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Auction Information

Fine Antiquities Asian Ethnographic Art

Thu Dec 02 - 08:00AM


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  • Tall / Translated Egyptian 30th Dynasty

    Tall / Translated Egyptian 30th Dynasty

  • Predynastic Egyptian Naqada III Andesite

    Predynastic Egyptian Naqada III Andesite

  • Fabulous Egyptian Late Dynastic Amethyst

    Fabulous Egyptian Late Dynastic Amethyst

  • Stunning / Large Egyptian Banded

    Stunning / Large Egyptian Banded

Lot: 1 - Tall / Translated Egyptian 30th Dynasty Faience Ushabti

Egypt, Late Dynastic Period, 30th Dynasty, ca. 380 to 343 BCE. A fantastic mold-formed faience ushabti covered in soft turquoise-hued glaze. The figure stands in mummiform with fused legs and a dorsal pillar atop an integral rectangular plinth, holds a raised pick and hoe in hands crossed on the chest, and has a textured strap supporting a seed bag behind the left shoulder. The serene visage bears

Lot: 2 - Predynastic Egyptian Naqada III Andesite Porphyry Jar

Ancient Egypt, late Predynastic to Early Dynastic Period, late Naqada III to 2nd Dynasty, ca. 3100 to 2686 BCE. An incredible example of a squat but sturdy vessel that is hand-carved from andesite porphyry boasting both light and dark green hues as well as glinting mica inclusions. The round-bottomed jar features an apple-shaped body, a rounded shoulder with a trio of integral suspension loops drilled equidistantly around the circumference, and a squat rim with a wide, funnel-shaped mouth. The exterior surfaces save for a small area on the base are highly polished to a lustrous sheen that evokes an elegant and refined presentation. Size: 4.625" W x 3.125" H (11.7 cm x 7.9 cm) In addition to its striking presentation, this jar represents a technological leap forward for the ancient Egyptians. In the early Pre-Dynastic, artisans hollowed out hard stone vessels using hand-held stone borers and abrasive desert sand. Then, during the Naqada II period (ca. 3600 to 3200 BCE), the invention of copper tubes enabled artisans to drill very hard stones (in conjunction with sand as an abrasive) and create more intricate forms or integral details like the lugged handles on this example. However, copper drills only allowed artisans to drill cylindrical items, and so the hollowing out of bulbous vessels like this one still required use of an elongated stone borer in the form of a figure-of-eight. A stylistically similar example, of a larger size, hammered for $62,500 at Christie's, New York "Antiquities" auction (sale 2007, June 4, 2008, lot 38). Provenance: East Coast collection, New York Gallery, New York City, New York, USA, acquired before 2010 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #154307

Lot: 3 - Fabulous Egyptian Late Dynastic Amethyst Goat Amulet

Egypt, Late Dynastic to Ptolemaic Period, ca.664 to 30 BCE. A beautiful amulet of a goat carved from a lovely and nearly translucent amethyst stone. The goat stands on an integral rectangular pedestal with delineated legs. The body is lightly incised with lines to indicate fur texture. Almond-shaped eyes flank the slender snout and petite nostrils, and a short goatee protrudes from his chin. Surrounding each ear is a semicircular horn with lightly incised grooves. Amethyst and other semi-precious stones were cherished for their beauty and amethyst was popular for shaping miniature animals which were used a ritualistic statuary in temples or tombs. This goat is delightfully naturalistic with fine details and may have been used as fertility amulet or an offering to the god Banebdjed. Size: 1.3" L x 0.5" W x 1.25" H (3.3 cm x 1.3 cm x 3.2 cm) In northern Egypt the god Banebdjed was a ram headed deity who was the equivalent to the god Khnum, one of the oldest deities who is the source of the Nile River. Unlike Khnum, Banebdjed was lesser known, but had a cult following in Djedet (Mendes). He was worshiped for his fertility and virility; indeed, he was known as the Lord of Sexual Pleasure. In one myth, the god Ptah even took the form of Banebdjed to ensure a fruitful union with the mother of Rameses II. Greek and Roman provincial rule influenced the depictions of Banebdjed. In later periods his popularity grew, and he was often given billy-goat characteristics, as seen here, rather than ram -sheep. The Greek and Roman’s drew connections between the fertility symbolism of Banebdjed with their satyr god, Pan. Cf. an agate example from the Ptolemaic or Roman Period at The Metropolitan Museum of Art, accession number 30.8.354 This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world's largest database of stolen art, collectibles, and antiques. Provenance: ex-private West Hollywood, California, USA collection; ex-New Jersey collection assembled in the 1980s 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #166427

Lot: 4 - Stunning / Large Egyptian Banded Alabaster Jar

Egypt, Late Dynastic to Ptolemaic Period, ca. 664 to 30 BCE. A beautiful vessel of an elegant form and a generous size, hand-carved from banded alabaster with ample natural veining in warm hues of warm wheat, creamy beige, and caramel. The vessel, possibly a canopic jar, is defined by a flat base, an inverted piriform body, a rounded shoulder which tapers with a corseted neck, and a thick discoid rim. The interior of the jar was painstakingly carved out using a series of progressively finer drill bits and copious amounts of abrasive sand, and the exterior surface exhibits a fine polished texture. A stunning example, positively mesmerizing, especially when held to the light. Size: 5.4" W x 7.2" H (13.7 cm x 18.3 cm) Provenance: ex Hindman Auctions - Fine Furniture and Decorative Arts Sale - July 17, 2018, Lot 585, old Chicago collection formed before 2000 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #160164

Lot: 5 - Egyptian Gold Intaglio Swivel Ring w/ Birds

Egypt, Late Dynastic to Ptolemaic Period, ca. 664 to 30 BCE. This is a beautiful high-quality swivel intaglio gold ring featuring an ibis and a bird on the green bloodstone. The ring band is comprised of a 93% (equivalent to 22K+) gold sheet rolled into a tubular shape, and the terminal tips receive the pin finding for the intaglio. The stone is ovoid, incised with a standing bird in profile, perhaps representing a falcon or other sacred avian creature. This stone is set in a gold bezel that swivels, and when turned over, the gold face is engraved with an elegant, ibis - a long-legged wading bird that was associated with the god Thoth. The bezel and stone are pierced longitudinally and revolves on a gold pin. The swivel enabled this exquisite ring to serve as both symbolic amulet and a signet that could show off either face as the wearer chose. Size (band): 0.67" L x 0.1" W (1.7 cm x 0.3 cm); (band opening): 0.45" Diameter (1.1 cm); (intaglio): 0.36" L x 0.29" W (0.9 cm x 0.7 cm); gold quality: 93% (equivalent to 22K+); weight: 1.6 grams; US ring size 1 Provenance: East Coast collection, New York Gallery, New York City, New York, USA, acquired before 2010 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #159453

Lot: 20 - Cypro-Archaic Limestone Head of a Female Votary

Ancient Mediterranean, Cyprus, Cypro-Archaic to Cypro-Classical Period, ca. 6th to 5th century BCE. An exceptional limestone sculpture of the head of a female votary, expertly sculpted in the round. Gazing forth from wide, almond-shaped eyes beneath a sweeping arched brow, the classic beauty boasts a sweet visage, featuring full cheeks and bowed lips, all supported by a long, elegant neck. An

Lot: 21 - Greek Hellenistic Silver Bowl w/ Floral Motifs

Greece, Hellenistic Period, ca. 3rd to 1st century BCE. A lovely silver bowl decorated with a mesmerizing frieze of floral blossoms and leafy tendrils delineated in such a fine manner - rivaling the truest rendering of the organic nature of these phytomorphic forms. Above this is a narrow register of repeated overlapping leaves framed by a beaded border above and below. The bowl itself is a pleasantly round form, probably once upon a small foot as indicated by the museum resin form used to complete the form, and a flanged upper border. Size: 5.375" in diameter x 3.5" H (13.7 cm x 8.9 cm); quality of silver: 91% on exterior walls, and 98% on interior walls; total weight (including resin) 280.9 grams Provenance: East Coast, USA collection; ex major New York Gallery before 2011 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #146606

Lot: 22 - Greek Hellenistic Core Formed Glass Amphoriskos

Ancient Greece, Hellenistic Period, ca. 2nd to 1st century BCE. A stunning example of a core-formed glass amphoriskos once used to hold perfumed oil. The vessel boasts an elegant piriform body with a drop-shaped base, a sloped shoulder that tapers to form the cylindrical neck, a thick circular rim with an upturned lip to mitigate spillage, and a pair of high-arching trail handles made from

Lot: 30 - Roman Gold Pendant - Coiled Form w/ Incised Motif

Roman, Imperial Period, ca. 1st to 3rd century CE. A stunning gold pendant exhibiting a spiral form reminiscent of a seashell and strung on a modern strand with a lobster claw clasp to be wearable. This dazzling adornment is comprised of a single thick band with pointed terminals and a convex outer face skillfully incised with several registers of dotted and dashed motifs near each end. A slender gold wire wraps around the body of this coiling pendant, which attaches it to a lovely, twisted suspension loop. An elegant combination of ancient art and modern style! Size (pendant): 0.9" L x 1" W x 1.4" H (2.3 cm x 2.5 cm x 3.6 cm); (strand): 22" L (55.9 cm); gold quality: 82% (equivalent to 19.7 karats); weight: 6.4 grams Provenance: East Coast collection, New York Gallery, New York City, New York, USA, acquired before 2010 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #151715

Lot: 31 - Roman Carnelian Intaglio w/ Neoclassical Gold Ring

Roman, Imperial Period, ca. 1st to 3rd century CE; Northern Europe, Neoclassical, ca. 18th to 19th century CE. A beautiful Roman carnelian intaglio incised with the image of a lady facing right and set in a stunning Neoclassical gold ring. Shown in profile, the elegant lady displays a naturalistic eye, a Greek nose, and closed lips, all framed by a thick, wavy coiffure worn in a half-up-half-down hair style. Several collar necklaces adorn her neck while a delicate robe covers her shoulders. The lovely cameo is surrounded by a lustrous gold border of a gorgeous, braided motif as well as a scrolling design along the periphery, while an acanthus leaf shoulder attaches it to the double-banded ring. Size (ring): 1.2" Diameter x 0.9" W (3 cm x 2.3 cm); (intaglio): 0.6" L x 0.4" W (1.5 cm x 1 cm); gold quality: 87% (equivalent to 20K+); weight: 10.7 grams; US ring size: 11.25 Provenance: East Coast collection, New York Gallery, New York City, New York, USA, acquired before 2010 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #159456

Lot: 32 - White Gold Ring w/ Roman Ruby Intaglio of Eagle & Snake

Roman, Imperial Period, ca. 1st to 3rd CE. A dazzling ruby intaglio of ovoid form skillfully hand-carved with the image of an eagle holding a snake and set in a modern white gold ring to be wearable. Boasting a brilliant hue of crimson, the impressive intaglio shows the noble bird in flight with both wings spread above him and his tail flared behind him as he grasps the sinuous body of his

Lot: 33 - Roman Gold & Stone Bead Necklace, ex-Bonhams

Roman, Imperial Period, ca. 2nd to 3rd century CE. A dazzling ensemble of 26 gold sheet and 27 stone beads, all strung in a lovely alternating pattern on a modern strand to be wearable. Each pierced on both sides, the lustrous gold beads are of a convex rectangular form with a high central ridge. Alternatively, the stone beads each present a cylindrical shape in rich hues of ash and charcoal grays. A stunning combination of ancient art and modern style! Size (of largest gold bead, all about the same): 1" L x 0.5" W (2.5 cm x 1.3 cm); Size (of strand): 19.5" L (49.5 cm); Size (of velvet setting): 9.2" W x 8.6" H (23.4 cm x 21.8 cm); Gold quality: 93 to 94% (equivalent to over 22 karats) The ancient Romans accessorized themselves according to age, gender, and social standing. Women generally amassed more jewelry than men, wearing earrings, necklaces, rings, fibulae, and bracelets. The reason jewelry was so important to women was that it was one of the few possessions considered to be their own property, maintained independently of their husband's wealth, and symbolizing their own wealth and elite status. This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world's largest database of stolen art, collectibles, and antiques. Provenance: ex-Middletown, New York, USA collection; ex-upstate New York, USA collection; ex-Bonhams London, Knightsbridge "Antiquities" auction (May 16, 2002, lot 112); ex-Lord Alistair McAlpine collection, Erasmus & Co, Cork Street, London, United Kingdom 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #168330

Lot: 34 - Roman Stone Mosaic Panel - Circular Motifs / Emblems

**This is an oversized piece that may require special shipping. Please inquire for a quote prior to bidding.Roman, Imperial, ca. 200 to 300 century CE. A mesmerizing stone mosaic with hundreds if not thousands of square, rectangular, and triangular stone tesserae of russet brown, creamy white, jet black, and golden yellow ochre hues arranged in an attractive pattern. The composition features three

Lot: 35 - Translated Roman Round Mosaic - Household Dedication

**This is an oversized piece that may require special shipping. Please inquire for a quote prior to bidding.Roman, the Levant, late Imperial Period, ca. 3rd to 5th century CE. A very special stone mosaic panel of a circular form with a household dedication composed of 12 lines of meticulously delineated Greek text surrounded by a decorative border featuring (from the top and clockwise): a passage

Lot: 36 - Roman Stone Mosaic - Ivy Vine w/ Heart-Shaped Leaves

**This is an oversized piece that may require special shipping. Please inquire for a quote prior to bidding.Roman, the Levant, late Imperial Period, ca. 3rd to 5th century CE. An elegant mosaic presenting a meandering tendril of heart-shaped ivy leaves. The design is comprised of square and triangular stone tesserae in hues of sunny yellow, russet red, and dove grey against a creamy white ground

