Fine Fossils, Native American, Asian, Ethno

Lot: 1 - Saber-Toothed Tiger Fossil Skull, Late Miocene — Complete Dentition

Asia, Late Miocene, ca. 23,000,000 - 5,000,000 BCE. Very fine fossil of one of the most desirable mammalians ever to live - the Saber Toothed Tiger. This fossil specimen has complete dentition to the right side and almost complete on the left. Prominent eye sockets on each side of the snout. These tigers are featured in movies and TV shows including Ice Age (1, 2, 3 4, have they stopped yet?) and the main attraction at the La Brea Tar pits in Los Angeles where over 1000 examples of the North American version have been found.. Size: 11.5" W x 5.875" H x 5.5" D (29.2 cm W x 14.9 cm H x 14.0 cm D) Provenance: private New Jersey, USA collection, excavated in the 1980's. SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 201958

Lot: 2 - T. Rex Fossil Pelvis, Late Cretaceous Western USA 49"L — Custom Display

North America, Wester United States, Late Cretaceous period. Ca. 68,000,000 - 66,000,000 BCE. A massive Tyrannosaurus rex pelvis presented on a custom metal and wood stand, preserving the broad, flaring ilium and robust acetabular region characteristic of this apex predator. The sweeping form shows the deep central basin and heavy bone structure that supported powerful hind limbs, with a wide span and substantial thickness reflecting the immense weight it once carried. Tyrannosaurus rex remains one of the most iconic and studied dinosaurs, widely regarded as the dominant terrestrial predator of its time and a central figure in both scientific research and popular culture. Fossils of this scale and completeness are increasingly rare, and large anatomical elements such as the pelvis are especially sought after for their visual impact and anatomical significance. Size: 49" L x 26" W (124.5 cm x 66 cm); 25" H (63.5 cm) on included custom stand. This item is heavy / oversized and will require special shipping. Please inquire about shipping cost prior to bidding. Provenance: private Hagar collection, Wildwood, Missouri, USA SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 201974

Lot: 3 - Rare Nimravus Fossil Skull — False Saber-Toothed Cat, Oligocene

North America, Shannon County, South Dakota, Sharps Formation, Oligocene. Ca. 31,000,000 - 24,000,000 BCE. A thrilling and rare fossilized skull from the prehistoric Nimravus, a false saber-toothed cat in the Nimravidae family. This skull is displayed with the lower jaw slightly open, so it is easy to imagine this creature crouching and waiting to ambush unwary prey! The lower and upper jaws beautifully show off the large and once-razor sharp saber and canine teeth. This saber-toothed mammal once roamed prehistoric North America, and its oversized canines are similar to the famous Smilodon (saber-toothed tiger); however, Nimravus was not a true cat! These animals were 4 feet in length (1.4 meters) and probably ambushed birds and smaller mammals rather than running after prey. This rare pseudo-cat is awe inspiring and a remarkable part of prehistorical fauna that very few collectors have the opportunity to see! Size: 9" L x 5" W (22.9 cm x 12.7 cm); 10.25" H (26 cm) on included custom stand; saber size: 1.25" L (3.2 cm) Provenance: private Texas, USA Collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202043

Lot: 4 - Kentrosaurus Fossil Shoulder Spike, Late Jurassic Tanzania 24" inches

East Africa, Tanzania, Late Jurassic, ca. 152,000,000 BCE. An exceedingly rare shoulder spike from a Kentrosaurus dinosaur, a member of the stegosaurian group of herbivorous dinosaurs, which are characterized by their distinctive rows of large bony plates along their backs and the spikes on their tails. Kentrosaurus was a relative of the better-known Stegosaurus but had spikes that extended along its spine and on the shoulder of each forelimb. Original reconstructions placed these bone protrusions on the hips, but recent discoveries have shown it was the front shoulders and these may have had a horn sheath layer on top. A printed 11 x 8 inch (27.9 x 20.3 cm) photo of the Kentrosaurus skeleton in the Natural History Museum in Berlin is included for reference. This bone core is slightly curved with a thick root and the surface has developed a lovely umber hue. The spike is meticulously prepared and completely free from any stone or sediment, with only some restoration to the tip. Size: 24" W x 5" H x 5" D (61.0 cm W x 12.7 cm H x 12.7 cm D). 10.75" H (27.3 cm) on included custom stand. Provenance: private Texas, USA Collection; ex-Artemis Gallery; ex-private Berthoud, Colorado, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 201853

Lot: 5 - Pleistocene Fossil Hyena Skull and Mandible

Eurasia, Pliocene to Late Pleistocene, ca. 3 million to 20,000 years ago. A fossilized hyena skull and mandible, a grin built for the apocalypse, set in chalk-pale bone and ochre-stained matrix. The cranium is short, broad, and powerfully built: a domed braincase rising behind forward-set orbits, a sagittal crest scoured deep by the anchor of jaw muscles strong enough to render the femur of a horse into splinters. The rostrum terminates in a pair of robust upper canines, and behind them sit the great conical premolars, low-crowned and thick at the base, engineered not to slice but to crush. The mandible answers in kind, its corpus running deep through the molar field, the masseteric fossa excavated by the bite that gave Pleistocene hyaenids their place at the top of the carrion economy. Size: 6.7" W x 6.8" H x 10.1" D (17.0 cm W x 17.3 cm H x 25.7 cm D); of longest tooth: 1.2" L (3.0 cm L) Cranial proportions and dental robustness place the animal squarely within Hyaenidae, with the leading candidates being Pachycrocuta brevirostris, the giant short-faced hyena that ranged from Iberia to Zhoukoudian between roughly 3 million and 500,000 years ago, and Crocuta crocuta spelaea, the cave hyena of the Middle to Late Pleistocene. The former was the largest hyaenid that ever lived, a 110-kilogram bone-processor whose den deposits at sites like Venta Micena preserve drifts of cracked prey bone. The latter shared the European caves with cave bears and Neanderthals, and left its tooth marks on both. Either way, this skull belongs to the animal that closed the gap between death and dust, the engine that reduced antelope, equid, and even proboscidean to fragments and powder. To hold it is to face down a predator deep time has otherwise erased. Provenance: private Texas, USA Collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202941

Lot: 6 - Monster 6.1" Megalodon Fossil Tooth — Otodus megalodon

Ancient Seas, Middle Miocene to End of Pliocene Eras. Ca. 23,000,000 - 2,600,000 BCE. A monster-sized fossil megalodon shark tooth of commanding scale: 6.1 inches in length (15.5 cm), so large it barely fit within the calipers! The broad triangular crown rises from a thick, well-preserved root, with visible serrations along the cutting edges and natural enamel luster across the blade. Subtle color variation from warm tan to deeper brown reflects mineralization during fossilization, while the root retains areas of darker matrix and marine wear, with sand and grit caught within the fissures. The scale and weight of the specimen convey the immense size of megalodon, whose teeth were designed for shearing through large marine prey. A highly sought-after "6+ inch" that conveys the sheer size of these prehistoric sharks! Size: 6.1" L x 4.7" W (15.5 cm x 11.9 cm) Provenance: private Berthoud, Colorado, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 200184

