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Lot 20f
Rome, Imperial Period, ca. 2nd century CE. A superb bronze chariot fitting finely cast via the lost wax process, depicting Minerva (the Roman version of Athena), the goddess of wisdom, medicine, art, commerce, and military victory, here depicted in her warrior guise, donning a crested helmet and battle dress with a finely detailed aegis of Medusa, a goatskin shield with a fringe of snakes in relief. According to Greek mythology, when Perseus killed the gorgon Medusa, whose face turned men to stone, he gave Medusa's head to Athena who placed it on her aegis. Size: 3.875" W x 8.375" H (9.8 cm x 21.3 cm)Roman chariots were not used for warfare, but instead in special events like triumphal processions. As a result, elaborate finials like this became de rigueur, lending a unique look to each chariot, where they were mounted on posts above each wheel. Furthermore, featuring Minerva on one's chariot would have added immense symbolism associated with military victory. Regarded as the daughter of Jupiter, from whose head she purportedly was born, Minerva was initially worshipped in Rome as one of the Capitoline Triad along with Jupiter and Juno. At first she was revered as the goddess of handicrafts, poetry, and the arts in general. Over time, Minerva's stature grew within the Roman pantheon and she became the most important focus of the Quinquatrus festival, which previously had been the domain of Mars, whose amorous affections she famously refused. The five-day festival began on March 19th marking the beginning of the Roman army's campaign season. Minerva also became associated with the concept of victory, as illustrated by Pompey's dedication of a temple to her following his successful campaigns in the east. Similarly, Emperor Domitian claimed the goddess as his protectress and in the second half of the 1st century CE commissioned a temple to her in the Nerva Forum in Rome. Provenance: Ex-private Pasadena, CA collection, Ex- Los Angeles County collection acquired before 1990 Condition: Losses to one side of bust, peripheries of helmet, and helmet feathers. Abraded surface to one side of helmet. Gorgeous green and russet patina. 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. #120990
Lot 23C
Roman, the Levant, late Imperial Period, ca. 3rd to 5th century CE. Composed of tiny stone tiles (tesserae/tessellae), including marble, slate, and mica, this mosaic panel shows a scene of two women interacting at a bathhouse. Both wear bracelets and necklaces; one is draped with a cloth that falls around her bare buttocks, while the other stands nude, with a cloth falling behind her. The nude woman has her visible arm raised, as if gesticulating in conversation. The small remaining fragment of the other woman's face reveals that it is turned back, as if listening. The colors of the women's bodies are warm, mostly pinks and darker reds with some white stones to highlight shadow and light. Mounted on frame with honeycomb backing. Size: 29" W x 44.25" H (73.7 cm x 112.4 cm); size on frame: 30.8" W x 46.5" H (78.2 cm x 118.1 cm)The women are in a room with clean, pale yellow walls, standing on a glossy grey floor, dappled with sparing areas of pale brown that make it appear to be glistening with water. The women's clothing is red, grey, and pale yellow, outlined in black to give the impression of folds. One area that shows particularly skillful artistic execution is where the partially clothed woman's knee bends, catching the fabric and bunching it. Mosaics (opus tesellatum) are some of our enduring images from the Roman world. They reveal everyday life, social interactions, and even things like clothing styles, personal ornament, and the interior of buildings in ways other styles of Roman art generally do not. A scene like this would have taken place in a bathhouse, an informal public space where women could mingle and speak with one another in a close social setting. This mosaic may have graced the wall or floor of a bathhouse, and was probably originally set into a large, ornate border, as many of the mosaics from the Roman Levant are. In the Roman province of Syria, which encompassed most of the ancient Near East/Levant, mosaics seem to have developed as a common art form relatively late, with most finds coming from the 3rd century CE or later. Syria was one of Rome's wealthiest provinces, but