Lot: 37 - Roman Marble Torso of a Nude Male Youth

Roman, Imperial Period, ca. 1st to 2nd century CE. Finely carved from white marble, a torso of a male, nude presenting well-defined male genitalia and overall anatomy as well as a wonderful suggestion of movement. His weight is ever-so-slightly shifted to his left leg and his right leg slightly shifted to the side raising his hip just a tad. Notice also how the figure's pelvis and thorax tilt in opposite directions, presenting a rhythmic sense of motion that suggests lifelike energy in this figure. Such calculated poses intended to conjure human vitality in sculpture were inspired by the works of Polykleitos and became the model to which sculptors aspired in Graeco-Roman as well as later Western European art. A wondrous and well-modelled example, capturing a virile and elegant male body. Size: 4.2" depth x 6.18" width x 8.86" height (10.7 cm x 15.7 cm x 22.5 cm) Provenance: East Coast, USA collection; ex collection, Bavaria, Germany, since 1980; accompanied by Art Loss Register Certificate #S00052827 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #156000

Lot: 38 - Over-Lifesize Roman Basalt Head of Serapis

**This is an oversized piece that may require special shipping. Please inquire for a quote prior to bidding.Roman, Imperial Period, ca. 1st to 3rd century CE. A finely sculpted basalt head of Serapis wearing a modius crown. Serapis, god of fertility and the afterlife, was a Graeco-Egyptian god who first appeared around the time of Alexander the Great and later adopted into Roman religion. Presented here with a full beard and mustache as well as an expressive visage framed by thick, wavy locks. Serapis is a combination of the attributes of the Egyptian god Osorapis (himself a composite of Osiris and Apis) with the attributes of several Greek gods including Zeus, Hades, Helios, and Dionysus. Ancient Romans did not typically respect the deities and belief systems of other ancient cultures, however those in the Greek and Egyptian pantheons were revered. Size: 15.5" H (39.4 cm); 22" H (55.9 cm) on included custom stand. The god Serapis was originally created by Ptolemy I of Egypt as a means of unifying the Grecian and Egyptian cultures around the 3rd century BCE, though Romans were quick to adopt the cult of Serapis in favor of other overarching deities such as Osiris around the 4th century CE. From the late Hellenistic through to the Roman period, the cult of Serapis increased in importance, and his image was disseminated throughout the ancient world of the Mediterranean. Perhaps this example was modeled upon the Serapis of Bryaxis, created by the Greek sculptor in the 4th or 3rd century BCE for the Serapeum at Alexandria. This prototype inspired centuries of art, in which the god was represented seated, a sceptre in his left hand, his right hand resting on a figure of Cerberus, and wearing a chiton and himation, with a modius - a flat-topped crown so named because of its resemblance to a jar used as a type of grain measure - atop his head. This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world's largest database of stolen art, collectibles, and antiques. Provenance: East Coast collection, New York Gallery, New York City, New York, USA, before 2010; ex-Frances Artuner collection, Belgium, acquired in the 1960s 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #142464

Lot: 39 - Lifesize+ Roman Basalt Head of God Apollo

**This is an oversized piece that may require special shipping. Please inquire for a quote prior to bidding.Rome, Imperial Period, ca. 3rd century CE. A larger-than-life head of the god Apollo, skillfully hand-carved from basalt. The youthful god of music, the sun, light, poetry, prophesy, healing and more is depicted in an idealized manner with "pretty boy" features - huge, almond-shaped eyes with heavy lids, a defined nose, a prominent philtrum, bow-shaped, pursed lips - on that elegant, oval face that tapers to a soft, gently jutting chin. Supported by a broad neck, the divine visage is crowned by a thick waves of hair that dramatically flow upwards in a halo-like manner, topped by classic topknot; reminiscent of the famous Apollo Belvedere (ca. 120 to 140 BCE). Size: 10.75" L x 10.5" W x 14.5" H (27.3 cm x 26.7 cm x 36.8 cm) This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world’s largest database of stolen art, collectibles, and antiques. Provenance: private New York, USA collection; ex-private United States collection, acquired in the 1960s, imported in the late 1980s 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #164986

Lot: 40 - Important Roman Antonine Marble Bust of a Woman

**This is an oversized piece that may require special shipping. Please inquire for a quote prior to bidding.Roman, Imperial Period, Antonine, ca. mid to late 2nd century CE. A beautiful bust of a woman with her hair parted at the center as was popular during the Antonine period. The marble itself is very pale in hue, with limited grey bands through it. Her face is serene, with large eyes drilled to have deep pupils, a delicate nose, and a small mouth, slightly turned up at the corners. Her hair is carved to be in twisted, thick strips that flow from a deep central part, with two small curves of hair at her ears that rest against her cheeks. The rest of her hair is wrapped up in a loose bun at the back of her head. She wears a peplos, a tunic worn by women, that is fastened at both shoulders with small round brooches. Tied in a loose knot at her chest is a himation which is also draped around her shoulders. Size: 6.7" W x 12.6" H (17 cm x 32 cm); 13.9" H (35.3 cm) on included custom stand. Below this, the sculpture swoops inward to a narrow, squared-off plinth atop a round pedestal foot. The front of the plinth may have once had an inscription attached, perhaps in bronze, as there are two incised grooves on its front face. A beautifully sculpted, lifelike memorial! This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world's largest database of stolen art, collectibles, and antiques. Provenance: East Coast collection, New York Gallery, New York City, New York, USA, acquired 2011; ex-Gorny & Mosch, Munich, Germany, sale 198, June 29, 2011, lot 14 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #146829

Lot: 41 - Etruscan Revival Gold Brooch w/ Ancient Jasper Scarab

Classical World, Central Italy, Etruria, ca. 4th to 3rd century BCE; Europe, Etruscan Revival, ca. 19th century CE. An elegant jasper scarab intaglio and a high-quality gold brooch setting with filigree and delicate gold granulation! The 91% (equivalent to 21K+) gold brooch setting is a fully functional Etruscan Revival style, that is extensively decorated with granulations and filigree work. The ancient beetle is skillfully incised with lines for winglets and well-defined legs, all on the highly domed and wine-red stone. A gold pin is set through the scarab's central piercing to secure the stone within an ovoid bezel - the lip is decorated with a filigree rope and granulated spheres. The bezel is open to view the underside of the jasper - etched with a stooped man and a staff carrying a load on his back. The rest of the brooch rectangular panels are accented with flowers that are formed with the same beautiful wire twist rope border and granulation. Size: 2.5" L x 0.85" W (6.4 cm x 2.2 cm); gold quality: 91% (equivalent to 21K+); total weight: 11.9 grams The scarab, beloved in ancient Egypt as a sacred beetle, was an emblem of Khepri (also Kephera, Khepera, Khepra), the creator. Given that the word 'kepher' means creation, existence, being, or becoming, the god Khepri, by extension, was regarded as the creator of all. Symbolic of resurrection and fertility, carved scarabs served two primary roles: as personal seals to identify the property of the individual whose name was placed upon them and as amulets possessing spiritual and protective powers. In either case, the scarab was thought to possess immense power. Serving as the owner's signature, the scarab brought about wealth and prosperity during the individual's lifetime. During the afterlife, the scarab was thought to bring about rebirth and eternal life. Provenance: East Coast collection, New York Gallery, New York City, New York, USA, acquired before 2010 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #159444

Lot: 42 - Fine Early Byzantine Gold Openwork Earring w/ Peacocks

Ancient Near East, Holy Land, early Byzantine Empire, ca. 6th to 7th century CE. This is a gorgeous high quality 80.65% gold (equivalent to 19K+) openwork earring featuring a crescent shape with an intricate bird pattern. The earring was created from a flattened gold sheet, cut to leave the positive silhouettes of two peacocks flanking a central flower or palm tree within a circle, and finely etched details highlight the head and feathers of the birds and foliage. The tips of the crescent have granulated spheres that decorate the base of a thick wire and loop clasp; the arched wire is the original hook that would pass through the wearer's earlobe. Peacocks were a popular theme in jewelry, symbolizing beauty, immortality, and to ward off the evil eye! Size: 1.4" L x 1.12" W (3.6 cm x 2.8 cm); gold quality: 80.65% (equivalent to 19K+); weight: 4.1 grams For a strikingly similar example of Byzantine gold earrings with peacocks, please see The Metropolitan Museum of Art, accession number BZ.1952.13.1-2 (Byzantine Collection, Dumbarton Oaks, Washington, D.C.). Provenance: East Coast collection, New York Gallery, New York City, New York, USA, acquired before 2010 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #142743

Lot: 43 - Pair of Byzantine Electrum Hoop Earrings

Ancient Near East, Byzantine Period, ca. 5th to 7th century CE. A dazzling pair of electrum earrings, each presenting an ovoid hoop form with a thin, cylindrical band and a hollow, biconical adornment at the center. Slender electrum wires adorn the bands of each earring, coiling around the areas on either side of the biconical pendants, while rope-motif wires wrap horizontally around the center of each gorgeous accessory. Both bands open just before the wire-wrapping on one side, allowing the band to be slid into a piercing hole. A marvelous pair of earrings, perfect for any occasion! Size of larger: 1.7" W x 1.6" H (4.3 cm x 4.1 cm); metal quality: 47% gold, 35% silver; total weight: 14.3 grams Provenance: East Coast collection, New York Gallery, New York City, New York, USA, acquired before 2010 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #142758

Lot: 44 - Superb Byzantine Gold Cross w/ Garnet Cabochon

Near East, Holy Land, Byzantine empire, ca. 6th to 8th century CE. A lovely 89% gold (equivalent to 21K+) cross pendant with solid conical arms presenting hexagonal faceted sides that taper slightly as they meet at the circular bezel housing a wine red garnet cabochon. An integral loop is attached on the top of the arm for suspension. The religious art from this time period reflected Christian beliefs, and the cross replaced the previous Roman Christogram, becoming a widespread religious symbol during the Byzantine empire. This gold pendant was perhaps created for an elite individual to display both wealth and religious devotion. Strung on a modern cord with a silver-plated lobster clasp to be wearable. Size of pendant: 1.06" W x 1.18" H (2.7 cm x 3 cm); cord: 19.5" L (49.5 cm); gold quality: 89% (equivalent to 21K+); total weight: 10 grams The Byzantine period was a time of intense religiosity and immense wealth devoted to religion. On the backdrop of the Crusades and the split between the Eastern and Western branches of the Church, religious jewelry like this played a significant role. Not only did it symbolize one's status, but it also served as a diplomatic tool. Interestingly, Emperor Justinian established laws (later called the Justinian Code) that among other things regulated the wearing of jewelry. He stated that sapphires, pearls, and emeralds were reserved for the emperor; however, every free man was actually entitled to wear a gold ring. This suggests widespread popularity of jewelry, and indeed, wealth abounded in the Byzantine Empire, there were gold mines within its borders, making gold more easily accessible. Cf. an ornate example that hammered for $10,575 at Christie's, New York "Ancient Jewelry" auction (sale 9826, December 5, 2001, lot 143). This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world's largest database of stolen art, collectibles, and antiques. Provenance: private Bel Air, Maryland, USA collection, acquired October 23, 2020; ex-Artemis Gallery; ex-Estate of Eldert Bontekoe, Pegasi Numismatics, Ann Arbor, Michigan, USA acquired before 2000 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #168374

Lot: 45 - Translated 5th C. Byzantine Marble Altar Tabletop

**This is an oversized piece that may require special shipping. Please inquire for a quote prior to bidding.Holy Land, Late Roman / Early Byzantine Period, ca. mid-5th to 6th century CE. A marvelous marble altar tabletop of an immense scale and a rectangular form. The elegant piece displays a recessed central basin and a raised rim inscribed with Ancient Greek text along one long side and Syriac

Lot: 46 - 6th C. Byzantine Marble Relief - Peacocks & Fountain

**This is an oversized piece that may require special shipping. Please inquire for a quote prior to bidding.Near East, late Roman / Byzantine Period, ca. 6th century CE. An exemplary marble sarcophagus panel, finely sculpted with the elaborate image of 2 peacocks drinking from the fountain of life, surrounded by sinuous grape vines and several other animals. Confronting one another, the beautiful

Lot: 47 - 8th C. Viking Silver Ring - Target / Guilloche

Northern Europe, Scandinavia, Viking or Norse culture, ca. 8th to 10th century CE. A striking ring formed from a single, slender band of silver. Presenting with undulating peripheries, the exterior of the ancient ring is incised with a lovely pattern of repeated target motifs surrounded by a swirling guilloche design. Both Viking women and men wore silver accessories like this ring as signs of visual wealth and would often deposit them in rivers as offerings to gods. Size: 0.8" Diameter x 0.3" W (2 cm x 0.8 cm); silver quality: 84.38%; weight: 3.5 grams; US ring size: 7.75 Provenance: private Pembroke Pines, Florida, USA collection, acquired in 1996 via inheritance in Hollywood, Florida, USA 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #162624

Lot: 50 - 2 Translated Neo-Sumerian Clay Foundation Cones

Ancient Near East, Mesopotamia, Sumer, city of Lagash, Neo-Sumerian Period, reign of Gudea of Lagash, ca. 2144 to 2124 BCE. A lovely pair of hand-built clay foundation cones of conical forms bearing tapered points and discoid heads. Each cone bears 12 columns of inscribed cuneiform script that is formed by impressing a sharpened reed or stick into the still-wet clay just prior to being placed inside of a kiln. Clay nails like this are also referred to as dedication pegs or funerary pegs; they were inscribed, baked, and stuck into walls made of mud bricks to mark ownership either by a god or a ruler. These dedications sometimes include stories or boasts about the rulers they describe and are some of our earliest sources of written royal history. When translated these cones read, "For Ningirsu, the mighty warrior of Enlil, Gudea, governor of Lagash, who built the Eninnu (temple) of Ningirsu, (also) built his Epa, the temple of seven sectors." Size of each (both are relatively similar): 5.05" L x 2.08" W (12.8 cm x 5.3 cm) Cuneiform script is one of the oldest known writing systems in the world, made using a reed as a stylus and scratching wedge-shaped marks onto clay tablets. Early cuneiform was pictographic, but in the 3rd millennium BCE it shifted to the more abstract form you see here. These cuneiform objects are some of the roughly 2 million known from this culture; of these, between 30,000 and 100,000 have been translated. The earliest translations came in 1836 from the work of French scholar Eugene Burnouf and by the 1850s multiple scholars were able to produce similar translations, meaning the language had been deciphered. Provenance: East Coast collection, New York Gallery, New York City, New York, USA, acquired before 2010 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #138550