Lot: 7 - Fossilized Mammoth Tusk on Wood Base

North America, Northwestern United States, Alaska, Pleistocene epoch (Ice Age), ca. 35,000 to 10,000 years ago. A sweeping arc of deep time made tangible, this fossilized mammoth tusk curves gracefully in a broad crescent, its surface alive with warm striations of cream, honey, and earthen brown formed through millennia of mineralization. The ivory retains its characteristic longitudinal grain and subtle weathering, with areas of natural patina and surface variation that speak to its burial and eventual recovery from ancient deposits. Mounted on a custom wooden display base, the tusk is elevated in a manner that emphasizes both its scale and elegant curvature, transforming a relic of the Ice Age into a sculptural presence suited for modern interiors. Size: 32" L x 3.3" W x 4" H (81.3 cm x 8.4 cm x 10.2 cm); 10.5" H (26.7 cm) on included custom stand; along outer curve: 35.5" L (90.2 cm) Mammoth tusks, composed of dentin rather than true ivory enamel, grew continuously throughout the animal's life, often reaching impressive lengths and serving both as tools and displays of dominance. This example captures that primal function and enduring beauty, offering a rare intersection of natural history and organic form - a relic shaped by both the living animal and the slow artistry of geological time. Publication: This is an ESA antique exempt piece of ivory and cannot be sold internationally or to anyone residing in the states of California, Hawaii, Illinois, Nevada, New Hampshire, New Jersey, New York, Oregon, and Washington. We guarantee that the piece is over 100 years old. Provenance: private Hagar collection, Wildwood, Missouri, USA SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202191

Lot: 8 - Prehistoric "Trilobite Highway" Fossils in Stone Matrix

North Africa, Morocco, Ordovician period, ca. 485 to 444 million years ago. A striking fossil matrix displaying seven trilobites preserved in raised relief, arranged in a natural linear formation, as if traversing a path or a "trilobite highway." The composition includes identifiable examples of Lonchodoma or Ampyx alongside Colpocoryphe, their segmented bodies and fine axial ridges clearly defined against the smooth, contrasting matrix. Several specimens retain elongated spines, lending a sense of movement and direction to the overall presentation. Size: 8.75" L x 0.75" W (22.2 cm x 1.9 cm); 6.75" H (17.1 cm) on included custom stand. Provenance: private Berthoud, Colorado, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202224

Lot: 9 - Massive Prehistoric Fossilized Dinosaur Vertebra Bone

North America, Western United States, possibly Hell Creek Formation, Cretaceous, ca. 68 to 65.5 million years ago. A fossilized vertebrae bone from a dinosaur! The form is heavily mineralized with a ossified, weathered surface, lacking diagnostic features that would allow for precise identification, though it may represent a portion of a large vertebrate from a dinosaur, perhaps a hadrosaur. An intriguing and sculptural natural specimen, presented on a wood stand. Size: 7" L x 5" W (17.8 cm x 12.7 cm); 9.75" H (24.8 cm) on included custom stand. Provenance: private Hagar collection, Wildwood, Missouri, USA SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202235

Lot: 10 - Large Cretaceous Hadrosaur Dinosaur Coal Mine Footprint Cast

Ca. 78998000 - 78997950 BCE. North America, Western Interior Basin, Late Cretaceous, Campanian Stage. A natural cast of a hadrosaur footprint, lifted from the ceiling of a Cretaceous coal mine and bearing the trace of a single moment some seventy-five million years deep. The duck-billed maker, likely Prosaurolophus or a closely related hadrosaurine, pressed its broad padded sole into the saturated

Lot: 11 - Fossilized Crab Potamon potamios in Travertine Matrix

Central Asia, Anatolia, southwestern Turkey, Pleistocene era, ca. 100,000 years ago. A fossilized crab, Potamon potamios, also known as the freshwater Levantine crab, preserved in a textured travertine matrix. The crab is captured in a naturalistic burrowing posture, with sediment rising behind and steeply in front, suggesting a moment of active concealment within its environment, though it may alternatively represent a molted exoskeleton rather than the animal itself. The softly toned calcified surface and granular formations enhance the sense of preservation, and the piece is mounted within a modern acrylic display case with a removable lid. Size of fossil matrix: 4.25" L x 3" W x 2.2" H (10.8 cm x 7.6 cm x 5.6 cm); acrylic case: 6.75" L x 4.5" W x 3.5" H (17.1 cm x 11.4 cm x 8.9 cm) Provenance: private Texas, USA Collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 201924

Lot: 12 - Devonian Fossil Slab Table Top - Orthoceras & Ammonite, Morocco

North Africa, Morocco, Devonian Period,, ca. 419.2 to 358.9 million years ago. A large circular slab quarried from the fossil-rich limestone of the Moroccan Atlas, polished to a deep mirror sheen that draws ancient life out of the dark matrix. Across its surface, elongated Orthoceras cephalopods drift in pale silhouette beside the coiled spirals of ammonites, their chambered shells frozen in the moment of burial. Equally at home mounted on custom legs as a low table or laid upon a surface as a substantial display tray, it carries some 400 million years of geological history in a single polished plane. Size: 27.5" W x 0.75" H (69.8 cm W x 1.9 cm H). Provenance: private Colorado, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 196483

Lot: 13 - Fossil Whale Vertebra Cetacean, Miocene, Complete Centrum

North America, Miocene, ca. 23,000,000 - 5,000,000 BCE. A fossilized cetacean vertebra, species indeterminate. The specimen is well-preserved and of substantial size, consistent with a large baleen or toothed whale. The vertebral centrum is broad and robustly constructed, with a clearly defined articular endplate exhibiting concentric growth patterning on the exposed face. Projecting transverse processes extend laterally from the centrum, and a remnant of the neural spine is preserved along the dorsal margin. Size: 4.8" D x 2.8" H (12.2 cm D x 7.1 cm H) Provenance: private Texas, USA Collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202044

Lot: 14 - Devonian Trilobite Fossils - Six in Matrices

North Africa, Morocco, Devonian period, ca. 419.2 to 358.9 million years ago. A visually rich group of six trilobite fossils showcases these ancient arthropods preserved within their original stone matrices, representing examples from the orders Ptychopariida and Phacopida. Each specimen offers a distinct impression of form and preservation, unified by their shared origin in the Devonian seas. The trilobites display the classic tripartite body structure, with clearly defined cephalon, articulated thoracic segments, and rounded pygidium. Several examples exhibit pronounced ribbing and well-preserved segmentation, while others appear more softly embedded, reflecting differences in burial conditions and fossilization. The Phacopida specimens are notable for their more robust, convex forms and prominent glabellar regions, while the Ptychopariida examples tend toward flatter profiles and more elongated segmentation. Size of largest matrix: 6.3" L x 4.3" W (16 cm x 10.9 cm); of largest trilobite: 4.1" L x 2.6" W (10.4 cm x 6.6 cm) Dark mineralization across the fossilized exoskeletons contrasts with the lighter matrices, accentuating anatomical details such as axial ridges and pleural lobes. In certain pieces, the trilobites rise in relief from the surrounding stone, while others remain partially recessed, creating a varied and dynamic presentation across the group. Trilobites of these orders were widespread during the Devonian, a period often called the 'Age of Fishes', when marine ecosystems flourished with increasing complexity. As benthic organisms, they inhabited seafloors, where their durable exoskeletons were readily preserved following burial in sediment. Together, these six specimens offer both scientific and aesthetic appeal, illustrating variation within trilobite morphology and preservation while forming a cohesive and engaging display of Devonian marine life. Provenance: private Colorado, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 201455