it was also far removed from Rome itself and Roman culture was overlaid on enduring cultural traditions from Hellenistic Greece and the great civilizations that came before it. Antioch-on-the-Orontes (modern day Antakya, Turkey), was the capital of northern Roman Syria, and its excavations in the 1930s revealed more than three hundred mosaic pavements - of which many embellished public baths. Often the known mosaics from this region are mythological or religious scenes, but sometimes we see one like this, showing a touchingly human scene from upper class life.We cannot find a perfectly comparable example with this type of subject matter and size. To give you an idea of what is available, see for example this larger mosaic with mythological subject matter: http://www.christies.com/lotfinder/Lot/a-roman-marble-mosaic-panel-circa-3rd-5321865-details.aspx that sold for $30000 in 2010; this pair of smaller panels with less sophisticated subject matter: http://www.christies.com/lotfinder/Lot/a-late-roman-mosaic-panel-circa-4th-5th-2034792-details.aspx that sold in 2001 for roughly $6000, and this similar-sized but more colorful example: http://www.christies.com/lotfinder/Lot/a-late-roman-mosaic-panel-circa-4th-5th-5509263-details.aspx that sold for $25000 in 2011. Provenance: Ex-Private New York City Collection Condition: No restoration; mounted on frame with honeycomb backing. Losses to edges as shown. Some of the tesserae have small flaws 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. #121211
Lot 27
Roman, Imperial Period, ca. 1st to 3rd century CE. A handsome, realistic marble head of a youth with tightly curled hair and wide open eyes. The sculptor had great skill to shape the hard, creamy white marble to create a face with unique details, including the start of a crease on the forehead, a flat nose, and a slightly dimpled chin. Comes with custom stand. Size: 3.65" L x 3.5" W x 5.1" H (9.3 cm x 8.9 cm x 13 cm); height on stand: 8.2" (20.8 cm).Marble statuary was everywhere in ancient Rome; even after all of the plundering that Rome underwent after the fall of the Roman Empire, we can still see a tremendous amount of marble statuary, including friezes, busts, and full body statues, throughout the city. As a Roman citizen, you would have seen a world decorated with sculpted pieces like this one; they would have been brightly colored, gilded, or given inlays of shell or other stone. Today, with age taking them down to their original stone, they have attained a solemn, timeless look. Provenance: Ex-private East Coast, USA collection Condition: Expected wear from age, with small losses to nose. Base of neck has been drilled for stand. 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. #120481
Lot 2c
Egypt, Third Intermediate Period to Late Dynastic Period, ca. 1070 to 332 BCE. A square limestone fragment with an incised motif depicting a seated scribe holding a mallet and writing or drawing on a thin stone tablet. Size: 0.7" L x 2.55" W x 2.65" H (1.8 cm x 6.5 cm x 6.7 cm)The piece has wonderful details, including a lifelike pose for the worker and the clear shape of his mallet and chisel. He sits on a low, three-legged stool, with his tablet propped on a stepped pedestal; his facial features include the classic Egyptian eye style, but also a surprisingly realistic nose and mouth. He has a round, bowl-like coiffure and wears only a loincloth - presumably he works up a sweat when doing his work. Egyptian scribes and artists trained four or five years and made up an entire level of the Egyptian bureaucracy, busy churning out written records - personal letters, wills, proclamations, tax records, diplomatic communications, and religious documents. This piece is a record of a long-ago profession that many of us who like to write can probably identify with! Provenance: Ex-Hagar Collection Condition: Repaired from three pieces. Artwork is in excellent condition. 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. #120762
Lot 36a
