high, a Costa Rican stone idol, incised a stylised figure, 3.6cm high, a Valdivia pottery head fragment, 2.2cm high, on a stand, an Aztec pottery head of Chalchiuhtlicue, with a folded headdress, disc earrings and raised outline eyes and lips, the back inscribed Xochiquetzal, Late Aztec, Burland, B.M., 7.5cm wide, an Aztec figure of Atlcuye, with hand written identification label to the back, 6cm high, a Quimbaya pottery female figure Colombia, with remains of fawn slip, 10cm high, and a Mayan flat back figure of Itzamna, 11cm high. (8) Provenance George and Florangel Lambor Collection.

Large collection of gold plated and other coins, capsulated in presentation cases. By Westminster and Windsor Mint. Including: The Gift of Christmas (COA No. B 002949), The 12 Apostles, London Buses, The World Wide Web, The Mayan Calendar, Ancient Egypt, The Age of Dinosaurs. Approx 55 coins.

A bronze Mayan (S. American) sun god figure, flat-backed and with deep brown green patination, probably 19th/early 20th Century, 400g, 2" wide x 6" tall

A collection of Mayan clay seated figurines H:16cm

An antique Mayan? gilt metal and hardstone set drop necklace, 42cm.

An ancient Mayan style carved red and grey marble mask, with old label to the back inscribed in pen 'Jamoncill - MEXIQUE 1920', height 19cm.

BOTANY -- BERLIN, B., (a.o.). Principles of Tzeltal plant classification. An introd. to the botanical ethnography of a Mayan-speaking people of Highland Chiapas. (1974). Ocl. -- R.J. MARLES. Aboriginal plant use in Canada's Northwest boreal forest. (2000). Obrds. -- A.G. MILLER & M. MORRIS. Ethnoflora of the Soqotra Archipelago. (2004). 4°. Obrds. w. dust-j. -- J.J. SCHOFIELD. Discovering wild plants. Alaska, Western Canada, the Northwest. (1989). 4°. Obrds. w. dust-j. -- Q.C.B. CRONK. The endemic flora of St. Helena. (2000). 4°. Obrds. w. dust-j. -- And 4 o. (9).

MAYAN STONE RUNNING SHAMAN MEXICO OR GUATEMALA, CLASSIC PERIOD, C. 600 A.D. jadeite, formed from twenty-one pieces of individually carved and polished pieces, embellished with ground cinnabar, depicting a shaman in motion, elaborate avian headdress, carrying a knife in his left hand and another tool in the right, presented on a bespoke mount(figure 10.6cm across)Footnote: Provenance: Walter Vanden Avenne, France, acquired in the 1960s from the Merrin Gallery, New York, accompanied with French export licence