Lot: 51 - Published Anatolian Beycesultan Marble Idol, ex Ede

Ancient Near East, modern day Turkey, Anatolia, Beycesultan type, Early Bronze Age I-II, ca. 3200 to 2300 BCE. A captivating, hand-carved marble figural effigy of an abstract form known as a 'violin' idol due to how it resembles the stringed instrument. The figure is of a relatively flat form and features an oblong body with protruding hips, a corseted abdomen beneath minimalist, attenuated arms,

Lot: 52 - Anatolian Kurusa Terracotta Incised Violin Idol

Ancient Near East, Anatolia, Caypinar region, Early Bronze Age II, ca. 2700 to 2300 BCE. An incredibly preserved, Kusura-type (also Kasura) pottery idol of an abstract anthropomorphic form. Also known as a violin idol, the ancient figure is hand-built with a wide, flat body, a pinched head, a narrow leg, and a circular, flared foot. Its body is skillfully adorned with incised, parallel striations forming a downward point on both sides with each striation separating by a dotted pattern and a zigzag line at the bottom. The meaning and function of such idols remains an enigma without any written records from this era. Archaeologists have theorized that, since fertility was prized by these peoples, the violin idol probably took inspiration from the female anatomy, albeit in a highly abstruse manner. Size: 3" W x 4.2" H (7.6 cm x 10.7 cm); 4.7" H (11.9 cm) on included custom stand. Kusura idols come from the village of Kusura in southeastern modern-day Turkey. Votive idols like this one are known in a variety of fascinating forms throughout the pre-literate ancient world. From the truly abstract Kilia-type figures that are barely recognizable as human to the exaggerated feminine shapes of so-called "Venus" figures, people in the past, as today, had a clear desire to portray human forms and did not feel constrained by naturalism. This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world's largest database of stolen art, collectibles, and antiques. Provenance: private New York, New York, USA collection; ex-Basil W. R. Jenkins collection, California, USA, acquired 1980s 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #166961

Lot: 53 - Beautiful Pair of Parthian Gold Earrings

Ancient Near East, Parthia, ca. 2nd century BCE to 2nd century CE. A gorgeous pair of intricate earrings with loop-form bodies suspended by modern gold-plated wire to be wearable. Identical in form, each beautiful earring presents an arch-like body with a pointed tip and thick mid-rib, all adorned by thin wires wrapping around each projecting arm and 8 applied granules: 3 surmounting each arm and 1 just below each arm. A stunning and wearable testament to the everlasting allure of both aesthetic beauty and conspicuous consumption, perfect for any occasion! Size without ear wire (both the same): 0.9" L x 0.8" W (2.3 cm x 2 cm); Size with ear wire (both the same): 1.7" L (4.3 cm); quality of gold: 95% (equivalent to 22.8 karats), ear wires are 14 karat gold-plated sterling silver; total weight: 13.7 grams Provenance: East Coast collection, New York Gallery, New York City, New York, USA, acquired before 2010 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #151693

Lot: 54 - Islamic Sasanian Gold Ring w/ Agate Intaglio of Stag

Ancient Near East / Central Asia, Sassanian (Sasanian / Sasanid), middle Sassanian Empire, ca. 3rd to 7th century CE. A beautiful gold ring with a large raised bezel housing a square Sassanian eye agate intaglio incised with a buck oriented to the left with his head boasting a massive rack facing the opposite direction - flanked by calligraphic flourishes, likely of Middle Persian script. The impressive animal stands atop 4 slender legs beneath a powerful body, as a short stubby tail extends from his posterior and a pair of ribbons project outwards from his neck. The agate stone itself is dark chocolate brown to black on top with white and caramel brown inclusions along the sides, creating an stunning, natural frame for the ancient animal. Size (ring): 1.2" Diameter x 0.8" W (3 cm x 2 cm); (intaglio): 0.6" L x 0.6" W (1.5 cm x 1.5 cm); gold quality: 83% (equivalent to 19K+); weight: 14.7 grams; US ring size: 8 The intaglio is cut into a square shape, perhaps to fit the ring, and is attached to the thick gold band via a shoulder of tiered granules on one side, creating an elegant, asymmetrical silhouette. Sasanian stamp seals with the same motifs can be found at the Metropolitan Museum of Art under accession number 74.51.4413 and the Louvre Museum under principal number AO6242. Provenance: East Coast collection, New York Gallery, New York City, New York, USA, acquired in 2019; ex-private southern California, USA collection, acquired before 2000 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #159455

Lot: 60 - 20th C. Yemen Steel, Copal, Gold & Silver Jambiya Knife

Near East, Oman / Yemen, ca. early to mid-20th century CE. This is a gorgeous ceremonial steel jambiya knife with a lavish handle of copal adorned with high quality gold, silver, and copper appliques, all with the original leather and wood sheath! The double-edged blade is quite sharp and has a raised midrib, the tang is covered by an ornate grip with an 83% silver cap with lovely cast patterning. The handle is made from a copal resin with a lustrous citrine hue. The 95% (equivalent to 23K+) gold sheets, Indian Zecchino coins, and high-quality 88% silver ornaments are attached to the grip, pommel, and just above the guard cap - each hammered from sheets into repousse geometric patterns and held in place by copper rivets. The sheath is made from a lightweight wood, then covered with a dark leather panel - stitched up the center of one face. Size (blade): 7.3" L x 2" W (18.5 cm x 5.1 cm); (w/ sheath): 12.85" L x 2.5" W (32.6 cm x 6.4 cm) gold quality: 95% to 98% (equivalent to 23K+); silver quality: 83% to 88% The jambiya handle indicates the status and wealth of the man that carries it - such knives were worn as ornamental pieces of status. Yemen and Oman are at the tip Arabian Peninsula - the center of trade routes between East Africa - where copal originates - and India. Jambiya knives were traded to travelers and this popular curved form was adopted by many cultures including the Ottoman Empire, Somalia, Persia, and Indian Mughals. Provenance: private Lafayette, Colorado, USA collection 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #168364

Lot: 61 - Rare Gandharan Stucco Head of a Bodhisattva with Turban

Central Asia, Pakistan, India, and Afghanistan, Gandharan culture, ca. 2nd to 3rd century CE. A rare and remarkable stucco head of a man, likely a Bodhisattva, adorned in vivid hues of peach, powder blue, cerise, chocolate, and cream. The expressive visage tilts skywards, appearing awestruck as he displays a wrinkled forehead above arched brows, naturalistic, almond-shaped eyes that gaze upward,

Lot: 62 - Indus Valley Bone & Stone Spindle Whorl Bead Necklace

Ancient Central Asia, Indus Valley, Harappan/Mohenjo-Daro civilization, ca. 2700 to 2000 BCE. A wonderful necklace of wearable form constructed with dozens of spindle whorl beads carved from bone or stones of various colors. Presented in hues of coral, khaki, tan, beige, slate gray, black, brown, and pistachio, the necklace features several beads of cylindrical form with segmented bodies along the upper strands that give way to thicker discoid spindle whorl beads towards the center. Most of the beads are embellished with lightly drilled circular motifs that resemble a multitude of eyes staring out at the viewer. A sumptuous accessory that is certain to be the talk of any social gathering! Size (necklace): 36.5" L (92.7 cm); (largest bead): 1.48" W (3.8 cm) Provenance: ex-private Southern California, USA collection, in the USA since 1997 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #167404

Lot: 63 - 19th C. Mughal Gold Pendant- White Topaz, Glass, Rubies

South Asia, Northwestern India, Mughal Empire, ca. 19th century CE. This is a stunning Mughal pendant made of high-quality gold inlaid with green glass and Kundan stones of white topaz and rubies! The piece is cast into a semicircular shape, the flat panel verso containing 3 band loops and a pendant bail for suspension as a belt or turban piece. The front is then decorated with 40 white topaz cut and faceted into diamond shapes, 8 petite rubies along the lower edge, and 14 pieces of green glass - all in the Kundan type of setting. The stones are arranged with a crescent at the center, flanked by two birds. The amazing craftmanship of this piece is a combination of Iranian Islamic and Indian Hindu artistic practices that came together under the Mughal empire. Mughal elites adored precious stones, not just for their beauty, but also for protective and magical properties that they believed each stone possessed. Size: 3.24" L x 0.15" W x 1.5" H (8.2 cm x 0.4 cm x 3.8 cm); gold quality: 91.31% to 91.82% (equivalent to 21K+ to 22K+); total weight: 63.6 grams When the Mughals conquered India from Central Asia, they brought the technical skills of setting gems and incorporated the traditional Indian styles of goldwork - including Kundan - into their jewelry that contained Middle Eastern elements - such as intricate floral patterns and heavy stonework, as seen here. Kundan stones (Kundan meaning "highly refined gold") is the traditional North Indian Rajasthan way of setting gemstones in a gold foil between the other stones, and the pure molten gold helped achieve the tight setting. Jewelry was a crucial part of visual authority for Mughal rulers, and strategic marriages between Mughal royalty and members of Rajput aristocracy were often arranged - for both political reasons and Rajasthan's renowned jewelry production. In order to enforce their high social status, the Mughals passed Sumptuary Laws that decreed only members of the upper class could wear opulent jewelry. Provenance: private San Francisco, California, USA collection 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #168393

Lot: 64 - 16th C. Tibetan Iron Lidded Bowl w/ Silver Inlay

Central Asia, Tibet, ca. 16th to 17th century CE. A stunning iron bowl presenting a discoid foot, curved walls, a flared rim, and a circular lid. The exterior has been elaborately adorned with silver inlay that forms a swirling vegetal design of meandering vines and blooming flowers along the walls and lid, as well as a repeated pattern of spiraling silver motifs decorating the peripheries of the foot, rim, and lid. An elevated tondo at the center of the lid is additionally embellished by swirling, phytomorphic decoration. The lid is attached via a hinge at one side and a rectangular latch at the other, while a pair of horizontal strap handles sit across from one another just below the rim. Size: 7.3" Diameter x 4" H (18.5 cm x 10.2 cm) Provenance: private New Jersey, USA collection 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #165026

Lot: 65 - Japanese Muromachi Steel & Lacquered Wood Wakizashi

East Asia, Japan, late Muromachi period, ca. third quarter of the 16th century CE. A beautiful wakizashi with a single-edged blade, a lacquered (urushi) wood scabbard (saya), and a handle (tsuka) wrapped with reptile skin and cotton straps (tsuka-ito) topped with a brass cap (kashira). A pair of handle ornaments (menuki) depict two mice on one side and a bird resting near a leaf on the other. The minimalist hand guard (marugata tsuba) rests between a pair of copper blade caps (fuchi). The shinogi-zukuri steel blade has a higher ridge line than the typical shobu-zukuri design, a diamond-shaped (iori-mune) profile, and a gently curved tip (chu-kissaki), all forged by the tight-grained hammer-folding process (itame-hada) with an irregular wavy temper pattern (gunome-choji). The blade tang has been intentionally shortened (o-suriage) to better accommodate the handle. Size (w/ sheath): 2.56" W x 32.1" H (6.5 cm x 81.5 cm); (blade): 19.9" L (50.5 cm) This traditional Japanese sword was both a weapon and a symbol of authority and social status. The wakizashi paired with the longer katana sword marked the wearer as a samurai. The shorter sword was seen as an auxiliary weapon, also used for fighting in close quarters. Wakizashi could also be worn by non-samurai if worn alone, and members of the merchant class (chonin) wore them because of the frequency of encountering bandits when traveling between Japan's cities. Over the centuries that katana and wakizashi were made, the process of their manufacture became heavily regulated. For example, in 1683, the Tokugawa Shogunate made laws concerning the maximum size of katana and wakizashi. Meanwhile, once a samurai took ownership of his new weapon, he had to wear it in a highly regulated manner. Wakizashi and katana in this period were both deadly weapons and signs of prestige. The craftsmanship of this piece is evident and reflects hundreds of hours of work. Provenance: private Jones collection, Boulder, Colorado, USA; ex-private Sacramento, California, USA collection 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #168333

Lot: 66 - Japanese Meiji Porcelain, Silk, & Wood Samurai Doll

East Asia, Japan, Meiji Period, ca. late 19th to early 20th century CE. A fine ceramic and cloth doll representing a samurai or shogun, sitting in a commanding and upright position on a separate black lacquer camp or field chair. He is richly dressed in a silk brocade with metallic threads in the trim around his sleeves. The armor is made of brass segmented panels and breastplate, attached with red and white cords woven through the plates. The body under the clothing is a simple wooden frame with rods as legs and black wood feet. Both hands are ceramic, the fingers on both are molded into a curled grip that once held a separate sword or other weapon. The ceramic head is also beautifully rendered with naturalistic glass eyes and horsehair pulled into a topknot. This is a special warrior doll known as a musha-ningyo that was made to celebrate Boy's Day to inspire bravery and courage. The dolls were elaborately dressed and represented ideal heroes and strong leaders from history and legends. Size: 8" L x 15" W x 10" H (20.3 cm x 38.1 cm x 25.4 cm) The samurai tradition is treasured and unique to Japanese history. The samurai was the venerated guardian of the people, trained from birth to live up to his birthright and work toward the highest honors of his elite class. This class was second only to the Imperial family in the Japanese social hierarchy. Given their place in society, the samurai were great patrons of many artforms, including swords, armor and fittings which were considered works of art. Hence, "Bushido" or "Way of the samurai" is an important aspect of Japanese society. During the Meiji period (1868-1912) and the restoration of the emperor as the locus of power, the musha-ningyo dolls often represented characters that were the most devoted and loyal to the emperor, a subconscious political message to the boys that received these dolls. Provenance: private Hawaii, USA collection, 1995 to 2010 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #168414