Ancient Near East, Tell Brak, Middle Uruk period, 4th millennium BCE. A pair of dark stone idols with trapezoidal bodies and enormous, drilled, round eyes. Both come with custom stands. Size of largest: 0.95" W x 1.25" H (2.4 cm x 3.2 cm); height on stand: 1.8" (4.6 cm).Tell Brak was a major Mesopotamian city in northeastern Syria, located on a trade route between the Tigris river valley north to Anatolia, the Euphrates, and the Mediterranean Sea. The most famous building excavated at this huge site was the Eye Temple, where thousands of figures made of stone with incised eyes have been excavated. Archaeologists believe that these were placed there as offerings. Wide eyes meant attentiveness to the gods in Mesopotamian art. The Metropolitan Museum of Art (1988.323.8) has a very similar alabaster example to this one; another type, with "spectacles" made of perforated circles, is held by the Louvre (AO 30002). Provenance: Ex-private east coast, USA collection acquired in the 1960's Condition: Both are intact, with expected age wear to form. 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. #120786
Lot 36e
Ancient Near East, Mesopotamia, Sumeria, ca. 2500 to 2200 BCE. A smooth calcite amulet of a feline, posed dynamically as if caught in the act of running or jumping, with its head turned to face the viewer. It has wide, round eyes and its body has incised lines and circles on one side. A thick hole has been drilled through the center of the body, possibly so it could be sewed onto a cloth or kept on a string. Size: 1.75" L x 1.5" H (4.4 cm x 3.8 cm)The Sumerians believed strongly in magic, and the magical powers of amulets, created to be deterrents against the Evil Eye. The oldest of these amulets are stone animal form ones like these. They were also fascinated by wild animals, and particularly dangerous and powerful ones, with horns, wings, and claws often emphasized. The lion was always a potent symbol, viewed as a protector and associated with royalty. Many of these amulets were engraved with protective motifs - like the circles on some of these - to bolster their magical prowess. These circles may be representative of the symbolic eyes common on Mesopotamian idols; we believe that wide open eyes are a sign of attentiveness to the gods. Provenance: Ex-California Museum of Ancient Art, Condition: Foreleg is missing; small chip from one ear. 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. #120963
Lot 38a
Ancient Near East, probably Syria, ca. 9th to 8th century BCE. A well-carved stone bowl, made to be set into a wall or a tomb and have libations poured through it, with a thin-fingered hand cupped around the underside of the bowl and a flanged, wave form rim on the pipe that extends from one side of the bowl. The upper exterior of the bowl is carved with a rope-like motif immediately under the rim. Custom stand. Size: 3.9" L x 2.5" W x 1.65" H (9.9 cm x 6.4 cm x 4.2 cm); height on stand: 4.25" (10.8 cm).Stone libation bowls have been found throughout the ancient Near East and ancient Mediterranean, but based on frequency of finds, they seem to have originated in the region of modern day Northern Syria. They vary in material used, and in stylistic complexity, of which this stone version is a fine example.See a comparable item, with lion iconography instead of a hand, from the Christie's New York June 4, 2015 auction (Lot 157), that sold for $12500. For a similar example with a palmette on the bowl's base, see no. 233 in O.W. Muscarella, "Ladders to Heaven: Art Treasures from Land of the Bible." Provenance: Ex-private East Coast, USA collection Condition: Intact, with some minor areas of surface encrustation. Iconography is in excellent condition. 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. #120773
Lot 38i
Ancient Near East, Neo-Assyrian period, ca. 800 to 600 BCE. A cast bronze head with a ring for suspension at the top. The head has the grotesque features of Pazuzu, the king of the demons of the wind in the Assyrian and Babylonian religion. His head is often meant to be a combination of lion and dog. Size: 0.5" W x 0.8" H (1.3 cm x 2 cm)Pazuzu is often invoked in apotropaic amulets like this one, especially relating to women and childbirth. An amulet like this one would have been held near or worn by a woman in labor, intended to protect her from the female demon Lamashtu. These were also worn on clothing, pinned like a brooch, to protect a mother with a baby, and a stone example has been found on a necklace in a woman's grave. See a very similar amulet in the British Museum (1962,0514.1). Provenance: Ex-California Museum of Ancient Art Condition: Bright green patina over surface, with some surface cracks as shown. 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. #120971
Lot 41e