Lot: 15 - Large Metacanthina Trilobite Fossil in Stone Matrix

Ca. 399998000 - 399997950 BCE. Alnif region, Morocco. Devonian Period. A striking and well-prepared trilobite of the genus Metacanthina, preserved in high relief within its natural matrix. The specimen displays exceptional articulation, with sharply defined axial rings, pleural segments, and a finely detailed cephalon featuring prominent eyes and characteristic genal spines. The trilobite is presented in a partially opened nodule, creating a dramatic three-dimensional effect that highlights both the fossil and surrounding stone. Metacanthina trilobites are prized among collectors for their distinctive morphology and sculptural presence, and examples of this size and clarity are increasingly sought after. The careful preparation reveals the natural curvature of the exoskeleton while retaining portions of the original matrix, enhancing both scientific and aesthetic value. Provenance: Private Berthoud, Colorado, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202231

Lot: 16 - Fossilized Stegodon Bone Fragment - Pleistocene Era

Southeast Asia, Indonesia, Pleistocene era, ca. 1.5 to 1.2 million years ago. A fossilized bone fragment from a Stegodon, a prehistoric elephantid. Please note, this is not a tusk, but carved in modern times to resemble a tusk from a Stegodon or other prehistoric elephant species. The membrane and cell structures that made up the bone are now captured in the stone, creating a marbled pattern across the surface. Stegodon was believed to be an ancestor to mammoths and today's elephants, however recent studies have revised the understanding of Stegodons' evolutionary lineage, suggesting a divergence from direct ancestry with modern elephants. Another interesting evolutionary footnote is the phenomenon of insular dwarfism - in response to limited resources and breeding isolation, island dwelling Stegodons were much smaller than their mainland relatives. In Indonesia there is compelling evidence indicates that these small stegodons were even preyed upon by Komodo dragons and inhabited much of Asia! Size: 8" L x 2.5" W (20.3 cm x 6.4 cm) Provenance: private Reinsmoen collection, Clear Lake, Iowa, USA, acquired through descent from Robert Anderson, acquired prior to 2000 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 185242

Lot: 17 - Jurassic Period Giant Fossil Ammonite | Southern France | 31" Intact Spiral

Western Europe, France, Southern Coast, Jurassic period, ca. 201 to 145 million years ago. An enormous fossil ammonite preserved in a bold, rounded form, displaying the iconic spiral structure of this extinct marine cephalopod. The surface shows natural texture, mineral deposits, and areas of weathering, with visible chamber definition and a deeply recessed central whorl. Specimens of this size are uncommon, as large ammonites often collapsed under sediment pressure during fossilization, making intact examples particularly desirable. A striking and substantial fossil display piece that captures the scale and presence of prehistoric ocean life! Size: 31" L x 7.5" W x 24" H (78.7 cm x 19 cm x 61 cm) This item is oversized / heavy, please inquire about shipping prior to bidding. Provenance: private collection of S. Saunders, Nogales Arizona, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 201793

Lot: 18 - Massive 6.1" Megalodon Fossil Tooth, Miocene–Pliocene

Ancient Seas, Middle Miocene to End of Pliocene Eras. Ca. 23,000,000 - 2,600,000 BCE. Substantial and visually commanding fossil tooth of Otodus megalodon, the largest shark to have ever lived, measuring 6.1 inches in length and 4.7 inches across the base. The broad triangular blade is well-formed, with a sharply defined tip and robust root, the whole preserved in warm natural coloration characteristic of well-mineralized marine fossil material. At 6.1 inches, this specimen falls within the upper range of documented megalodon dentition, where size alone places it among the most sought-after examples in the private fossil market. Recovered from ancient seas dating to the Middle Miocene through the close of the Pliocene, ca. 23 to 2.6 million years ago, this tooth is a powerful remnant of an apex predator that dominated the world's oceans for nearly twenty million years. Size: 6.1" L x 4.7" W (15.5 cm x 11.8) Provenance: private Texas, USA Collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202020

Lot: 19 - Mammoth Tusk Fragment with Exposed Core on Wood Stand

North America, Alaska, Late Pleistocene epoch (Ice Age), ca. 35,000 to 10,000 years ago. Nice large section of mammoth tusk pulled from the permafrost of Alaska. Curved section showiing multiple rings which can determine the age of the beast when it died. Exposed core. Nice example! Size: 5" D x 21.5" H (12.7 cm D x 54.6 cm H) Provenance: private Hagar collection, Wildwood, Missouri, USA SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202232

Lot: 20 - Aquamarine & Muscovite Mica Mineral Specimen

Central Asia, ca. millions of years ago. A substantial aquamarine and muscovite mica association specimen, featuring pale blue-green aquamarine crystals clustered across a dense matrix of warm bronze muscovite mica rosettes. The contrast between the glassy aquamarine and the metallic, layered mica makes for a visually striking display piece. Size: 5.5" W x 2" H x 4" D (14.0 cm W x 5.1 cm H x 10.2 cm D) Provenance: private West Covina, California, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202688

Lot: 21 - 3 Unmounted Diamonds Round Brilliant Cuts

United States, 21st century CE. Three unmounted diamond solitaires, each presented in individual display cases. The stones are round brilliant cut and vary in color and size, including a 0.76 carat brownish-black diamond, a 0.52 carat deep royal blue diamond with HPHT color enhancement, and a 0.26 carat fiery light brown diamond with fracture-filled clarity enhancement. Accompanied by a report from the International Gemological Research Laboratories (IGR), documenting each. Size of largest: 0.2" Diameter (0.5 cm) Provenance: private Hagar collection, Wildwood, Missouri, USA SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 200633

Lot: 22 - Olmec & Olmecoid Proto-Maya Terracotta Figures - Group of Three

Pre-Columbian, Mexico, Olmec and Olmecoid / Proto-Maya, ca. 1200–400 BCE. A trio of hand-modeled terracotta figures that carry the ancestral memory of Mesoamerica's earliest sculptural voice. The standing figure, buff-clay and unclothed, cradles a swollen, gravid belly, her hands drawn to her sides, an unmistakable emblem of fertility and generative power. Beside her a seated female, softer in tone, holds a bundle to her chest and wears a sash and loincloth, her coiffed hair rendered in incised strands. The third, a solitary head raised on a mount, distills the Olmec canon: fleshy cheeks, downturned mouth, and heavy-lidded eyes with faint traces of pigment. Together they trace the passage from Olmec convention into the Olmecoid, proto-Maya idiom that flowered along the Gulf and Pacific slopes. Such figures likely served votive and ancestral roles, buried offerings that bound the living to lineage and land. Size of largest (standing figure): 2.3" W x 4.8" H (5.8 cm W x 12.2 cm H). The Olmec, flourishing along Mexico's Gulf Coast from roughly 1200 to 400 BCE, are widely regarded as the "mother culture" of Mesoamerica, transmitting a durable visual vocabulary, the drooping infantile mouth, the almond eye, the emphasis on rulership and fecundity, that later peoples absorbed and transformed. "Olmecoid" and "proto-Maya" describe works made beyond the Olmec heartland that adopt these conventions while pointing toward the emerging traditions of the Maya lowlands. Female figures with emphasized abdomens belong to a widespread fertility iconography, likely deposited as votive or funerary offerings meant to secure agricultural abundance and the continuity of lineage. Provenance: private Colorado, USA collection; ex-private Los Angeles, California, USA collection; ex-major gallery, Beverly Hills, California, USA, primarily acquired between 1985 and 2005 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202812