Lot: 67 - Fine Chinese Warring States Bronze Short Sword

East Asia, China, Warring States Period, ca. 475 to 221 BCE. A fabulous example of a short sword known as a duan jian that exhibits a classic form, all formed from bronze via the lost wax (cire perdue) technique. The attractive armament features a double-edged blade with sharpened peripheries, a raised, prominent midrib running the length of both faces, and a pointed tip, all beneath a trapezoidal hand guard with a central crest. The tubular handle bears a pair of ringlets which facilitated the grip of the warrior who wielded it, and a slightly flared discoid pommel ensured that his hand would not accidentally slip off during the heat of battle. Covered in mottled layers of russet, brown, and green patina, this is a lovely weapon from ancient China! Size: 21.9" L x 1.875" W (55.6 cm x 4.8 cm) Cf. The Metropolitan Museum of Art, accession number 1992.298.2 Provenance: private New York, USA collection, purchased ca. 2000 from an old US family collection, assembled in the 1970's-1990's 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #168429

Lot: 68 - Chinese Ming Marble Pagoda Roof Spire w/ 8 Immortals

**This is an oversized piece that may require special shipping. Please inquire for a quote prior to bidding.East Asia, China, Ming Dynasty, ca. 1368 to 1644 CE. An exceptional pagoda roof spire skillfully hand-carved from creamy white marble and presenting an octagonal base and rounded top. Expertly rendered, the fabulous example has been sculpted to show the image of a lotus flower at its top and 2 decorative horizontal registers along its body, each comprised of 8 panels. The top register is adorned with the depiction of a figure in each panel, likely intended to represent the Eight Immortals, who are considered a symbol of prosperity and longevity. One of the panels features 2 lines of Chinese script flanking one of the characters. Meanwhile, the panels of the lower section each feature an animal or symbol with 2 presenting a cabbage leaf, 2 displaying a monkey, 3 showing a foo dog or dragon, and 1 featuring a motif of a rhomboid inside a circle, representing eternity. This piece was likely previously located at the top of a pagoda to hold serve as the base of the spire. Size: 21" W x 19" H (53.3 cm x 48.3 cm) This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world’s largest database of stolen art, collectibles, and antiques. Please note that this piece is extremely heavy and will require special crating. Please inquire prior to purchase for a quote. Provenance: private Hawaii, USA collection; ex-private M. Kobiashi collection, Hawaii, USA, 1960 to 2000 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #164895

Lot: 69 - Chinese Ming Marble Architectural Elements (pr)

East Asia, China, Ming Dynasty, ca. 1368 to 1644 CE. An exceptional pair of architectural elements, each skillfully hand-carved from cream-hued marble to present a rectangular base, a projecting cuboid foot, and a large disc adorned with the relief tondo of 2 fu lions or foo dogs on one side and a lotus flower on the other. Facing one another, each of the mythical creatures displays a strong body

Lot: 70 - Large 17th C. Burmese Gilt & Lacquered Seated Buddha

Southeast Asia, Burma (Myanmar), ca. 17th to 18th century CE. A sizable, hand-carved wooden rendition of Buddha seated with crossed legs atop an integral, tiered plinth with flowers, leaves, and incised crosshatch motifs, all enrobed in dark brown lacquer and accentuated with golden gilt. Buddha presents with an upright posture, wears a folded robe over his left shoulder, and positions his hands in the Bhumisparsha - or "earth witness" - mudra. Incised striations delineate the lining of his vestments, sleeve and ankle cuffs, individual fingers, and his neckline. His countenance bears serene, downcast eyes beneath heavy lids and sweeping brows, a slender mouth above a rounded chin, elongated ear lobes signifying his renunciation of materialistic wealth, and a thick brow band, all beneath a nodule-form coiffure and a piriform flaming ushnisha finial. A hollow interior cavity beneath the base was intended for worshippers of Buddha to insert written prayers and holy scriptures. Size: 11" W x 30" H (27.9 cm x 76.2 cm); 32.25" H (81.9 cm) on included custom stand. Buddhas can display various mudras (hand gestures or poses) that represent historical moments in Buddha's life, forms of meditation, or a symbolic combination of both. This Buddha displays the Bhumisparsha (earth touching) mudra, with the right hand placed over the right knee, palm inward, reaching towards his lotus throne and beyond this, the earth. He places his left hand in his lap with the palm upwards toward the celestial realm. This mudra represents the moment of his awakening, as Buddha defeated the demon Mara, and claimed the earth as his witness to his enlightenment. An impressive example of Buddhist visual culture, replete with immense artistry and numerous layers of meaning. A breathtaking symbol of peace, representing wisdom, balance, generosity, and compassion. Provenance: private Hawaii, USA collection, 1995 to 2010; ex M. Kobiashi collection, Hawaii, USA, 1960 to 2000 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #168096

Lot: 71 - Rare 18th C. Java Iron & Gilt Copper Snake Belt Buckle

Southeast Asia, Indonesia, Java, Surakarta, ca. 18th to 19th century CE. This is a beautiful iron and gilt copper belt buckle and fitting, shaped as intertwining serpents known as a Timang ular-ular (ular is snake, and timang is buckle). The gilt copper inlay is known as suasa, a popular type of metalwork in Indonesia, and it adds a lovely warm shimmer, highlighting the accent shapes and eyes of the snakes. The buckles are elongated with two entwined snaked forming the frame, their tails wrapped around the neck of the other, and a central bar with an articulating prong is also formed from two serpents. The fitting for the belt strap has the same snake ornamentation and a thick flat panel that has a faint Javanese inscription on the verso. These handsome belt buckles were worn in the courts of Surakarta as signs of wealth and prosperity. Size (buckle): 2.75" L x 2.75" W (7 cm x 7 cm); (belt fitting): 2.5" L x 1.5" W (6.4 cm x 3.8 cm) The intertwining snake was a popular symbol of fertility and were associated with the goddess Dewi Sri (Nyi Pohaci), who represented prosperity, including agricultural success. The rice paddy snake symbolized both the goddess and the rice fields she watched over. Snakes were revered and treated with respect, so much so, that if one slithered into a house the human inhabitants often regarded the snake as a guest and herald of a good harvest. Provenance: private New Jersey, USA collection, acquired in 2019 or 2020; ex-River Street Antiques, Wiscasset, Maine, USA 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #164480

Lot: 72 - 19th C. Indonesian Wood Ancestor Figure for a Canoe

Oceania, Indonesia, west New Guinea, Huon Gulf / Geelvinck Bay (Cenderawasih Bay), Poon village, ca. 19th to early 20th century CE. An impressive, hand-carved ancestor figure known as a korwar, shown seated atop a pole that was likely previously part of a canoe. Capped with a conical headdress, the fascinating figure sits with his legs drawn up before him and his arms on his knees as they extend

Lot: 73 - 20th C. Indonesian Wood Male Adu Zatua Ancestor Figure

Southeast Asia, Indonesia, North Sumatra Province, Nias Islands, ca. early to mid-20th century CE. An impressive, hand-carved wooden male ancestral figure known as "Adu Zatua." Skillfully sculpted, the fascinating figure sits upon 2 spikes atop a quadrilateral plinth as he holds a petite drinking vessel before him and gazes forward, exhibiting almond-shaped eyes beneath arched brows, a naturalistic nose, and slightly parted lips held in a gentle smile. A large pair of ears flanks his friendly visage - one of which boasts a lengthy adornment in the shape of a hook - while an elaborate headdress - comprised of a horizontal band, flat cap, and a giant feather - towers above him. Nude save for a broad collar necklace, his slender body displays a large head, square shoulders, a strong chest, attenuated arms, and muscular legs flanking his delineated genitalia. Size: 3.4" W x 18.5" H (8.6 cm x 47 cm) Ancestors played a vital role in the daily lives of the peoples of Nias; ancestors were thought to be responsible for the creation of the world, to ensure fertility and wealth, and prevent disasters. When an individual passed away, a wooden image like this example, known as an Adu Zatua (also Adu Zafua), was created to house the deceased's spirit and mediate between the world of the living and the world of the deities. Offerings were made to Adu Zatua figures in order to ensure the effigy's constant support and benevolence. Provenance: ex-Saint Petersburg, Florida, USA collection; ex-private Cleveland, Ohio, USA collection, 1970s 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #168322

Lot: 74 - Massive Ice Age Mammoth Tusk - Growth Marks

**This is an oversized piece that may require special shipping. Please inquire for a quote prior to bidding.Arctic region, Pleistocene epoch (Ice Age), ca. 35,000 years ago. A massive fossilized mammoth tusk of rich coppery hues, with a notable ring about one third of the way up its length, as if the animal experienced a period of injury or starvation that left a mark in the growth of its tusk. Size: 2.7" W x 43" H (6.9 cm x 109.2 cm) Imagine walking in a modern Arctic or sub-Arctic landscape like Alaska, northern Canada, or Siberia and finding a tusk like this rising from the ground - the name mammoth comes from a Siberian word used to describe the tusks found there by native people, like the Khanty of the Irtysh River basin, and traded to Europe and China. Their occasional finds of massive tusks and even preserved mammoth bodies in the permafrost - often eroding out of the sides of river banks - led to their folkloric belief that mammoths were like huge rodents, dwelling underground, dying when they accidentally surfaced. With the invention of science as a discipline, massive tusks like this one continued to capture imaginations all over the world - for example, Thomas Jefferson, who was fascinated by paleontology, is credited with introducing the use of the word mammoth as an adjective to describe something very large. Please note that fossilized ivory tusks from any species cannot be shipped to the US States of California, Hawaii, Illinois, Nevada, New Hampshire, New Jersey, New York, Oregon, and Washington State. Provenance: private southwestern Pennsylvania, USA collection, acquired prior to 2000 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #135228

Lot: 75 - Rare Fossilized Siberian Beringian Cave Lion Jaw

Eastern Europe, Russia, Southwestern Siberia, Pleistocene Epoch (Ice Age), ca. 370,000 to 10,000 years ago. A fossilized jawbone from a carnivore of the Ice Age, the Eurasian or Beringian cave lion, Panthera spelaea! This is a near perfect lower right jawbone with an intact canine tooth; original with no repairs! The canine and molars show some wear, either from the lion's lifetime of hunting and

Lot: 76 - Rare Fossilized Hoplophoneus Saber Cat Skull

North America, South Dakota, White River Formation, Late Eocene to Early Oligocene Period, ca. 35 million to 29 million years ago. A rare, fossilized skull from Hoplophoneus primaveus in the Nimravid family, a predecessor to saber-tooth cats! This saber-tooth carnivore has huge canine teeth, wonderfully on display with the lower jaw slightly gaping open, as if to snarl or ambush unwary prey! This is the second earliest saber-tooth cat that roamed North America beginning in the Oligocene Period. The bone quality is magnificent, and the upper skull is outstanding, with definitive shape and teeth! This creature is one of the most highly desired vertebrate fossils in the world due to its resemblance to Smilodon and extreme age! This rare cat is a remarkable prehistorical fauna that very few collectors have the opportunity to own! Size: 8" L x 5" W (20.3 cm x 12.7 cm); 8.5" H (21.6 cm) on included custom stand; saber tooth: 2.25" L (5.7 cm) These animals were 2 feet tall (0.6 meters), the size of a large modern-day bobcat, and were more of a group predator with close-knit families as evidenced by some hoplos found together in death while overall very rare species hunting an abundant food supply of grazing ungulates including camels and oreodonts. Using their highly developed saber-teeth they would likely sever the blood supply in the neck of their prey in the initial attack. Hoplophoneus shared many physical characteristics with the famous Smilodon (saber-toothed tiger), namely, the large saber canines; but Hoplophoneus were an earlier much older species that preceded their feline ancestors by millions of years. We cannot stress enough just how awesome and rare this fossilized skull is. While smilodons are often regarded as the king of saber-tooth cats, Hoplophoneus preceded smilodons and paved the way for saber tooth evolution. This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world's largest database of stolen art, collectibles, and antiques. Provenance: private Rome, Georgia, USA collection 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #167308

Lot: 77 - Natural Fossilized Sea Urchins on Matrix w/ Spines

Ancient Seas, North Africa, Morocco, Jurassic to Cretaceous, ca. 189.6 to 112.6 million years ago. This this is an unusual fossil bed containing 3 sea urchins and their spines, lying beside the domed shells; a fascinating presentation of these echinoderms! The hemispherical shells have the five-petal patterning on the domed top, and all are wonderfully preserved. The tubular, club shaped pieces scattered around each urchin are the spines! Usually, the spines decay once the creature dies, leaving the domed shell surface behind, but sometimes the spines fall off the body and are also buried and fossilize along with the shell. We often see these fossils with the spines reattached - here they are left as they were found and shells from other marine life is embedded in the matrix around the urchins. Size: 11" L x 9.5" W x 1" H (27.9 cm x 24.1 cm x 2.5 cm) Provenance: private Berthoud, Colorado, USA collection 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #167924

Lot: 78 - 11 Fossilized Trilobites in Stone Matrix

Ancient Seas, Morocco, Devonian period, ca. 400 to 340 million years ago. A stunning sandstone matrix that is excavated to reveal 11 fossilized trilobites! The 'sea bugs' have been prepared with nearly 3D bodies; each have been excavated around their bodies from the surrounding stone. A few have heads elevated above the rest of their bodies, as if peering over the sea floor. All are beautifully preserved with excellent details remaining, including thorax, eye lobes, and segmented spines. Size of average trilobite: 2.25" L x 1" W (5.7 cm x 2.5 cm); matrix: 16" L x 1" W x 8" H (40.6 cm x 2.5 cm x 20.3 cm) Provenance: private Berthoud, Colorado, USA collection 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #167928