Afghanistan or northern Pakistan, Hindu Shahi dynasty, ca. 7th to 10th century CE. A carved stone relief depicting "Narasimha" - the half human and half lion fourth avatar that Vishnu becomes in order to kill the asura by the name of "Hiranyakashipu", with a flowing mane, highly decorated in two beaded necklaces of varying lengths, beaded armbands, and bracelets, and wielding a roped weapon - suggesting that this sculpture depicts the moment when the leonine faced, curly maned figure slayed the demon Hiranyakasipu! This image was created after the cult of Narasimha had assumed regal status in India under Vakataka. Custom stand. Size: 6.125" W x 10.25" H (15.6 cm x 26 cm); 11.125" H (28.3 cm) on stand.According to Hindu mythology, the god Brahma told the demon Hiranyakashipu that he was invincible and could not be killed by either a human or animal, by day or night, and that no weapon could rival his powers. However, his son Prahlada was loyal to Vishnu, despite the fact that his father threatened his life because of this. One day, the demon Naramshimha challenging Prahlada kicked a stone pillar and asked, "If your god is so omnipresent, does he exist in this pillar as well?" At this point, Vishnu emerged from the pillar in the form of the man-lion Naramsimha and fiercely killed the demon!Interestingly, these sculptures were oftentimes painted, and their polychrome finish would have added great drama and life to such icons when viewed and worshipped by devotees in a softly lit temple sanctuary - creating a palpable divine presence. Provenance: Ex-Private New Jersey collection Condition: Losses to peripheries but figure is quite vivid. 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. #120370
Lot 44b
Pakistan and Afghanistan, Gandharan Empire, ca. 200 BCE to 400 CE. An amazing, detailed, and lifelike carving from hard grey schist of a horse's head and neck. The horse has a tightly cropped mane with forelock styled upward in a crest; it wears reins, a bridle, possibly a blinder, and is draped with a robe held in place by a large chain and medallion; all of this is expertly carved from the stone. Comes with custom stand. Size: 4.5" W x 4.55" H (11.4 cm x 11.6 cm); height on stand: 5.9" (15 cm).Gandhara, situated along the Silk Road, collected artistic influences from the East (India) and the West (the ancient Near East and Classical world). Gandharan artisans were supported by Gandharan elites, who made their fortunes on trade and the transit of goods. They would have had extensive contact with the horse-riding nomads of central Asia, and we know that they were also influenced by the larger-than-life figure of Alexander the Great, whose beloved horse, Bucephalus, had multiple cities in the region named after him. The finery that this horse wears, alongside the attention to detail of its mane and tack, emphasizes the importance of the animal to this culture. Provenance: Ex-private East Coast, USA collection Condition: Possible loss to top of mane; slight encrustation in lower profile areas. 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. #120783
Lot 67c
Pre-Columbian, Costa Rica, Guanacaste / Nicoya region, ca. 200 to 600 CE. A hand-carved and string-cut jade figure depicting a transforming shaman - part man, part jaguar - with an expressive visage comprised of wide-opened, circular eyes, flaring nostrils, an open mouth bearing gnashing teeth, and pointy ears, paws held up to chest, squatting on his haunches with nicely delineated limbs. Laterally perforated at the neck to be worn as a pendant. Size: 4" H (10.2 cm)Costa Rica is one of the two regions in which jade was extensively carved in the Pre-Columbian era. This example was cut and carved from an inherently beautiful stone boasting rich green hues mottled with russet and white inclusions. Provenance: Ex-Private Kentucky Collection Condition: Overall excellent. The surface fissures in the stone are natural/inherent to the stone. 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. #119958
Lot 71b