Lot: 23 - Tlatilco Pottery Rattle Figure - Seated Nude Female, Possible Birthing Pose

Pre-Columbian, Mexico, Tlatilco, ca. 1200–900 BCE. A hollow burnished terracotta figure of a seated nude woman, her legs drawn wide from full, rounded thighs, her body caught in a moment of visceral concentration. The proper right hand rises to an open, parted mouth while the left presses against a swollen abdomen, a gesture that reads convincingly as parturition. The broadly modeled head bears an elongated cranium, deep-set punctate eyes, and a fleshy nose and lips, hallmarks of the Preclassic modeling tradition of the central Mexican highlands. The hollow interior conceals loose clay pellets, so that the figure doubles as a rattle, its rhythmic sound likely bound to the fertility and life-cycle rites for which such images were made. Traces of a lustrous slip survive across the softly abraded surface, warm brown mottled with earthen ochre. Size: 3.4" W x 4.6" H x 3.1" D (8.6 cm W x 11.7 cm H x 7.9 cm D). Tlatilco, on the western shore of the ancient Lake Texcoco in the Valley of Mexico, flourished as a village culture whose burials yielded an abundance of ceramic figurines, many of them nude women. Scholars associate these small effigies with fertility, regeneration, and the female life cycle, themes that a figure in a birthing posture would render explicit. The rattle function joins the object to a broad Mesoamerican vocabulary in which sound accompanied ritual; sonorous figures of this kind may have served shamanic or curative purposes, their voice summoned in ceremonies tied to abundance and reproduction. Tlatilco's material culture shows contact with Olmec currents from the Gulf Coast, and its hollow, animated figures anticipate the West Mexican ceramic traditions of later centuries. Provenance: ex-David Zahler collection, acquired between 1975 to 2004 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203757

Lot: 24 - Pre-Columbian & Greek Terracotta Heads, Figures & Ocarina - Lot of 12

Pre-Columbian, Mexico, Guatemala and Costa Rica; and Mediterranean, Greek, Hellenistic period, ca. 300 BCE – 1500 CE. A varied assembly of twelve terracotta fragments and small forms drawn from two ancient worlds. Eleven derive from Pre-Columbian Mesoamerica and Central America, the workshops of Mexico, Guatemala, and Costa Rica: molded and hand-formed heads with almond eyes and full lips, appliqued visages framed by ornament, a strap handle bearing traces of red slip, and a hollow zoomorphic ocarina still capable of song. Several retain the earthy patina of long burial. The twelfth piece stands apart, a Greek Hellenistic head crowned by a softly draped veil, its features modeled with the naturalism of the Mediterranean tradition. Once votive offerings, grave goods, musical instruments, and adornments for larger vessels, these fragments preserve the intimate handiwork of potters working across two hemispheres. Size of largest (ocarina): 3.5" L x 1.8" W (8.9 cm L x 4.6 cm W). The ocarina belongs to a long Mesoamerican tradition of ceramic aerophones, zoomorphic and anthropomorphic whistles that accompanied ritual and daily life; many were shaped as animals and produced surprisingly clear tones. The molded heads typically broke away from larger composite figurines and effigy vessels, while such small clay effigies were widely interred as funerary companions. The single Hellenistic head reflects the Greek workshop tradition of terracotta votives (such as those from Tanagra and Myrina), in which draped female figures were mass-produced from molds for dedication in sanctuaries and placement in tombs. Provenance: private Colorado, USA collection; red head: ex-Material Culture, Philadelphia, Pennsylvania, USA, May 27, 2025; some figures ex-Arte Primitivo, New York, New York, USA, July 22, 2024, lot 127; ex-Rachelle M. Miller estate, Chicago, Illinois, USA SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 196985

Lot: 25 - Two Guerrero Mezcala Stone Axe God Figures

Pre-Columbian, Mexico, Guerrero, Mezcala, ca. 500–100 BCE. A pair of anthropomorphic figures carved from dense volcanic stone in the pared-down idiom for which the Mezcala culture of Guerrero is celebrated. Each takes the "axe-god" form, a votive object worked from a polished celt so that the tool itself becomes a standing body. Broad grooves and shallow channels articulate a domed head, a suggested neck, and a columnar torso terminating in cursory legs, the sculptor coaxing a human presence from the fewest possible cuts. The surfaces retain a soft, waxy sheen from handling and burial. Such figures were not weapons but ritual effigies, likely deposited as offerings or interred with the dead, their abstraction lending them an enduring, almost modernist economy of line that captivated twentieth-century collectors. Size of larger: 2.6" W x 6.5" H (6.6 cm W x 16.5 cm H). The Mezcala style takes its name from the Rio Balsas (Mezcala) drainage of central Guerrero. Lacking a securely excavated chronology, these lapidary works are broadly dated to the Middle-to-Late Preclassic, though the tradition persisted for centuries; Mezcala objects were prized as heirlooms even by the later Aztec, who buried them as offerings in the Templo Mayor at Tenochtitlan. The reductive geometry, achieved by abrading hard stone with cord, sand, and simpler stones rather than metal tools, so anticipates the vocabulary of modern abstraction that figures like these were avidly sought by artists and collectors including Diego Rivera. Provenance: private Colorado Springs, Colorado, USA collection; ex-private San Antonio, Texas, USA collection, before 2006 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203133

Lot: 26 - Pre-Columbian Pottery Group of 4 - Tlatilco, Zapotec, Nayarit & Teotihuacan

Pre-Columbian, Mexico, Tlatilco, Zapotec, Nayarit, and Teotihuacan cultures, ca. 1200 BCE – 650 CE. A quartet of ancient Mexican earthenware pieces spanning nearly two millennia of Mesoamerican craft. A standing Tlatilco fertility figurine, modeled in the round with full hips and an elaborate coiffure, embodies the Preclassic Valley of Mexico's preoccupation with the female form. Beside it, a small Teotihuacan head bears the broad, stylized features and applique cap of the great highland metropolis. A larger Zapotec head from Oaxaca, its serene visage framed by an ornamented headdress, hints at the modeled urn traditions of Monte Alban. Completing the group, a hand-built Nayarit jar from West Mexico swells with the rounded, utilitarian grace of shaft-tomb ceramics. Together they trace a cross-section of Mexico's ancient ceramic vocabulary, from votive figurine to funerary vessel. Size of largest (Zapotec head): 2.3" W x 3.8" H (5.8 cm W x 9.7 cm H). The four cultures represented span radically different times and regions of ancient Mexico. Tlatilco, flourishing in the Valley of Mexico during the Early to Middle Preclassic (ca. 1200-800 BCE), is renowned for its solid handmodeled figurines emphasizing fecundity. The Zapotec, centered at Monte Alban in Oaxaca, produced their most celebrated ceramic sculpture between roughly 300 BCE and 700 CE. Teotihuacan, the vast Classic-period city northeast of modern Mexico City, reached its apogee ca. 150-650 CE, mass-producing moldmade heads and figurines. Nayarit, part of the West Mexican shaft-tomb tradition, is best known for ceramics interred with the dead between about 200 BCE and 500 CE. Grouped together, the pieces offer a compact teaching survey of Mesoamerican regional style. Provenance: private Lumberton, Texas, USA collection, acquired before 2010 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203382