Lot: 79 - Maya Jaina Pottery Standing Dignitary Figure w/ TL

Pre-Columbian, Gulf Coast of Mexico, Western Yucatan Peninsula, Jaina/Campeche, Maya, Late Classic Period, ca. 550 to 900 CE. A gorgeous and hand-built pottery burial figure presenting a with dignified posture and standing with wide feet atop an integral circular plinth. The bold personage dons an ankle-length kilt that is knotted in the front with a wide belt and folds both arms atop a nude chest

Lot: 80 - Fabulous Olmec / Proto Maya Jade Bead Necklace

Pre-Columbian, Southern Mexico to Guatemala, Olmec to Proto-Maya culture, ca. 500 BCE to 300 CE. A stunning ensemble of 52 sizeable, hand-carved jade beads, all strung on a modern leather strand to be wearable. All displaying barrel and spherical forms, the beautiful beads boast rich hues of mint, seafoam, midnight, and forest greens, as well as celadon, shamrock, teal, and viridian. A gorgeous adornment that is sure to make all who see it green with envy! Size (necklace): 30.5" L (77.5 cm); (largest bead): 0.875" W x 0.7" H (2.2 cm x 1.8 cm) Research in the late 1990s and early 2000s pinpointed the source of "Olmec blue" jadeite at being in the lowland Motagua River near the modern-day border of Guatemala and Honduras; stone from this source was carved and traded widely throughout early Mesoamerica. The value of jade for ancient people lay in its symbolic power: perhaps its color was associated with water and vegetation; later, the Maya would place jade beads in the mouths of the dead. Many scholars have argued that the demand for jadeite contributed to the rise of long-distance trading networks and to the rise of urban centers in ancient Mesoamerica. This would have been an exceedingly valuable and rare ceremonial item. This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world's largest database of stolen art, collectibles, and antiques. Provenance: private Rochester, Michigan, USA collection, before 2010 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #167060

Lot: 81 - Exemplary Olmec Rio Pesquero Greenstone Maskette

Pre-Columbian, Mexico to Guatemala, Olmec, ca. 900 to 600 BCE. In a word, wow! Finely carved and string-cut from a sage-hued greenstone with natural swirls of butterscotch and caramel, an incredibly expressive depiction of a were-jaguar transformation mask with a square jaw, ovoid eyes beneath a narrowed brow, a curved nose with broad nostrils, and a rectangular mouth with flared upper and lower

Lot: 82 - Fine & Large Teotihuacan Hornstone Seated Idol Figure

Pre-Columbian, Southern Mexico, Teotihuacan culture, Tlamimilolpa to Metepec phase, ca. 250 BCE to 750 CE. This is a stunning hand-carved stone sculpture of a sitting figure, made from a dense hornstone. The stylized body is seated in an interesting position: the frontal facing string-cut grooves along the lower edge are the fingers of hands, and on the left width side are both feet, also delineated via string cut lines suggesting that the person is seated kneeling with his feet to the side, and hands resting on his knees - the curving groove between the hands indicates the angled bend of his legs. The square torso has additional grooves to indicate arms, but otherwise minimalistic. The oversized head presents string cut details: slit eyes, a triangular nose, and slit mouth - all topped by a headdress or headband with incised vertical and horizontal striations. A remarkable piece that survived tumultuous times of creation and destruction! Size: 2.5" L x 4.75" W x 7" H (6.4 cm x 12.1 cm x 17.8 cm) Teotihuacan was at one time the largest city in the Pre-Columbian world, famous for its pyramids (Pyramid of the Sun and the Pyramid of the Moon) as well as the Great Compound with the Temple of Quetzalcoatl (aka Temple of the Plumed Serpent) punctuating the Avenue of the Dead. Stone figures like this example are perhaps the best-known works of Teotihuacan art, with simple lines used economically in order to create powerful effigies without an overuse of detail. The decline of the Teotihuacan began in the 6th century and their sudden destruction may have been due to internal uprisings or invasions from rival cultures. Many structures along the Avenue of the Dead and other sculptures inside palatial buildings were deliberately broken and shattered during this time, it is possible that the chips and losses on this piece are a result of the sacking and destruction most pieces suffered. This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world's largest database of stolen art, collectibles, and antiques. Provenance: ex-Saint Petersburg, Florida, USA collection; ex-private Texas, USA collection, acquired in Mexico between 1963 and 1969, and in the USA prior to 1970 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #168553

Lot: 87 - Rare Sican / Lambayeque Gold Crown w/ Birds

Pre-Columbian, North Coast Peru, Sican/Lambayeque, ca. 800 to 1000 CE. A gorgeous 40.25% to 59.5% gold crown decorated with 9 stylized bird ornaments and danglers. The crown is formed from a band of gold sheet hammered to the desired thickness and then pierced along the length with two rows of perforations, perhaps for attaching to the crown to a cloth lining or larger headdress on the head of the lord or king. The dangling birds are double-headed, with each head looking in the opposite direction and with embossed eyes. An elegant piece of wearable art created by the ancients of the Andes. Ancient Andean cultures perfected sophisticated metallurgical techniques in order to create gold and silver ornaments which were intended for the living or for the deceased to wear. Size: 7.75" Diameter x 1.25" W (19.7 cm x 3.2 cm); 10.5" H (26.7 cm) on included custom stand; quality of gold: 40.25% to 59.5%; quality of silver: 37% to 51% This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world’s largest database of stolen art, collectibles, and antiques. Provenance: private Hawaii, USA collection; ex-Eugene Lions collection, Geneve, Switzerland, collected 1960-2000 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #164494

Lot: 88 - Tiahuanaco / Huari Polychrome Textile Four Corner Hat

Pre-Columbian, Bolivia, Tiahuanaco (Tiwanaku) or Huari (Wari) culture, ca. 600 to 900 CE. A lovely four cornered hat woven from a camelid (alpaca or llama) fiber that is dyed in hues of red, yellow, dark blue, and blue-green. Each side of this hat is divided into sections featuring a repeating geometric pattern of interlocking triangular and rectangular shapes. Four cornered hats are associated

Lot: 92 - Rare Moche Copper Tumi - Ai Apec Fighting Jaguar

Pre-Columbian, North Coast Peru, Moche, ca. 100 BCE to 100 CE. A stunning cast copper ceremonial knife known as a tumi, with an unusual scene being fought on the finial. The blade is rectangular shaped with a cylindrical tang and an integral suspension loop. Atop the flat, rectangular finial base is jaguar-headed warrior fighting with the deity Ai Apec. The figures face each other, arms locked, as Ai Apec yanks back the top of the jaguar-man's head, as they hold implements, likely knives, to each other's necks. From the posterior of both are tails or loin cloths in the form of animal heads. Ai Apec wears an elaborate headdress with animal perched on his head. The Decapitator god is often depicted as half-man, half-jaguar. Size: 9.25" L x 1.75" W (23.5 cm x 4.4 cm); 10.5" H (26.7 cm) on included custom stand. Many scenes in Moche art appear to be scenes from myths, however much of the narrative and symbolism has been lost to time. Little is known about their deities, the three main figures are Ai Apec (Ai Apaec), the Goddess of the Earth, and the Decapitator God of Darkness - confusingly, Ai Apec is also sometimes known as the Decapitator or the Headsman due to his fierce nature. Ai Apec was the primary deity of the Moche culture and was known as the supreme creator god whose throne is usually positioned upon a high mountain as he was believed to be the son of the mountain god. He provided water, food, and military triumphs to the Moche, but this powerful figure was also feared. While he was revered as a creator god, he was simultaneously regarded as a fierce and fearsome deity. One myth claims that Ai Apec confronted a mythical creature with fish and sea creature characteristics, and Ai Apec takes its head, perhaps a similar scene is portrayed on this tumi. This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world's largest database of stolen art, collectibles, and antiques. Provenance: private Hawaii, USA collection, 1995 to 2010; ex-private Hans Juergen Westermann collection, Germany, collected from 1950 to 1960s 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #168188

Lot: 96 - Proto Nazca Textile Figural Border - Munecas

Pre-Columbian, South Coast Peru, Proto-Nazca, ca. 500 to 300 BCE. A beautiful and lengthy figural border comprised of tightly-woven camelid (alpaca or llama wool) fibers in hues of maroon, crimson, citrine, marigold, sage, aqua, cobalt, cream, and jet. The textile depicts the upper bodies of 41 expressive muneca ("doll" in Spanish) figures that are attached to a colorful rectangular panel beneath which are 69 pairs of legs. Each muneca doll exhibits thick locks of sweeping brown hair and stylized bodies which are conjoined with that of its neighbor. The mantle is mounted against a black, museum-quality linen backing. Size (textile): 47.25" W x 5" H (120 cm x 12.7 cm); size (backing): 61.5" W x 16.5" H (156.2 cm x 41.9 cm). Provenance: private Hawaii, USA collection; ex-private H. J. Westermann collection, Germany, acquired 1960s 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #138978

Lot: 97 - Monumental Manteno Blackware Sitting Cacique Incensario

Pre-Columbian, Ecuador, Manteno, ca. 850 to 1600 CE. An exemplary and sizeable incensario, skillfully modeled in the form of a male figure - likely a cacique or chief - seated on a throne and depicted nude with hands in fists on each knee. Enveloped in a rich black glaze, the fascinating figure presents an impressive build, displaying wide shoulders, thick limbs, and a puffed-out chest. His

Lot: 98 - Large Tairona Stone Bat Pectoral

Pre-Columbian, Colombia, Tairona culture, ca. 10th to 16th century CE. A massive bat wing pectoral, so called because of its resemblance to the flying mammal, carved from an olive hued greenstone that is of a massive size. The "wings" widen slightly towards their terminals with protruding tabs on the underside of each tip. The "head" is formed by a low rectangle at the upper center that is drilled through the center for suspension. Items of this general shape have been found from southern Mexico to Venezuela as well as on some islands in the Caribbean, often found in caches of other stone artifacts buried under floors of houses and temples, although their actual meaning is unclear. The Kogi and Ica people, who are direct descendants of the Tairona, wear similar items as rattles, attached to the elbows of dancers. They may have been used similarly in the pre-Columbian era. Size: 10.25" L x 2" W (26 cm x 5.1 cm) Provenance: private J. Hart collection, Houston, Texas, USA, acquired mid 1970s 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #167485

Lot: 99 - Wearable Pre-Columbian Gold, Jade & Crystal Necklace

Pre-Columbian, Panama Isthmus / Northern Colombia, International Group, ca. 800 to 1200 CE (gold pendant); Southern Mexico to Guatemala, Maya, ca. 550 to 900 CE (jadeite and serpentine beads); Colombia, Tairona culture, ca. 800 to 1200 CE (quartz and gold beads). A beautiful necklace composed entirely of ancient beads from the Pre-Columbian world, centered around a lovely abstract international group 75% gold (equivalent to 18K) pendant with a domed form encircled by an incredibly delicate fringe of gold above three splayed legs, each ending in two large granulations. Above the pendant are two Maya beads, the smaller serpentine, the larger a stunning deep forest green jadeite. Above this, the necklace splits into two strands, each with seven columnar translucent quartzite beads interspersed with dozens of hollow gold spherical beads that range from 53-62% gold (equivalent to 10-15K+). Length of necklace: 19.5" L (49.5 cm); pendant is: 0.95" H (2.4 cm); total weight: 47.4 grams All together the necklace has a magical, mysterious appearance, with the gold, greenstone, and quartz colors and textures perfectly complementing each other. Provenance: ex-Arte Primitivo, New York, USA 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #153631

Lot: 100 - Impressive Taino Stone Vomit Stick w/ Zemi Figure

Pre-Columbian, Caribbean, Dominican Republic, Taino, ca. 15th century CE. This is a fascinating spatula or vomiting stick, hand-carved from a tan stone into the form of a zemi (cemi) - a deity or ancestral spirit who is housed in a sculpted object. The face is wide-eyed and reminiscent of a skull - the eyes sockets and prominent cheekbones add to the cadaverous appearance. Upon the brow and headdress are faint incised geometric and linear glyphs. The body below is abstract and stylized, the arms and legs pulled up into a crouching position, string cut grooves outline the limbs, and terminate in a pointed paddle shape. The bohiques were a class of shaman priests who often engaged in the taking of hallucinogenic drugs to aid in rituals and ceremonies, and this type of stone spatula was used in the Cohoba ritual to induce vomiting - this purging coupled with fasting, allowed the shamans to have the purest high from the Cohoba powder. Size: 2.75" L x 1.5" W x 9.75" H (7 cm x 3.8 cm x 24.8 cm); 12.5" H (31.8 cm) on included custom stand. In Taino culture death was a transitory period; the boundaries between life and death seem to have felt more porous to the Taino than they do to us today. Shamans, for example, are often depicted as skeletal figures, perhaps because of their requirements to fast and vomit in order to ingest the chemicals that would put them into a spiritual state. This imagery, with its exaggerated enormous eye sockets is probably designed to show a shaman breaching the boundary between the worlds of the living and the dead. Provenance: private Florida, USA collection, acquired 1950 through 1980, thence to current owner by inheritance 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #168348