Pre-Columbian, Mexico, Valley of Oaxaca, Zapotec, ca. 500 to 700 CE. A grand necklace comprised of ancient stone disc spacers interspersed with green and white/grey stone barrel/lozenge shaped beads, a central radiating bone bead suspended between two jade tubular beads that are capped with white stone ear flares and white shell cylindrical beads, and finally, at the upper end, a pair of long curved shell beads capped by two white shell beads. Made to impress in a manner reminiscent of those depicted on Zapotec sculptures of seated lords! Size: ~22" L (55.9 cm); central bone pendant measures 1.375" in diameter (3.5 cm); longer jade bead measures 1.875" L (4.8 cm); longer curved bone bead measures 3.75" L (9.5 cm) Provenance: Ex-private New York collection; ex-Patti Birch collection, New York, active in the 1960s - 70s Condition: Surface wear and nicks to a few beads. Overall lovely and wearable. 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. #120906
Lot 73a
Pre-Columbian, Mayan territories, ca. 500 to 950 CE. A magnificent example of a ceremonial hacha depicting an armadillo, hand-carved from a single piece of stone of red-brown hues. Most hachas represent human heads, although the skulls and heads of animals, such as jaguars, birds, bats, deer and monkeys, are also depicted. This representation of a complete armadillo, however, is quite rare and special; the endearing animal is curled up in a seated position and raising his paws so as to eat a tasty treat, its armored body meticulously delineated with horny plates. The word armadillo was adopted from the Spanish term meaning 'little armed one'. As an hacha associated with the Mesoamerican ballgame, the creation of an armadillo effigy is very apropos, as its armor of horny plates signified strength and protection, traits that would very much benefit any ballgame player, though the 'ballgame' was typically of a ritualistic nature. Custom stand. Size: 8.5" W x 10.625" H (21.6 cm x 27 cm); 13.5" H (34.3 cm) on stand Hachas were associated with the ritual Mesoamerican ball game, though they were not actually part of the player's equipment. Instead these were worn during ritualistic ceremonies related to the game. The name stems from the fact that they were believed to be axe-heads; hence the term hacha (Spanish for axe). Based on ceramic figurines and stone carvings, some authors have proposed that they were meant to be attached to yugos (yokes). Others suggest that some of the hachas could have served as ball court markers. While their actual use is still unclear to scholars, they are often associated with yugos in burials. Provenance: Ex-private east coast, USA collection; ex-Harry Franklin Gallery, Beverly Hills, CA 1974. Condition: Intact with nice mineral deposits. Natural surface recesses inherent to the stone. 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. #121158
Lot 78
Pre-Columbian, Mayan Territories, ca. 600 to 950 CE. A striking example of Mayan artistry carved from a roughly rectangular mottled green stone of inherently beautiful verdant green hues with dark forest green inclusions, depicting a frontally facing deity or shamanic lord with an expressive visage comprised of wide-open round eyes, a nose, and downturned mouth, donning a horned headdress and large earspools. Perforated for suspension. Custom stand. Size: 1.25" W x 2.375" H (3.2 cm x 6 cm); 3.25" H (8.3 cm) on stand.This piece is particularly impressive, because the sculptor worked to also include the figure's clawed limbs. The Mayans had a knack for intriguing compositions that departed from perspectival, naturalistic representations and instead utilized the given shape of a stone to convey as much as possible. A masterful demonstration of complex, incised figurative work that creates the impression of a three-dimensional image on a relatively compact, flat surface. A truly stupendous example! Provenance: Ex-private , San Francisco, CA Collection Condition: Tiny nicks to peripheries. Minor surface wear with a few scuffs here and there. Overall excellent. 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. #120130
Lot 81
Pre-Columbian, Costa Rica, Atlantic Watershed, ca. 800 to 1200 CE. A jaguar metate, expertly carved from one piece of volcanic stone with refined dimensions and intricately incised details. Note the details on the head - those gnashing teeth, alert ears, and snarling snout - the wonderful stylized weaving pattern on the head, body surrounding the grinding bowl, and the curling tail. A piece like this would have been used to grind hallucinogenic substances, medicines, etc. for ceremonial rituals. Size: 11.875" L x 5.375" W x 5.125" H (30.2 cm x 13.7 cm x 13 cm)Metates were initially created to grind foods such as corn, certainly a utilitarian purpose; however, they evolved into meaningful ritual objects, replete