Lot: 27 - Colima & Jalisco Pottery Nude Female Figures, Group of 3

Pre-Columbian, West Mexico, Colima and Jalisco, ca. 300 BCE – 300 CE. A trio of buff-clay female figures from the shaft-tomb cultures of West Mexico, each rendered with frank attention to the nude body. The largest, of Colima type, stands with legs pressed together and short arms flung outward, her genitalia clearly delineated, her face flattened beneath a low fillet cap. The two smaller Jalisco figures are more compact, their hands drawn toward rounded, swelling bellies, a gesture that likely signals pregnancy and the fertility so central to this iconography. Slit eyes, applied ear ornaments, and burnished russet slip animate their forms. Modeled by hand rather than molded, such figures accompanied the dead in deep shaft tombs, where women, ancestors, and the promise of regeneration were given lasting ceramic voice. Size of largest (Colima): 4" W x 8.1" H (10.2 cm W x 20.6 cm H). The shaft-tomb tradition of West Mexico (Colima, Jalisco, and Nayarit) produced no monumental architecture but instead buried its dead in deep vertical shafts opening onto lateral chambers, furnished with hollow and solid ceramic figures. Female figures with emphasized sexual characteristics and gestures toward the belly are frequently interpreted as fertility or ancestral imagery, though their precise ritual meaning remains debated. The elongated limbs and abstracted, mask-like faces of the Jalisco examples contrast with the fuller, more naturalistic modeling of Colima work, letting the two regional idioms be read side by side. Provenance: private Phoenix, Arizona, USA collection; ex-Dr. G. Smith collection, San Diego, CA, USA, acquired 2010; ex-Boulder, CO, USA collection, acquired 2000 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203559

Lot: 28 - Pre-Columbian West Mexican Pottery Figures - Colima Warriors & Jalisco Female

Pre-Columbian, West Mexico, Colima and Jalisco cultures, ca. 300 BCE – 300 CE. A trio of modeled ceramic figures from the shaft-tomb traditions of West Mexico, each a small but charged study in the human form. The bearded figure, rendered in buff slip with traces of red pigment, stands with hands set against the hips and elbows winging outward, his headband incised and his beard combed into a sculpted ridge along the jaw, a Colima warrior whose loincloth and stout legs were pressed and pinched from the same hand-built body. Beside him, a redware Colima male strides forward with arm raised, an erect phallus declaring his role as a fertility-charged protector or combatant; his conical headdress and applique features owe their crispness to deft thumbwork in still-damp clay. The third figure, a Jalisco standing nude female of the so-called "sheep-face" type, is finished in a burnished blackware whose smoky surface still carries a soft sheen. Her elongated cranium, pinched nose, and coffee-bean eyes typify the canon that scholars have linked to the Ameca-Etzatlan region, where such figures accompanied the dead into deep shaft tombs as companions, ancestors, or guardians. Together the three offer a compact view of Occidente sculptural vocabulary: the muscular bravado of Colima warriors set against the spectral economy of a Jalisco woman, each a vessel of belief shaped by hand more than two millennia ago. Size of largest (bearded figure): 2.6" W x 4.8" H (6.6 cm W x 12.2 cm H). Provenance: Private Colorado collection, ex collection of Y. Kayvan, Los Angeles, California, USA, acquired from Barakat Gallery, Los Angeles, California, USA gallery acquisition dates range from the late 1980s to 2005 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202782

Lot: 29 - Four Colima Pottery Vessels - Animal & Gourd Forms

Pre-Columbian, West Mexico, Colima culture, ca. 300 BCE to 300 CE. A group of four red-slipped and burnished ceramic vessels of the Colima shaft tomb tradition, comprising a gourd effigy vessel with characteristic curving spout, a small bridge-handled vessel with lateral shoulder nubs, a globular olla with flared neck, and a zoomorphic tripod bowl likely referencing the Xoloitzcuintli, the hairless dog believed to guide souls through the underworld. Size of largest: 4.3" D x 3.3" H (10.9 cm D x 8.4 cm H) Provenance: ex collection of Y. Kayvan, Los Angeles, California, USA, acquired from a Los Angeles, California, USA gallery acquisition dates range from the late 1990s to 2005 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202392

Lot: 30 - Nayarit San Sebastian Redware Maternity Figure - Nursing Mother

Pre-Columbian, Mexico, Nayarit, ca. 100 BCE – 300 CE. A seated mother rendered in burnished redware, her ample thighs splayed to anchor a solid, columnar body. She wears a bulbous headdress that crowns the elongated skull, applique earrings, and a slim necklace, while her nudity emphasizes fertility and the domestic role she embodies. In her right hand she cradles a shallow dish; against her left breast she holds an infant, likely captured mid-nursing. The modeling is confident and economical, with pierced septum, coffee-bean eyes, and fire-clouded slip lending mottled warmth to the surface. Maternity figures of the San Sebastian Red style are among the most tender products of West Mexican shaft-tomb culture, interred as companions for the dead and enduring emblems of lineage, nourishment, and continuity across generations. Size: 6.3" W x 12.8" H x 4.9" D (16.0 cm W x 32.5 cm H x 12.4 cm D). The San Sebastian Red type belongs to the shaft-tomb tradition of the Nayarit region of West Mexico, where the dead were placed in deep vertical shafts opening onto lateral chambers, accompanied by ceramic figures depicting warriors, ballplayers, households, and above all women and children. Maternity and nursing figures are read as expressions of fertility and ancestral continuity, affirming the vitality of the lineage even in death. The characteristic mottling seen here results from uneven, open-air firing rather than deliberate decoration, a hallmark that helps distinguish authentic examples of the tradition. Provenance: private Saint Louis, Missouri, USA collection acquired between 1970 and 1995 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203965

Lot: 31 - 3 Nayarit Pottery Male & Female Seated Figures

Pre-Columbian, Mexico, Nayarit culture, ca. 300 BCE to 300 CE. A group of three Nayarit terracotta figures presents a domestic gathering rendered in the direct, unsentimental idiom characteristic of West Mexican shaft-tomb art. The largest figure, a female seated with legs extended forward, is modeled in unadorned red-orange terracotta, her broad shoulders and individually characterized face carrying their authority through form alone, without the assistance of pigment. The petite male figure wrapped in a blanket or mantle that conceals his arms, lower body, and, from the frontal view, a modeled phallus visible only beneath the garment, retains traces of lighter pigment articulating stripes across the blanket, the pupils of the eyes, and the earspools, lending him a dressed and ornamented presence despite his diminutive scale. Size of largest: 4.1" W x 7.4" H x 2.6" D (10.4 cm W x 18.8 cm H x 6.6 cm D) The mid-size figure is female, her four pendant limbs placing her either standing or seated upon a bench or chair, a posture associated with rank in Nayarit tomb assemblages; her body is adorned with both light and dark pigments applied in stripes and dots, and her genitalia are explicitly modeled, rendered with the frank anatomical candor characteristic of West Mexican funerary ceramics. Together the trio embodies the Nayarit practice of assembling sexually differentiated figural groups for shaft-tomb interment, each body fully inventoried, each social identity legible, the whole conceived as a small represented household dispatched intact into the afterlife. Provenance: private Colorado, USA collection, ex collection of Y. Kayvan, Los Angeles, California, USA, acquired from Barakat Gallery, Beverly Hills, CA, acquisition dates range from the late 1990s to 2005 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202806