Lot: 101 - Rare Taino Stone Ceremonial Axe Owl Form

Pre-Columbian, Caribbean, Dominican Republic, Taino, ca. 15th century CE. An astounding ceremonial stone axe head pecked and polished into the form of an owl, the bird's head forming an elegant finial. The cylindrical handle has a slightly flared pommel tip, a smooth grip, and the stone itself is beautiful with a mottled green and black surface and shimmering mica flecks. The cross-section between blade and butt end has a shallow ovoid impression, and encircling grooves around the basal areas of the blade, handle, and butt. The finial head is a stylized owl, the enormous round eyes are slightly indented and the petite beak points downward. The oblong blade can be viewed as the wings raised in flight, with the lower butt end as the bird's talons ready to grab. The owl is integrated into the axe as a decorative element that likely symbolizes a ritualistic purpose rather than utilitarian. Size: 7.65" L x 5" W (19.4 cm x 12.7 cm); 7.5" H (19 cm) on included custom stand. Taino spirituality revolved around ancestor and spirit worship via carved stone figures called "zemis" that embodied the spirits and deity figures the Taino venerated. In Taino culture death was considered a transitory period; the boundaries between life and death seem to have felt more porous to the Taino than they do to us today. Owls, as nocturnal hunters, represented the underworld and thought to carry opias (hupias) - the spirits of the recently deceased - to the next stage of existence and these bird's hoots and screeches were omens believed to announce impending death or the arrival of spirits from the beyond. Shamans communicated with owls during rituals to coax the opias of the seriously ill or recently deceased, back to their bodies. Provenance: private Florida, USA collection, acquired 1950 through 1980, thence to current owner by inheritance 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #168347

Lot: 102 - Impressive Taino Stone Trigonolith Zemi

Pre-Columbian, Hispaniola, Greater Antilles Islands, Taino / Arawak Indians, ca. 1000 to 1500 CE. Among the only items specifically referenced by Spanish chroniclers of the 15th century, a quintessential example of a 3-pointed stone, known as a "trigonolith" in English and "trigonolito" in Spanish, with a tall conical point composing the central body, a Zemi face on the front point, and a pair of retracted legs on the verso. The Zemi face is characteristically abstract and presents with deep, annular eyes beneath a straight brow, a wide nose with flared nostrils, and thin lips parted in the center. The retracted legs on the verso seem to show the Zemi in a recumbent or crouching position, however scholars posit that their curled portrayal resemble those of frogs. An intricate and fabulous example from ancient Hispaniola! Size: 6.8" L x 4" W x 5.7" H (17.3 cm x 10.2 cm x 14.5 cm) Taino art is comprised of many cult objects associated with the worship of "zemis." The term zemi refers to deities, ancestors, or earth spirits. The Zemi (or Cemi) stone, with its characteristic three cardinal points, is a fundamental symbol in the Taino religion. The Taino traditionally name the three points "Yocahu Bagua Maorocoti" - another word for the Creator, Yaya. Zemis like this example are believed to be inhabited by powerful spirits. The uppermost point represents the top of this sacred mountain peak, in the turey (sky) of the four directions, where Yaya - the Creator, whose name means that which has neither beginning nor end and which has no male ancestor or creator - resides. The 'chin' point represents Coabey, the underworld or place of the dead. Here Hupia, the spirit of the dead, resides, and the face of Guayaba, the Chief of Coabey, is represented. Finally, the opposite point represents the land of the living where Goiz, the spirit of living people, resides. Provenance: private J. Hart Collection, Houston, Texas, USA, acquired mid-1970s; ex-private Essex collection 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #167673

Lot: 110 - Fine Early 20th C. Navajo Wool Moki Eye Dazzler Rug

Native American, Southwestern United States, Navajo, ca. early to mid-20th century CE. This is an incredible and vibrant textile blanket, hand woven by the Navajo, all hand woven from hand spun sheep wool. The fibers are dyed with warm reds and oranges, and darker earthen black and gray tones. The main ground is comprised of alternating stripes of the darker hues - this narrow banding style is known as Moki, one of the most historic Navajo weavings that dates to the early 18th century, and was known by the Navajo as "Spanish" or "Mexican Pelt," as this style was adopted from Spanish weavers. The bright orange and yellow triangular dazzlers have a terraced periphery that is superimposed on the stripes. The eye dazzle design - so called for its attractive symmetry - was popular with Navajo artisans and was inspired by the traditional Mexican Saltillo serape blankets. Size: 60" L x 41" W (152.4 cm x 104.1 cm) The Navajo weaving tradition starts with the deity, Spider Woman, teaching the Navajo people to weave using a fantastical loom and materials made from the earth, lightning, and sky. For the mortal Navajo, cotton was their main material for hundreds of years before the Spaniards' introduction of sheep! Weaving was not solely focused on creating a useful textile - the process of weaving reconnected the Navajo with their cosmic origins and brought the beauty if their own creations into the world. These patterns are generations old and an enduring and iconic part of the Southwestern iconography. This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world's largest database of stolen art, collectibles, and antiques. Provenance: private Eagle, Colorado, USA collection, acquired in the 1990s 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #168401

Lot: 111 - Large Anasazi Mesa Verde Black-on-White Pottery Olla

Native American, Southwestern USA, Colorado or New Mexico, Anasazi / Ancestral Puebloans, ca. 1100 to 1300 CE. This is a beautiful and large pottery olla water pitcher, with motifs painted in the Mesa Verde black-on-white style. The base is slightly concave and supports the dramatically widening body and broad shoulder. A pair of pinched lug handles flank the sides just below the shoulder and centered above is a cylindrical neck that flares slightly outward at the rim. This vessel was made by hand-coiling pottery, smoothing, then baking in an open-air fire. There are 2 main registers of repeating checkerboard and linear patterning in carbon black pigments on the chalky gray ground, which were significant to the maker or clan, and serve as a mesmerizing and lovely visual embellishment. Size: 15" Diameter x 14.5" H (38.1 cm x 36.8 cm) Vessels from this tradition were made from a gray or white clay with angular fragments of temper and this one has a pearly gray-white slip that was then overpainted with a black pigment made from carbon. Largely, these were made by women who lived in cliff dwellings like those seen at Mesa Verde National Park. Provenance: ex-Marilyn Eber Collection of Native American Art, Denver, Colorado, USA, acquired in 1985; ex-Gene Lang collection, Denver, Colorado, USA, collected between 1978 to 2000 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #168486

Lot: 112 - Early 20th C. African Guere Wood & Fiber Mask - Rare!

West Africa, Ivory Coast, We / Gere (also Ngere or Guere) peoples, ca. early to mid 20th century CE. This is a fearsome mask hand-carved from wood with a dramatic and abstract visage of braided grass fibers as facial hair. The striking eyes are comprised of wooden cylinders that protrude outward, separated by a large, flared nose, and the narrow slits for the wearer to see through are placed just before the bulging forehead and incurved horns. The outer edge and center of the horns are covered with a padded cloth band, and the thick interior rim of the wood is pierced for additional ornamentation or securing the mask to a costume. The wood is painted in bands of black, red, and white - the tongue protrudes and touches the nose tip - creating a loop for the braided tassels to suspend from. The rest of the hairs are secured by knots and ties over the cheeks and chin in a thick layer. This frightening mask was used for ceremonies and funerals to inspire fear and pass judgment. Size: 16" L x 9" W (40.6 cm x 22.9 cm); 20.5" H (52.1 cm) on included custom stand.and. Provenance: private New York, New York, USA collection 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #166771

Lot: 113 - Early 20th C. African Wood Mask - Classic Bassa

West Africa, Liberia, Bassa people, ca. early 20th century CE. A fine example of a dark wooden mask in the classic Bassa style, with the face so deeply set from the brow that it appears almost inverted, the eyes sunken back into the head while the mouth and chin project outwards. The mouth is small, round, and juts outward. An elaborate incised coiffure gives the appearance of thick braids that flow back from the hairline. A rich patina is on the surface and the proportions of this stunning mask make it visually fascinating. Size: 6.7" W x 11.55" H (17 cm x 29.3 cm); 17.35" H (44.1 cm) on included custom stand. Liberian dancers often wear intricately carved masks like this one during ritual dance performances, the masks thought to channel spirits whom they were carved to represent. This mask was made as part of the men's No association, and was designed to show the desirable traits that women should possess. It would have been attached by the openings around its back to a large, woven headdress that would fully cover the head and shoulders of the dancer who would wear it. Provenance: private New York, New York, USA collection; ex-private New York, USA collection 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #147160

Lot: 114 - Mid 20th C. Tanzanian Makonde Wood Mask

Southern Africa, Mozambique or Tanzania, Makonde peoples, ca. mid-20th century CE. A remarkable carved-wood mask featuring a life-like visage of slender, openwork eyes under heavy lids, a pronounced brow, a broad, naturalistic nose, high cheekbones, prominent nasolabial folds, and full lips held gently open beneath a thick moustache. Coated in a deep hue of reddish-brown, the wonderful vizard is adorned with a recessed "v" formed via black wax applique along its forehead, perhaps representing ceremonial scarification. Petite drill holes line the periphery of the mask, allowing it to be strapped to the head or costume of the wearer. Size: 6" W x 10" H (15.2 cm x 25.4 cm); 13.875" H (35.2 cm) on included custom stand. The Makonde live along the Ruvuma River and are prolific producers of masks. Masks like this example are known as mapiko (singular: lipiko), and they are used in initiation rites, in which ancestral spirits appear wearing these masks. The dancers in the rites wear the masks and act as these ancestral spirits, who are called Lihoka. These dancers are men who have been initiated within the society. Provenance: private New York, New York, USA collection; ex-New York, USA collection 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #162882

Lot: 115 - Fine 20th C. Burkina Faso Lobi Wood Female Figure

West Africa, Burkina Faso, Lobi peoples, ca. early to mid-20th century CE. A fabulous, hand-carved wooden female figure known as a bateba phuwe, which translates to "ordinary wooden carved figure." The fascinating figure stands atop slightly bent legs, presenting a distended abdomen, pointed breasts, sloped shoulders, and slender arms that bend at her sides. Resting upon the stocky neck is a bald head which boasts bulging eyes beneath an arched brow, a triangular nose, and full lips, all flanked by a pair of cupped ears. Size: 3.6" W x 15.2" H (9.1 cm x 38.6 cm); 17" H (43.2 cm) on included custom stand. Bateba, such as this example, served as intercessors between protective spirits, known as Thila, and humans. The Lobi believe that bateba can carry out the orders of these spirits, such as protecting a household from evil or flying through the night to warn of danger. What bateba represent can vary greatly throughout Lobi country. While in some cases bateba are associated with ancestral spirits, in others they represent "returned people" who passed away several generations back. As bateba statue carvers receive no special status and little or no payment for completed carvings, bateba display a wide variety of styles, forms, and finishes. Their only important feature is that they resemble the human form. Thus, there exists no classification of forms or attitude of bateba; a statue with one form can symbolize different things depending on its owner, while a statue of the same form may represent something else, or a statue of a different form can have the same significance. Though bateba phuwe serve the purpose of protection from illness, witchcraft, and sorcery, other bateba are thought to help in other areas of life, such as in aiding single men in finding suitable partners or easing the owner's sadness in grief by taking on their mourning. A figure like this one would have been placed on an altar or shrine with other local bateba. Provenance: private New York, New York, USA collection; ex-New York, USA collection 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #163218

Lot: 116 - Rare 19th C. African Azande Wood Mask Mani Society

Central Africa, Democratic Republic of the Congo, Azande, late 19th to early 20th century CE. Very rare, an Azande hand-carved wooden face mask with incredible encrusted, thick, deep patina. The finely carved face mask presents an expressive visage with openwork eyes and mouth, a broad forehead, a long, straight nose, and a narrow chin. This mask would have been used by the Mani society during funeral ceremonies. Interestingly, the secret Mani society has traditionally celebrated the significance of women. They create highly ornamented female statuettes called yanda to protect members from illness, evil spirits, and any danger. Masks like this example, however, are exceedingly rare! Size: 7.75" W x 9.125" H (19.7 cm x 23.2 cm) Provenance: ex Dr. Peter Horvath, Florida and Massachusetts, USA; ex- Wallace collection, Florida, USA, 1988 to 2008; ex-Patric Didier Claes, Kinshasa, 1987 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #156726

Lot: 117 - Rare Late 19th C. Filipino Tau't Bato Wood Warrior Idol

Southeast Asia, Philippines, Mimaropa, Palawan Province, Singnapan Basin, Tau't Bato (also Tau't Batu) people, ca. late 19th to early 20th century CE. A rare example of a hand-carved wooden warrior figure from the Tau't Bato people of the Philippines. The figure stands tall atop planar feet and delineated legs while wearing a minimalist belted loincloth. Both arms are bent and hang at his sides, his left arm next to a sheathed sword attached to his belt. His inverted triangular chest bears gently protruding musculature before terminating in broad, powerful shoulders, and a thick neck emanates from the center. The bulky head bears a stylized visage comprised of incised, almond-shaped eyes, a slender nose with lightly flared nostrils, a slit-form mouth and eyebrows, and cupped ears, all beneath an angular coiffure that is pulled back in a thick bun on the verso. Layers of lustrous and matte patina in hues of chocolate, caramel, and russet envelop the carving and imbue it with an attractive presentation. Tenons beneath the feet attach it to its old wooden base. Size: 5.3" W x 14.25" H (13.5 cm x 36.2 cm); 15.8" H (40.1 cm) on included custom stand. This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world's largest database of stolen art, collectibles, and antiques. Provenance: private Hawaii, USA collection, 1995 to 2010; ex-Leonard Kalina collection, Culver City, California, USA; ex-Arte Primitivo, New York, New York, USA (auction #65, May 1, 2013, lot 90); ex-private New York, New York, USA collection 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #168423