with strong iconography and intriguing sculptural forms have transformed these objects into much more than a tool. Examples of a larger scale but similar degree of decorative carving and iconographic symbolism were sometimes used to seat a departed lord on his journey to the afterlife. Jaguar imagery symbolized power and might throughout the Pre-Columbian world; hence, warriors, rulers, hunters, and shamans alike associated themselves with this king of beasts, the largest and most powerful feline in the New World. Provenance: Ex-private E. Vaught collection, Atlanta, GA Condition: A few small nicks here and there, though difficult to see. Overall excellent. 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. #120728
Lot 83a
Pre-Columbian, Peru, Chimu, ca. 1100 to 1400 CE. A silver kero or drinking vessel comprised of sheet silver, hammer-molded to form a drinking cup depicting a stylized human/bird head with bold repoussé facial features and coiffure, having a flared headdress adorned with a band of circular motifs, perhaps representing corn kernels as fermented corn beer or chicha was and continues to be a favored beverage in Peru, framed by diagonally striated registers, the flat rim with a finely incised cross-hatched design. Size: 4.125" W x 9.25" H (10.5 cm x 23.5 cm)On the back of the figure's head are two corn cobs modeled in relief, another detail that suggests this beaker was used for ceremonial chicha (corn beer) ceremonies, and that the figure may represent the corn god. A similar example is illustrated in "Rain of the Moon: Silver in Ancient Peru" (Metropolitan Museum of Art, p. 53, ill. 25) The kero form was also created by Huari and Inca cultures as well as other peoples of the ancient world. However, the indigenous of Peru created these for more than domestic purposes. Rather they were used during life and after life at funerary ceremonies that incorporated intricate religious libations and imbibing rites. To create this piece, the ancient metalsmith hammered a silver piece into a very thin sheet, approximately the size of the finished work. Then the artisan used fine-grained stone anvils and hammer stones made of hematite or green porphyry, sometimes with animal hide attached, and a wooden template was used to create the form and its repoussé ornamentation, as the metalsmith hammered the silver sheet upon the wooden template. Provenance: Ex- Neil Becker collection, Harrison, NYC, Ex J. Carpa collection, ex Sotheby's Condition: Silver sheet shows bending, several small losses, tears, and expected tarnish as shown. 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. #120360
Lot 90b
Pre-Columbian, West Mexico, Michoacan area, Tarascan culture, ca. 1200 to 1524 CE. Hand-carved from a dark volcanic stone, this is a figure of a man with a relatively large head and a stylized body. The eyes are wide and round, located on either side of a prominent, triangular nose. The mouth is also wide and round and the face has a clear groove below the cheek line that delineates the lower and upper halves; maybe this refers to a style of tattooing or scarification practiced by the Tarascans. Below the head, the body simplifies: an undecorated torso and legs that are delineated by a groove. The hands meet at the waist, holding the figure's tumescent phallus. Remains of a vermillion pigment, probably cinnabar, can be found in the natural pits on the stone's surface, especially on the top of the head. Comes with custom stand. Size: 6.75" W x 16.75" H (17.1 cm x 42.5 cm); height on stand: 17.3"(43.9 cm).This figure has the rounded style and upturned face that distinguishes the Tarascans from their contemporaries the Zapotecans and the Aztecs. Anthropologists and archaeologists have interpreted the upturned face as a means of expressing adoration, probably for a god. Was this figure carved to be in a temple? Or was it made to adorn one of the elite graves buried in shafts dug into the distinctive rounded Tarascan pyramids, the yacatas? Its mysterious face gives us much to ponder. Provenance: ex-Private Kentucky Collection; ex-Private Los Angeles Collection, acquired in the 1970s. Condition: Surface wear, with small chips from the stone. Remaining pigment in low profile areas. 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. #121157
Lot 91c