Lot: 32 - Nayarit Seated Bichrome Semi-Nude Male & Female

Pre-Columbian, Western Mexico, Nayarit, ca. 100 BCE to 200 CE. A matched pair of hand-modeled polychrome figures captures, with disarming intimacy, the social and ceremonial world of ancient Nayarit. Rendered in the characteristic burnished red slip of the Chinesco or related Nayarit tradition, the two figures sit in easy conversation across two millennia, their gestures arrested mid-moment as if

Lot: 33 - Veracruz Terracotta Seated Dignitary Figure - Adorned with Bitumen-Painted Features

Pre-Columbian, Mexico, Veracruz, ca. 300–900 CE. A modeled terracotta figure sits with legs folded and forearms crossed over the lap, the composed posture of a personage at rest or in ceremony. A broad, tiered headdress fans upward and frames the face with heavy lateral rosettes, while beaded strands cascade at either side as ear ornaments and pendant elements. A segmented collar rests against the chest, and matching beaded bands wrap the upper arms. Traces of black bitumen pigment linger at the mouth, across the pupils, and along the outer corners of the eyes, animating a face of half-closed eyes, a broad nose, and full lips held in quiet dignity. The wealth of regalia (headdress, earflares, necklace, and armbands) marks this as a figure of rank, likely an elite personage or deity impersonator from the Classic-period Gulf Coast. Size: 3.5" W x 6.8" H x 2.5" D (8.9 cm W x 17.3 cm H x 6.3 cm D). The Classic Veracruz tradition of Mexico's Gulf Coast, centered on sites such as El Zapotal and Remojadas, is celebrated for its expressive ceramic sculpture. Figures of this kind used elaborate dress as a visual language of status: the multi-tiered headdress and layered ornament signaled elite standing or divine identity, and such pieces frequently accompanied burials or served in ritual settings. The selective application of chapopote (natural asphaltic bitumen) to define the mouth, pupils, and the outer contours of the eyes is a hallmark of Gulf Coast ceramic practice. This tar-based pigment, gathered from natural seeps along the coast, was prized as a decorative accent and here sharpens the gaze and lends the features their arresting presence. Provenance: ex-David Zahler collection, acquired between 1975 to 2004 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203753

Lot: 34 - Three Maya Greenstone Celts

Ca. 300 - 350 CE. Pre-Columbian, Mesoamerica, Maya. A group of three polished greenstone celts representing the prestige lapidary tradition of the ancient Maya. The celt form, a trapezoidal blade ground smooth without hafting, served simultaneously as functional implement, ritual object, and portable index of social standing. Green stone of any variety carried deep cosmological weight in Maya culture, its color associating it with maize, rain, and regenerative life force, and finely finished examples were among the most valued objects a Maya individual could possess or offer. The largest, ground from dense dark greenstone, presents a near-black surface tapering from a broad poll to a straight cutting edge, its heft and finish suggesting an object of ceremony as much as utility. The midsize celt, worked from blue-green greenstone with characteristic swirling banding and iron-oxide veining, is the most visually striking of the three, its translucent depth catching light in the manner prized by ancient lapidaries and modern collectors alike. The smallest, a pale celadon greenstone, is compact and precisely finished, its modest scale consistent with celts intended for personal adornment or votive deposit. All three retain excellent polish with no restoration, and together present an instructive cross-section of Maya lapidary material culture. Provenance: Private New York, USA collection; ex-Lands Beyond Time, New York, USA SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 201629

Lot: 35 - Ancient Maya Large Chert Blades & Arrow Points, 4 pcs

Pre-Columbian, Belize, Maya, ca. 300 BCE to 900 CE. A group of four stone tools presented in a display case. The two large bifaces are knapped from dense black chert with pressure flaking along both edges - their lenticular profiles and tapered bases suggest use as knives or ceremonial blades, with the constricted lower portion serving as a grip or hafting element. The two smaller points are worked from tan chert into finely barbed arrow or dart points, their lateral notches and serrated edges indicating a later reduction in scale consistent with bow-and-arrow technology. Size of largest: 1.75" W x 8" H (4.4 cm W x 20.3 cm H); case: 8" W x 12" H (20.3 cm W x 30.5 cm H) Provenance: private southwestern Pennsylvania, USA collection, acquired prior to 2000 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202069

Lot: 36 - Three Maya Chert, Flint & Obsidian Eccentric Blades

Pre-Columbian, Mexico to Guatemala, ca. 250 - 900 CE. Pre-Columbian, Mexico, Belize and Guatemala, Classic to Late Classic, ca. 250 to 900 CE. Three eccentric blades, left to right, obsidian from Guatemala, flint from Mexico and chert from Belize, each with crisply serrated margins and a lunate interior notch forming the characteristic C-scroll profile. Expertly pressure-flaked, these lithic miniatures were likely made for ritual deposition rather than utilitarian cutting. Size of largest : 1.3" W x 2.6" H (3.3 cm W x 6.6 cm H) Provenance: ex-Denenberg Fine Arts, Los Angeles, California USA; ex-Charles Craig collection, Santa Barbara, California, USA before 2000 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202907

Lot: 37 - 2 Maya Chert Stone Blades

Pre-Columbian, Maya Territories, Belize, ca. 500 - 1000 CE. A refined pair of medium-brown chert blades whose glossy, rippling flake scars testify to expert craftsmanship and lend a striking visual rhythm. Each elongated, tapering form was bifacially worked by percussion with fine pressure retouch to create keen converging edges and a lenticular section; the subtly narrowed basal ends are consistent with hafting to a wooden or bone grip. The chert displays attractive variegation with lighter mineral inclusions, enhancing the surfaces shaped by overshot removals and hinge terminations typical of skilled knapping. Knives of this type served practical cutting functions yet also bore ritual significance within Maya society; closely comparable chert bifaces are recorded from cave and river contexts in Belize, where they were likely consecrated as offerings. Provenance: private southwestern Pennsylvania, USA collection, acquired prior to 2000 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202068

Lot: 38 - Costa Rican Nicoya Polychrome Jar w/ Owl Face

Pre-Columbian, Costa Rica, Nicoya Peninsula, Greater Nicoya zone, ca. 500 to 1200 CE. A globular Nicoya polychrome jar whose buff-slipped body is encircled at the shoulder by a band of red and dark gray-black geometric patterning - stepped meanders and interlocking angular registers characteristic of the Greater Nicoya ceramic tradition - while the mid-body bears a modeled zoomorphic face in low relief, its concentric spiral eyes, pronounced nubbin nose, and swept flanking elements painted in the same bichrome palette, peering outward with the mild authority of a creature that has presided over the vessel's contents for the better part of a millennium. The top view reveals that the decorative program continues across the shoulder in confident sweeping brushwork, confirming a vessel conceived to be admired from every angle and likely used in a ritual or high-status domestic context. Size: 7.5" D x 7.2" H (19.1 cm D x 18.3 cm H) Provenance: private Fresno, California, USA Collection, before 2021 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202606