Lot: 118 - 19th C. Philippine Ifugao Wood Bulul Female Idol Figure

Southeast Asia, Philippines, Luzon Island, Ifugao culture, ca. late 19th to early 20th century CE. This is a large hand-carved wooden guardian figure known as a bulul with a lovely dark patina. This figure is female, and she stands upon an integral pedestal with a slightly circular and flat top. She has a stylized nude body that is customary with bulul: delineated legs revealing female genitalia, broad shoulders, arms at her sides, and petite breasts. The head is large with a squared face, protruding nose, incised slit mouth, and recessed sockets with relief eyelids and pupils; altogether giving her a very attentive appearance. The large ears have piercings for additional earrings or adornments and her head is rounded and smooth as if bald. Bululs are abstract representations of ancestors that were created to serve as protectors of the rice crops and were placed outside to watch over the fields. Size: 9" L x 8" W x 20" H (22.9 cm x 20.3 cm x 50.8 cm) Sculptural art in Ifugao is not just decorative, but also crucial to the wellbeing of the community. Traditionally the men carve sculptures like this, and women weave colorful textiles. Bulul, carved from a single piece of wood and representing the human body in a stylized form, are often in male and female pairs, and ritually consecrated with pig or chicken blood, and then placed into rice fields and granaries, where they function as guardians. Cf. The Metropolitan Museum of Art, accession number 2013.1105 This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world's largest database of stolen art, collectibles, and antiques. Provenance: private Hawaii, USA collection, acquired from 1995 to 2010 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #168523

Lot: 119 - 19th C. Austrian Porcelain Dish & Hawaiian Coat of Arms

Western Europe, Austria / North America, United States, New York, ca. late 19th to early 20th century CE. This is a fascinating piece of porcelain commemorating the "union" of Hawaii and the United States - the transfer of government occurring after a coup that illegally overthrew the last Hawaiian queen. The front side is glazed with a deep cobalt blue rim with gold leaf foliate and scrolling

Lot: 120 - Spratling Silver Choker Necklace w/ Danglers

William Spratling (American/expatriate in Mexico, 1900-1967), Mexico, ca. 1964 to 1967. An exquisite sterling silver choker adorned with two rows of jingling danglers - the 16 danglers on top staggered with 17 danglers below. Each dangler presents a flat circular disc adorned by a single spherical granule at the lower end. On the verso of one of the danglers of the bottom row is a William

Lot: 125 - 18th C. Gold Necklace w/ Jasper Intaglio of a Gryllus

Western Europe, probably Italy or France, Neoclassical, ca. 18th to 19th century CE. A beautiful jasper intaglio incised with the image of a 3-faced gryllus and set in a gold necklace to be wearable. Skillfully sculpted into crimson-hued jasper, the fascinating gryllus appears in the form of a youth in profile, facing left, and wearing a Corinthian helmet with 2 faces of bearded men - 1 facing up and the other right - so that the beard of the right-facing man forms the hair of the youth. The ovoid intaglio boasts a lustrous gold backing, as well as a gold dotted and twisted border with 4 nodules. A gorgeous chain of folded links connects to the intaglio via 2 barrel links and a hook and eye clasp. Size (intaglio without setting): 0.7" W x 0.9" H (1.8 cm x 2.3 cm); (intaglio with setting): 1" W x 1.2" H (2.5 cm x 3 cm); (necklace): 16.1" L (40.9 cm); gold quality: 89.49% (equivalent to 21K+); total weight: 26.9 grams A gryllus (or gryllos) is a fanciful combination of various human and animal heads, on occasions with the addition of other elements. In ancient Rome, these fantasy creatures were commonly incised into intaglios and worn for their believed ability to avert the evil eye. This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world's largest database of stolen art, collectibles, and antiques. Provenance: East Coast collection, New York Gallery, New York City, New York, USA, acquired before 2010 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #159441

Lot: 126 - 18th C. Neoclassical Gold & Agate Cameo Brooch, Apollo

Northern Europe, Neoclassical, ca. 18th to 19th century CE. Inscribed "103 / Rignani" on verso. A gorgeous agate cameo of Apollo, the Greek and Roman god of archery, music, dance, truth, healing, light, and poetry, set in a lovely gold cameo. Epitomizing the beau ideal, the youthful deity looks right displaying a muscular build with generously lidded eyes, a noble nose, and gently parted lips. A

Lot: 127 - 18th C. Neoclassical Gold, Diamond & Glass Cameo Brooch

Northern Europe, Neoclassical period, ca. 18th to early 19th century CE. A stunning, hand-carved glass and agate cameo of octagonal form set in a gold brooch surrounded by 12 diamonds, 1 round-cut and 2 princess-cut on each side. Sculpted from creamy white agate that nicely contrasts the rich gray glass, the beautiful cameo displays the image of Cupid - Greek Eros - the Roman god of love riding a biga led by a pair of rearing lions. Facing left, the charming, winged deity grasps the reins of his fierce felines with 1 hand, while raising a crop in the other. The male and female lions lunge forward on their hind legs, driving forth the riding child. Size (brooch): 1.2" L x 1" W (3 cm x 2.5 cm); (cameo): 0.9" L x 0.7" W (2.3 cm x 1.8 cm); gold quality: 73% (equivalent to 17K+); weight: 8.5 grams The Neoclassical period saw immense northern European interest in the Classical world, in part inspired by the budding science of archaeology. Artists looked to the deep past for inspiration but brought an imaginative sensibility to their depictions of it. The motif of Cupid riding, taming, or subduing a lion or lions was popular in both Classical and Neoclassical art as the image of the god of love triumphant over such a ferocious beast was intended as an allegory for the notion that "love conquers all," or in the original words of Virgil "omnia vincit amor." Provenance: East Coast collection, New York Gallery, New York City, New York, USA, acquired before 2010 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #159449

Lot: 128 - Published 19th C. Neoclassical Sardonyx Cameo Arethusa

Europe, Neoclassical, 19th century CE. A beautiful sardonyx cameo of the nymph Arethusa, so finely sculpted with mesmerizing details - note her wavy coiffure with each tress meticulously delineated so as to flow away from her beautiful face, delicate facial features that are quite naturalistic despite the nymph's mythical status, as well as her elegant wreath of grain ears and lovely pearl necklace and earring with three pendants. This cameo was modeled on silver coins minted by the Syracusan ruler Agathocles in the late fourth to early third century BCE. Size: 1.875" H (4.8 cm) Arethusa is the patron figure of Syracuse. She was a nymph and a Nereid, a daughter of Nereus, who fled from the unwanted advances of creepy river god Alpheus. She sought help from Artemis, and ultimately wound up in the sea. When Demeter sought her daughter Persephone, kidnapped by Hades, Arethusa gave the goddess information on her daughter in exchange for Demeter discontinuing her punishment of Sicily. The coins bearing Arethusa's image, surrounded by dolphins, are among the most beautiful from ancient Greece. Exhibited and published in catalogue for "Dressed to Kill in Love and War: Splendor in the Ancient World" (February 1 - March 31, 2019 - Academy Museum, Easton, Maryland, USA, fig. 30, p. 10, discussion p. 4). Provenance: private East Coast, USA collection; Exhibited and published in catalogue for "Dressed to Kill in Love and War: Splendor in the Ancient World" (February 1 - March 31, 2019 - Academy Museum, Easton, Maryland, USA, fig. 30, p. 10, discussion p. 4). 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #146267

Lot: 129 - 18th C. Neoclassical European Gold & Agate Cameo Brooch

Northern Europe, Neoclassical period, ca. 18th to early 19th century CE. A stunning, hand-carved agate cameo of ovoid form set in a gold brooch. Sculpted from creamy white agate that nicely contrasts the rich grey background, the beautiful cameo displays the image of Cupid - Greek Eros - the Roman god of love riding a biga led by a pair of rearing lions. Facing left, the charming, winged deity grasps the reins of his fierce felines with 1 hand, while raising a crop in the other. The male and female lions lunge forward on their hind legs, driving forth the riding child. An abstract gold border of swirling palmettes further adorns the gorgeous cameo. Size (brooch): 1.7" L x 1.1" W (4.3 cm x 2.8 cm); (cameo): 1.1" L x 0.8" W (2.8 cm x 2 cm); gold quality: 75% (equivalent to 18K); weight: 11.3 grams The Neoclassical period saw immense northern European interest in the Classical world, in part inspired by the budding science of archaeology. Artists looked to the deep past for inspiration but brought an imaginative sensibility to their depictions of it. The motif of Cupid riding, taming, or subduing a lion or lions was popular in both Classical and Neoclassical art as the image of the god of love triumphant over such a ferocious beast was intended as an allegory for the notion that "love conquers all," or in the original words of Virgil "omnia vincit amor." Provenance: East Coast collection, New York Gallery, New York City, New York, USA, acquired before 2010 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #159448

Lot: 130 - Late 19th C. Italian Walnut Wood Bracciale Game Racket

Central Europe, Italy, ca. 1876 CE. An unusual hand-carved walnut wood type of sporting equipment known as a bracciale, to use in the Italian ball game Pallone col bracciale translated to "ball with bracelet" and often known simply as "bracciale." This bracciale functioned as the "racket" for the game and is comprised of a cylindrical shape with a wide opening to wear on the forearm and at the

Lot: 135 - Early 20th C. Russian Icon - Christ Enthroned

Eastern Europe, Russia, ca. early to mid-20th century CE. A wonderful icon of Christ Enthroned, finely delineated in cyan, orange, yellow, green, red, beige, white, and brown egg tempera and gesso on wood. Seated upon a flame-like throne formed from the wings of seraphim, the tranquil deity holds an open book of the Gospel in this left hand while blessing with his right, as his feet lay on the earth below him. The symbols of the 4 Evangelists surround him with an eagle for Saint John, an ox for Saint Luke, a lion for Saint Mark, and an angel for Saint Matthew. An elaborately carved border of geometric and architectural design surrounds this opulent scene. Size: 10.1" W x 20.2" H (25.7 cm x 51.3 cm) Icons (icon means "image" in Greek) are sacred objects within the Eastern Orthodox Christian tradition. Traditionally found in homes as well as churches, these painted images depict holy persons and saints as well as illustrate scenes from the Scriptures. Icons are not worshiped but are instead venerated for their ability to focus the power of an individual's prayer to God. As such they are truly "windows into heaven." Provenance: private New Jersey, USA collection 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #167319

Lot: 136 - 19th C. Russian Icon of Saint George w/ Spear & Sword

Eastern Europe, Russia, ca. late 19th to early 20th century CE. A fascinating icon of Saint George, depicting him from the waist up in hues of green, red, white, yellow, blue, and black egg tempera on wood. Bowing his head to his right, the heroic saint holds a spear in his right hand and a sword in his left. He wears lavish armor featuring an elaborate pectoral adorned with intricately painted vegetal motifs, as a crimson cape drapes his back. Liberal remains of Cyrillic script embellish the sky above him. Size: 10.5" W x 13.3" H (26.7 cm x 33.8 cm) Saint George was born in Lydda in Palestine during the 3rd century CE. He became an officer in the Roman army in the guard of Emperor Diocletian, demonstrating impressive skill in battle and receiving high honor for his courage. When he learned that Diocletian was preparing to persecute Christians, George presented himself publicly before the emperor and denounced him. The legend of "Saint George and the Dragon," which originated in the 12th century, has immortalized the saint. However, this anecdote is rarely presented in iconography. According to tradition, St. George came to Silene in the province of Libya, where a ravaging dragon demanded daily sacrifice. Fate chose the king's daughter, Elisaba, but George subdued the beast. He told the princess to fasten her sash about the dragon's neck so it could be led through the town for conversion of the people before it was killed. Icons (icon means "image" in Greek) are sacred objects within the Eastern Orthodox Christian tradition. Found in homes as well as churches, these painted images depict holy persons and saints as well as illustrate scenes from the Scriptures. Icons are not worshiped but are instead venerated for their ability to focus the power of an individual's prayer to God. As such they are truly "windows into heaven." Provenance: private New Jersey, USA collection 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #167314

Lot: 137 - 19th C. Russian Wooden Icon - Joy of All Who Sorrow

Eastern Europe, Russia, ca. 19th century CE. A gorgeous wooden icon known as "Joy of All Who Sorrow" featuring the image of the Mother of God or Theotokos holding the Christ child at the center surrounded by angels, saints, and lay people, all delineated in rich tones of red, orange, blue, brown, pink, green, white, black, and copper egg tempera over gesso as well as liberal remains of gold leaf.