Pre-Columbian, Caribbean area, perhaps Dominican Republic, Taino/Arawak Indians, ca. 1200 to 1500 CE. An exceedingly large axe head of an ovoid shape and cinched at the midline, carved from a stone of deep grey-green hues. Interestingly, the shapes of Taino stone axes were unique to particular ethnic groups and created to suit specific uses - whether they be utilitarian tools, as weapons in warfare, or ritualistic objects for ceremonies. Custom stand. Size: 7.375" W x 9.25" H (18.7 cm x 23.5 cm); 10.125" H (25.7 cm) on standAccording to the Taino Museum curatorial team, "Celts were tools employed in cutting trees and working wood. They exist in a great variety of forms. Probably each aboriginal male adult manufactured his own axe. The shape of the axe was related to the ethnic group and to its use in daily life, in war or in religious ceremonies." Provenance: Ex-Alan Davis collection, Santa Fe, NM - Acquired at Tad Dale Gallery, Santa Fe, NM Condition: Chips to each end, presumably from use. Surface deposits and dendrite 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. #120473
Lot 91d
Pre-Columbian, Mexico, Huastec, ca. 1400 CE. A very tall carved grey granite stone figure depicting a praying lord donning grand, crescent moon-shaped ear ornaments in an adoration pose, with large, paddle-like hands to chest, squatting legs, and an upturned visage presenting a solemn, proud countenance, the face skillfully detailed with naturalistic features and a dramatic expression of utter faith. Stepped, black-painted wood stand. Size: 5" W x 17.25" H (12.7 cm x 43.8 cm); 7.5" W x 19.75" H (19 cm x 50.2 cm) on stand Provenance: Ex-private , San Francisco, CA Collection Condition: Surface wear with some abraded areas and old losses as shown. Areas of nice mineral deposits. Minor scuffs to base. 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. #119807
Lot 186
Follower of Isaac Cruikshank Boxing, sparring partners Signed with initials verso also inscribed Sketch at Westminster Baths, Ben Caunt the English Champion 6~2|, 16 stone versus Charles Freeman the American 6~10|, 19 stone and dated 1842 verso Watercolour over pencil 15.5 x 22cm With two cutout watercolours of boxing matches by J.D. Nicholson, c.1860 (3)
Lot 232
Photograph Album HMS Cumberland 5th Cruiser Squadron China & Far East, interesting album compiled by a member of the crew of HMS Cumberland detailing the period of 1933-1935 when the ship was part of the China Fleet. Album starts with a large image of the ship and then has images on the voyage to China and the Far East, visiting Malta and Colombo. Album then has a large number of images taken in Wei-Hai-Wei (Weihai) showing various scenes of architecture including Royal Palaces, tombs, etc. Also many images of local people and traditions. Good images of naval interest and sea planes also in the front part of the album. Album then moves to other areas of China including Hankow and Tsingtao. Images of the Great Wall of China. Album then has images in various areas of Japan, including Geisha girls and Japanese women bathing in hot springs of Beppu. Good selection of images taken in Hong Kong with street scenes, local architecture, sailing junks, parades, Chinese funeral, 27 stone Chief Petty Officer, various other Royal Navy ships in harbour etc. Ship then moves back to mainland China with the city of Amoy, Shanghai, Chefoo (now Yantai), Peking, Chinwangtao. Having similar images of various buildings and locals in these cities. Album ends with images taken in French Indo-China (Vietnam). All images are housed in a Japanese / Oriental album with black lacquer and mother of pearl decoration to the covers. Well annotated and images remain clear. Some pages in the album are coming loose from the binding. (330 images)
Lot 1327
Rowling (J.K.), Harry Potter, 'De Luxe Collectors First Editions', including Philosopher's Stone, Chamber of Secrets, Prisoner of Azkaban, Goblet of Fire and Order of the Phoenix, Bloomsbury, London 1999-2003, hb, decorative pictorial, gilt and coloured cloth, 4to (5); another, The Order of the Phoenix, first edition, Bloomsbury, London 2003, hb, dj, 8vo [6]
Lot 531
Sale Item: LAMBETH STONE JAR (AF) Vat Status: No Vat Buyers Premium: This lot is subject to a Buyers Premium of 15% + Vat @ 20% Additional Info : Lots purchased online with the-saleroom.com will attract an additional charge for this service in the sum of 3% of the hammer price plus VAT @ 20%
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