Lot: 39 - Chancay Bichrome Cuchimilco Pottery Figure - Standing Nude Male

Pre-Columbian, Peru, Chancay, ca. 1000–1470 CE. A hand-built earthenware guardian stands with arms flung wide, palms open in the gesture that defines the Chancay cuchimilco. The nude male body is rendered in flat, planar volumes, the torso broad and the legs tapering to blunt feet, while an erect phallus asserts the figure's fertility charge. Slip painting in muted red-brown over cream governs the face: a broad ochre mask frames applied coffee-bean eyes and a modeled nose, bordered above by parallel bands and a row of pellet ornaments crowning the flat head. Pierced ears once held adornments. Cuchimilcos were interred with the dead in the coastal cemeteries of the Chancay valley, their spread arms understood as apotropaic, warding away harm and shepherding the deceased through the passage to the afterlife. Size: 9.1" W x 14.6" H x 3.9" D (23.1 cm W x 37.1 cm H x 9.9 cm D). The Chancay culture flourished on the central coast of Peru between roughly 1000 and 1470 CE, absorbed at last into the expanding Inca empire. Their cemeteries yielded vast quantities of mass-produced grave goods, textiles, and mold-and-hand-built ceramics, of which the cuchimilco is the most recognizable form. Made in both male and female versions, these figures were placed among the dead as companions and protectors. The frontal stance with outstretched arms is often read as a protective or offering posture, though the precise meaning remains debated. The bichrome palette, red-brown iron slip over a cream ground, is characteristic of Chancay ceramic decoration and complements the culture's better-known black-on-white ware. Provenance: private Saint Louis, Missouri, USA collection acquired between 1970 and 1995 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203963

Lot: 40 - Two Moche High Quality Gold & Silver Tweezers

Pre-Columbian, Peru, Moche to Chimu culture, ca. 700 to 1450 CE. A pair of tweezers hammered and shaped from thin sheets of tumbaga, a gold-silver and copper alloy. Each piece features a folded upper section, pierced for attachment, allowing them to be worn as personal ornaments as well as functional tools. The broad, teardrop-shaped bodies taper to fine gripping ends, demonstrating careful shaping and control of the metal. Size of largest: 1.5" L x 0.8" W (3.8 cm x 2 cm); smallest: 0.9" L x 0.4" W (2.3 cm x 1 cm); silver quality: 50.8% to 56.4%; gold quality: 36.9% to 44.2% (equivalent to 8K+ to 10K+); total combined weights: 4.8 grams Provenance: private Colorado, USA Collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 201904

Lot: 41 - Greater Nicoya Polychrome Effigy Jar - Modeled Face, Scrolls

Pre-Columbian, Costa Rica/Nicaragua, Greater Nicoya, Period VI. Ca. 1000 - 1350 CE. A rotund, globe-bodied jar whose swelling terracotta form becomes, almost slyly, a face. Applied coffee-bean eyes with painted concentric arcs above them, a pair of small pellet nostrils, and flanking scroll elements that read as ears or ornaments coalesce on the vessel's widest girth into a visage at once alert and inscrutable. The painted decoration works in concert with the modeled elements, dark brown-black lines on a warm orange-red slip tracing arching brow forms and concentric ovoid registers that amplify the ocular motifs. The shoulder carries a continuous band of curvilinear and rectilinear geometric ornament, including dotted outlines and interlocking scroll forms, bounded above and below by dark painted lines. The flaring disc rim and short cylindrical neck sit cleanly above the composition. The base, viewed inverted, reveals a further painted panel of bilaterally symmetrical scrollwork suggesting a second masked face, a design strategy common in Greater Nicoya ceramics where the vessel reads as inhabited from every angle. A well-preserved and visually compelling example of the effigy-vessel tradition of the Greater Nicoya Polychrome horizon. Size: 9.3" D x 9" H (23.6 cm D x 22.9 cm H) Publication: Similar vessels can be found at the University of Miami Lowe Art Museum (2003.51.60) and the Emory University Michael C. Carlos Museum (1991.004.262). Provenance: private Colorado, USA collection, ex Arte Primitivo Gallery collection of a California attorney, acquired from Arte Primitivo, auct. 28, lot 156, ex. Frank Friedman collection, NYC SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202545

Lot: 42 - Narino Resist-Decorated Pedestal Bowls, Group of Five

Pre-Columbian, South America, Colombia, Narino culture, ca. 900 to 1500 CE. A group of five pedestal bowls in the Narino ceramic tradition of the southern Colombian highlands, each formed with a hemispherical cup rising from a hollow trumpet foot and decorated in the negative resist technique characteristic of the Capuli and Piartal phases. Wax applied before firing preserved the burnished red ground while black pigment flooded the surrounding surface, producing sinuous bands, zigzag registers, and interlocking geometric motifs that wrap the exterior walls and pedestals with quiet authority. One example retains a pale buff ground, indicating a variant slip application, while the remaining four display the deep red-on-black palette most closely associated with the tradition. Pedestal bowls of this type were placed as funerary offerings in shaft tombs throughout the Narino highlands, marking their function as objects of ritual passage rather than everyday use. Size of tallest: 6.2" D x 5.3" H (15.7 cm D x 13.5 cm H); of widest: 7.5" D x 4" H (19.1 cm D x 10.2 cm H) Provenance: private Colorado, USA collection; ex-private Los Angeles, California, USA collection; ex-major gallery, Beverly Hills, California, USA, primarily acquired between 1985 and 2005 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202379

Lot: 43 - Two Traditional South American Aymara Woven Wool Shawls

South America, Bolivia / Peru, Aymara or Quechua culture, ca. mid to late 20th century CE. A pair of handwoven wool shawls, each with a deep brown to near-black ground framed by bands of patterning in vibrant colors. Both are probably handwoven on backstrap looms, creating two panels that are then seemed up the center to create one large shawl. Size of largest: 52" L x 42.5" W (132.1 cm L x 108.0 cm W). Provenance: private Colorado Springs, Colorado, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 196804

Lot: 44 - Mimbres Black-on-White Pottery Bowl - Standing Woman, Kill Hole

Native American, Southwestern United States, New Mexico, Mimbres Valley. Ca. 951 - 1200 CE. A rare and important hemispherical black-on-white pottery bowl featuring a finely painted figural composition centered within the interior basin. The bowl is slipped in a soft white and bordered by two thin black bands encircling the rim, while the exterior is left plain, emphasizing the interior imagery. At the center appears a standing female figure shown frontally, identified by her distinctive hair arranged in lateral whorls and a sash with a fringed element hanging between her legs, iconographic details long associated with women in Mimbres art and traditions that continue in Pueblo culture today. A ceremonial kill hole pierces the figure's torso, a deliberate act marking the vessel's ritual termination and reinforcing its ceremonial or mortuary function. Size: 8.75" W x 4.25" H (22.2 cm x 10.8 cm) In Mimbres burial contexts, bowls were commonly placed directly over the face of the deceased, serving as both a physical covering and a symbolic boundary between the living and the dead. Many of these vessels were intentionally pierced, creating what are often referred to as "kill holes," though their precise meaning remains uncertain. Scholarly interpretations vary, with some suggesting the perforations were meant to ritually deactivate the vessel, while others propose they allowed the spirit of the bowl or the individual to pass freely between worlds. Provenance: private Denver, Colorado, USA collection, ex Boulder, Colorado and New York, NY collection acquired prior to 2002 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 201101