Lot: 138 - 19th C. Russian Gilt Wood Icon - Life Giving Source

Eastern Europe, Russia, ca. 19th century CE. Finely painted in egg tempera and gold leaf on gesso atop wood, a stunning depiction of Mary offering the waters of salvation. At a location now known as Baliki near the Selimbria Gates of Constantinople stands the Sanctuary of the Source. According to tradition, the Mother of God, in a vision, declared that its waters were miraculous, and so, the ailing gathered around the basin. In this traditional composition, the faithful who flocked to the waters praise the Virgin as an unceasing source of life and health The Virgin and Child occupy a large golden goblet, a strong allusion to the eucharistic chalice, its waters flowing into the basin below. The archangels Michael and Gabriel flank the holy pair, gracefully floating above a rolling hillside. Partaking of the waters below are the emperor, patriarch, the sick, and the poor. Size: 12.4" W x 13.9" H (31.5 cm x 35.3 cm) Before the fountain, a Thessalian is miraculously brought back to life when the waters are poured over his head, and a man is freed from his demons by the waters as well. The figures occupying the borders are most likely bishops, monks, and/or donors. This theme celebrating the fountain of life and the waters of salvation that makes all infirmities disappear and can even overcome death first appeared in Russia in 1654, introduced by the Greeks. Furthermore, Nicephorus Callistus wrote a church service about the Life-Giving Source. Icons (icon means "image" in Greek) are sacred objects within the Eastern Orthodox Christian tradition. Found in homes as well as churches, these painted images depict holy persons and saints as well as illustrate scenes from the Scriptures. Icons are not worshiped but are instead venerated for their ability to focus the power of an individual's prayer to God. As such they are truly "windows into heaven." Provenance: private New Jersey, USA collection 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #167315

Lot: 139 - 19th C. Italian Painting & Gilt Frame - Madonna & Child

Europe, Italy, painting ca. mid 19th century frame ca. late 19th to early 20th century. An Italian Renaissance Revival painting of Madonna and Child set in a gilded frame. Mary and the infant Jesus are the focus of the composition, depicted half-length and dramatically close to the picture plane. Madonna gently places her left hand on the Child's shoulder and gestures toward Him with her right hand as if presenting Him to the viewer. The Christ Child stands upon Mary's lap and opens His arms in a warm, welcoming manner as if greeting the viewer. Both figures look out with sweet smiles evoking the tenderness and love of their bond. A leafy tree and mountain peak in the background provide natural context. Mother and Child are bathed in holy light emanating from their haloes, and the jewel tone palette of the painting is beautifully complemented by the gilt frame which with its attractive openwork and relief carving is a work of art in its own right. Size of painting: 37.375" L x 27" W (94.9 cm x 68.6 cm) Size of frame: 40.875" L x 31.625" W (103.8 cm x 80.3 cm) During the 19th century, artists and architects engaged in various revival styles ignited by a newfound romantic interest in the historical past. Artists participating in the Renaissance Revival breathed new life into paintings of the Madonna and Child. Perhaps the most prevalent theme of Christian iconography, this subject was painted by eminent Renaissance artists such as Leonardo da Vinci, Raphael, Michelangelo, Giovanni Bellini, Fra Filippo Lippi, Piero della Francesca, Sandro Botticelli, Parmigianino, and Titian. Given this, 19th century patrons coveted such religious paintings that emulated the style and themes of the Renaissance, valuing them as works of both faith and social standing. Provenance: private Eagle, Colorado, USA collection, acquired in the 1990s; purchased for family chapel in the Villa Romaniello, Aosta, Northern Italy in 1932 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #168244

Lot: 140 - 1979 Betty Gold Iron Maquette for Oakland Museum Piece

Betty Gold (American, b. 1935). Iron maquette for Monumental Holistic, 1979. An elegant maquette created by American artist Betty Gold as a model for her monumental outdoor work at the Oakland Museum of Art in Oakland, California. Gold has been creating such abstract sculptures inspired by geometry, space, order, and form since the 1970's - with her oeuvre ranging from tabletop pieces and

Lot: 141 - 1979 Betty Gold Iron Maquette for Phoenix Museum Work

Betty Gold (American, b. 1935). Iron maquette for Phoenix Museum of Art outdoor sculpture, 1979. An iron maquette by American artist Betty Gold for a monumental outdoor welded steel sculpture located at the Phoenix Museum of Art, Phoenix, Arizona. Gold has been creating such abstract sculptures inspired by geometry, space, order, and form since the 1970's - with her oeuvre ranging from tabletop

Lot: 142 - Ernest Trova Stainless Steel "Falling Man" 1/8, 1986

Ernest Tino Trova (American, 1927-2009). Falling Man, Edition #1 of 8, 1986. Signed and dated "E. Trova 1/8 1986" on base. Stainless Steel. An exciting sculpture from Ernest Trova's famous "Falling Man" series. Trova's "Falling Man" compositions - including sculpture, paintings, and prints - are "about man at his most imperfect" and feature an armless figure as we see in this example. In true

Lot: 143 - Signed Jorge Castillo Surrealist Sculpture (1966)

Jorge Castillo (Jorge Castillo Casalderrey-Chato, Spanish, b. 1933). "Frozen Games For Elephants On And Around Boxed Prints" mixed media, 1966. Signed on recto and verso, with date (1966) and location of creation (New York City) on the verso as well. Inscribed "Prueba de Trabajo - Acumulacion de 2 Formas con Tinta" (translation: Proof of Work - Accumulation of 2 Forms with Ink). A fascinating

Lot: 144 - Signed Framed Duaiv Painting "Modern Simplicite" (2018)

Duaiv (b. France in 1952, became American citizen in 2011). "Modern Simplicite" oil on canvas, 2018. Hand signed in pigment on lower right. Signed and titled on the verso. A beautiful painting by contemporary French-American artist, Duaiv. The composition features a modest country house on a hillside with mountains in the distance , delineated in a vibrant color palette with magnificently palpable brushstrokes, set in an attractive custom frame. Scholars have noted Duaiv's admiration for Monet and Van Gogh; however, while Duaiv has certainly embraced the lessons of French Impressionism as well as Post-Impressionism, he has also created his own unique style, transcending the boundaries of those movements with his mystifying compositions. Size: 23" L x 28" W (58.4 cm x 71.1 cm) Born in Charentes-Maritimes near Bordeaux in western France, Duaiv studied at both the Conservatory of Music and the School of Fine Arts in Paris. Recognized for his multiple talents, Duaiv has traveled internationally as both an accomplished artist and a classical musician. Provenance: private R. H. collection, Littleton, Colorado, USA 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #166883

Lot: 145 - Maja Lisa Engelhardt Painting "The Sixth Day" (2015)

Maja Lisa Engelhardt (Danish, b. 1956). "The Sixth Day" acrylic on linen, 2015. Signed and dated on lower left. A stunning abstract composition painted on linen by Danish artist Maja Lisa Engelhardt. Although Engelhardt has favored abstraction throughout her career, her works have always been inspired by the landscape of Northwestern Zealand in Denmark, where she grew up, with links to the natural world conveyed via her color palette - in this case, a myriad of blues and greens accompanied by lighter shades of cream - as well as a wide array of textures and gestural techniques. "The Sixth Day" (2015) belongs to a group of paintings that form part of a series that was exhibited at the Elizabeth Harris Gallery, New York, NY with "The Second Day" (2007), "The Third Day" (2009), "The Fourth Day" (2011), "The Fifth Day" (2013), and "The Seventh Day - Genesis" (2017). The titles of the works refer to the creation story in the book of Genesis. Size of painting: 25.5" L x 25.5" W (64.8 cm x 64.8 cm) Size of frame: 28.75" L x 28.75" W (73 cm x 73 cm) Born and raised in Denmark, Engelhardt has lived in Colombes, France just outside of Paris since 1981 with her husband Peter Brandes who is also an artist. This said, her work is still rooted in her childhood on Sejro Bay. Her works have been collected by many reputable institutions, and she has had solo exhibitions at the Elizabeth Harris Gallery, New York, NY; Heltborg Museum; Soro Kunstmuseum; Johannes Larsen Museet, Kerteminde; Gallery Weinberger, Copenhagen; Museum Sonderjylland, Haderslev, Denmark; DCA Gallery, New York, NY (2000, 2003), and more. Three Maja Lisa Engelhardt abstract paintings were recently sold for handsome hammers in June, 2021: "'So' (Lake), Paris" for $8,841 (Bruun Rasmussen - June 9, 2021 - lot 852); "Composition, 85" for $6,876 (Bruun Rasmussen -June 9, 2021 - lot 864); and "'Tumulus', Paris" (1995) for $10,972 (Bruun Rasmussen -June 8, 2021 - lot 697). Provenance: private East Coast, USA collection 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #161518

Lot: 146 - Signed Morris Kantor Painting - "Staircase" (1931)

Morris Kantor (Russian-American, 1896-1974). "Staircase" oil on canvas, 1931. Signed and dated by the artist on the lower right. Morris Kantor's "Staircase" demonstrates the artist's exploration of both realistic and visionary effects. The composition features the interior of a traditional New England house with a grand staircase boasting wonderful lathework on the balustrade, walls adorned by

Lot: 147 - Exhibited Kantor Painting - "Image on Red Ground" 1969

**This is an oversized piece that may require special shipping. Please inquire for a quote prior to bidding.Morris Kantor (Russian-American, 1896-1974). "Image on Red Ground" oil on canvas, 1969. Signed "M. Kantor" at lower left and on verso. A dramatic painting by Morris Kantor, "Image on Red Ground" features a central arrangement of biomorphic forms delineated in bold yellow, spring green,

Lot: 148 - Exhibited Signed Morris Kantor Painting, ca. 1962

**This is an oversized piece that may require special shipping. Please inquire for a quote prior to bidding.Morris Kantor (Russian-American, 1896-1974). Oil on canvas, ca. 1962. Signed on the lower right. A wonderful abstract painting by Morris Kantor that demonstrates the artist's avant-garde aesthetic. Kantor's bold colors, forms, and gestural marks create a non-objective composition with shapes

Lot: 149 - Signed Morris Kantor Painting - "Elysian" ca. 1960s

**This is an oversized piece that may require special shipping. Please inquire for a quote prior to bidding.Morris Kantor (Russian-American, 1896-1974). "Elysian" oil on canvas, ca. 1960s. Signed on the upper right. An abstract painting by Morris Kantor that demonstrates the artist's avant-garde aesthetic. The title "Elysian" suggests associations with paradise or heaven, and Kantor's Elysian

Lot: 150 - Exhibited Morris Kantor Painting - Rendition, 1965

**This is an oversized piece that may require special shipping. Please inquire for a quote prior to bidding.Morris Kantor (Russian-American, 1896-1974). "Rendition" oil on canvas, 1965. Signed and dated at lower right. A monumental painting by Morris Kantor that demonstrates the artist's avant-garde aesthetic and was included in the American Federation of Arts exhibition entitled "American Masters

Lot: 151 - Signed William Draper Portrait of Joseph Kennedy (1962)

William Franklin Draper (American, 1912-2003). Portrait of Joseph Kennedy, oil on canvas, 1962. Signed and dated with inscription on lower right which reads, "Wm. F. Draper - Ambassador Joseph Kennedy - 1/2 hour sketch - Palm Beach '62". A painting of historical figure Joseph Kennedy created by American artist William Draper in Palm Beach, Florida in 1962. It was President John F. Kennedy who

Lot: 152 - Signed, Framed Draper Portrait Leonard Bernstein, 1956

William Franklin Draper (American, 1912-2003). "Leonard Bernstein" oil on canvas, 1956. Signed w/ inscription on lower left. A special portrait of the one and only Leonard Bernstein (American, 1918-1990) - internationally revered musical director of the New York Philharmonic for decades and beloved composer who wrote among other masterful compositions the unforgettable score for "West Side Story"!

Lot: 153 - Signed William Draper Painting - Ski Scene, ca. 1940s

William Franklin Draper (American, 1912-2003). Oil on canvas board, ca. 1940s. Signed "Wm. F. Draper" on lower right. A fabulous painting of skiers enjoying some wintertime fun with a red steepled church gracing the scene as well. On the verso, the location is identified as Stowe, Vermont. Stowe has been called the "Ski Capital of the East" with good reason; it is the birthplace of alpine skiing

Lot: 154 - Signed Federico Assler Painting "Late Blooming" (1965)

**This is an oversized piece that may require special shipping. Please inquire for a quote prior to bidding.Federico Assler (Chilean, b. 1929). "Florecimiento Tardio" (Late Blooming) acrylic on canvas, 1965. Signed and dated by the artist at the lower left. A breathtaking painting by Chilean modernist Federico Assler, "Florecimiento Tardio" presents a close-up view of a blooming flower. Assler has

Lot: 155 - Signed Jan Schmuckal Painting - "Partly Sunny" 2010

Jan Schmuckal (American, b. 1962)."Partly Sunny" oil on canvas, 2010. Signed by the artist on the lower right. An exquisite painting by Jan Schmuckal, executed in her signature style which elegantly resides at the crossroads between French Impressionism and American Tonalism. The composition features a central waterway flanked by groves of trees with reflections of the foliage and cloud-filled sky

Lot: 156 - Signed & Framed Margaretta Caesar Painting - At Ease

**This is an oversized piece that may require special shipping. Please inquire for a quote prior to bidding.Margaretta Caesar (American, Contemporary). "At Ease" oil on canvas, signed on lower right. A striking painting featuring several horses grazing in the grassy plains of Colorado by Margaretta Caesar. All is delineated in a painterly, expressionistic style on a large canvas with a radiant

Lot: 157 - Framed Milton H. Greene Photo of Marilyn Monroe

Milton H. Greene (American, 1922-1985). Gelatin silver print of Marilyn Monroe, shot ca. 1950s, printed ca. 1990s. Blind embossed stamped "Milton H. Green, Edward Weston Collection" on the lower left. In this striking photograph by Milton H. Greene, the legendary Marilyn Monroe is seated on a wooden staircase wearing a voluminous peasant skirt and a black sweater. This photo was taken in a French village on the set that was used for "What Price is Glory?" in several scenes. A fabulous photograph of this Hollywood icon by award winning photographer Milton H. Greene, set in an attractive custom frame. Size of sight view: 13.375" L x 10.5" W (34 cm x 26.7 cm) Size of frame: 24.25" L x 18.5" W (61.6 cm x 47 cm) Milton H. Greene created more than 250,000 images, including photos of legendary movie stars - Marilyn Monroe, Judy Garland, Frank Sinatra, Cary Grant, Grace Kelly, Sammy Davis Jr, Sophia Loren, and many more. In 1993, Milton's son Joshua founded the Milton Greene Archives to preserve and restore his father's classic photographs. In 2002, an international exhibition entitled, "Portraits of an Era" featured 61 images, including 33 of Greene's photos of Marilyn Monroe. Greene's work for Life and Look magazines, as well as Vogue, Harper's Bazaar, Town and Country and other high-fashion magazines, brought him international acclaim. Greene is regarded as one of the greats who elevated fashion photography to fine art, along with Richard Avedon, Irving Penn, and Cecil Beaton. Provenance: East Coast collection, New York Gallery, New York City, New York, USA, acquired before 2010 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #168058

Lot: 158 - Yaacov Agam Agamograph "Happy Mood" (2015)

Yaacov Agam (Israeli, b. 1928). "Happy Mood" - an Agamograph, 2015. Signed by the artist in ink at lower center. Numbered 57/180 in ink at lower left. A mesmerizing work by Yaacov Agam, cleverly called an Agamograph, and created via a most innovative technique that is comprised of a lithographic image viewed through a lenticular lens - "Happy Mood" displays Agam's mastery of Op Art and Kinetic

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