Lot: 45 - Published Mississippian Hooded Owl Effigy, Tripod Legs

Native American, Mississippian culture, ca. 1000 - 1500 CE. A rare and remarkably intact Mississippian pottery bottle formed as a stylized hooded owl, its rounded body rising from three short tripod legs and tapering upward into a narrow neck. The vessel's surface is left in natural buff clay, emphasizing the sculptural modeling of the effigy form. The owl's facial features are subtly rendered along the upper neck, with raised ridges suggesting the brow and beak. The overall form is dominated by the swelling, globular body, which likely symbolized both the owl's compact physical presence and the functional capacity of the vessel. Owl imagery held powerful symbolic meaning in Mississippian belief systems. In Southeastern Native American cosmology, owls were frequently associated with the night, the spirit world, and the realm of ancestors. Their ability to move silently through darkness made them potent supernatural figures, often connected with death, transformation, and spiritual guardianship. Size: 7.8" L x 7" W x 9.2" H (19.8 cm x 17.8 cm x 23.4 cm) Effigy vessels of this type were typically produced for ceremonial or mortuary contexts rather than everyday use. Found in Mississippi County, Missouri, this example reflects the artistic traditions of the Mississippian world, where animal effigy ceramics played an important role in ritual life and embodied the spiritual relationships between humans and the natural world. Publication: Published in "Legends of Prehistoric Art" Volume I by Bobby Onken, pg. 115. Provenance: private Colorado, USA collection; ex-private Denver, Colorado, USA collection; ex-private New York, USA collection, acquired October 2011; ex-Tony Putty Artifacts, Gwynneville, Indiana, USA; ex-William "Bill" G. Fecht collection; found in Mississippi County, Missouri, USA SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 201395

Lot: 46 - Woodland Stone Platform Pipe - Engraved Bowl

Native American, Eastern Woodlands, Woodland period, ca. 1000 BCE to 1000 CE. A compact and finely worked steatite obtuse platform pipe, its angled bowl rising from a flattened stem engraved with simple linear and circular motifs, reflecting the Woodland tradition of personal smoking implements used in both daily life and ceremonial exchange. Size: 3.4" L x 1" W x 1.5" H (8.6 cm x 2.5 cm x 3.8 cm) Provenance: private Colorado, USA collection; ex-private Denver, Colorado, USA collection; ex-private New York, USA collection, acquired in January 2018 via a private seller SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202121

Lot: 47 - Mississippian Black Stone Pipe - Square Bowl

Native American, Mississippian culture, ca. 1200 to 1400 CE. A compact and finely carved black stone pipe, its squared bowl and tapering stem precisely drilled and polished, reflecting both skilled craftsmanship and its role in ceremonial or social smoking traditions. Size: 3.8" L x 1.6" W x 2.1" H (9.7 cm x 4.1 cm x 5.3 cm) Provenance: private Colorado, USA collection; ex-private Denver, Colorado, USA collection; ex-private New York, USA collection, acquired in October 2017; ex-Grant Lucas SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202120

Lot: 48 - Mississippian Stone Effigy Pipe - Kneeling Human Figure

Native American, Mississippian culture, ca. 1000–1500 CE. A kneeling human figure carved in soft, pale stone, its body folded into the compact posture that defines the great effigy pipes of the Eastern Woodlands. The subject rests on bent legs, feet tucked beneath the body, hands laid quietly atop the knees, while the broad head tilts gently upward as if in address or contemplation. The face is rendered with deliberate economy: a flattened brow, heavy planes of cheek, and a calm, frontal gaze. Beneath the seated form, a rectangular aperture and bowl reveal the object's working function as a smoking pipe, the human likeness transforming a ritual implement into a vessel of presence. Traces of ochre-toned pigment linger in the porous surface, hinting at an original coloration now softened by centuries in the earth. Size: 1.9" W x 3.5" H x 2.7" D (4.8 cm W x 8.9 cm H x 6.9 cm D). Kneeling-figure effigy pipes are among the most evocative sculptural achievements of the Mississippian world (ca. 1000 to 1500 CE), a network of mound-building societies centered on the Mississippi and Ohio River valleys. Such pipes were not idle objects: tobacco smoking carried profound ceremonial weight, and the act of drawing breath through a human likeness bound the living, the ancestral, and the supernatural in a single ritual gesture. The compact, self-contained pose, knees drawn up, hands folded, head raised, recurs across the iconography of the region and is often read as a posture of reverence or readiness. Found near Chillicothe, Ohio, this example sits within a landscape long famous for its earthworks, where the ancient mortuary and ceremonial traditions of the Woodlands reached their fullest expression. Provenance: private Colorado, USA Collection; ex-private Denver, Colorado, USA collection; ex-private Flushing, New York and Ridgeway, Colorado, USA collection, acquired in January 2018; found near Chillicothe, Ohio, USA SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203062

Lot: 49 - Mississippian Etched Pottery Jar - Shell Tempered

Native American, Mississippian culture, ca. 800 to 1600 CE. A robust pottery jar with a slightly flared rim, its shell-tempered walls richly incised in rhythmic, crosshatched patterns and punctuated by raised rows of nodules that lend both texture and visual cadence to the vessel's surface. Size: 5.7" Diameter x 4.8" H (14.5 cm x 12.2 cm) Provenance: private Colorado, USA collection; ex-private Denver, Colorado, USA collection; ex-private New York, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202101

Lot: 50 - Caddo Pottery Water Bottle Gourd Form w/ Spiral Motif

Native American, Mississippian, Caddo culture, ca. 900 to 1500 CE. A finely formed Mississippian Caddo pottery water bottle of elegant gourd form, its dark burnished surface encircled by fluid incised spiraling wave motifs that evoke movement and continuity, reflecting the refined craftsmanship and symbolic visual language of Caddoan ceramic tradition. Size: 6.5" Diameter x 9.8" H (16.5 cm x 24.9 cm) Provenance: private Colorado, USA collection; ex-private Denver, Colorado, USA collection; ex-private New York, USA collection, acquired in April 2015 via Jackson's International Auctioneers, Cedar Falls, Iowa, USA; ex-Harold Ripley Collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202112

Lot: 51 - Mississippian Caddo Friendship Engraved Bottle

Native American, Southeastern United States, Caddo culture, Mississippian period, ca. 900 to 1600 CE. A Mississippian period Caddo pottery water bottle from Hempstead County, Arkansas, made in the classic Caddo tradition of refined forms and precise engraved decoration. The vessel features a broad, rounded body and a tall, straight neck with a slightly flared rim, designed for controlled pouring and easy handling. The surface is fired to a soft gray-black tone, with darker areas and subtle burnishing that give the bottle a calm, matte presence. Around the shoulder and body, the vessel is decorated with the distinctive curving motifs associated with Friendship Engraved pottery. Carefully cut lines form sweeping arcs that wrap across the rounded form, punctuated by short, evenly spaced ticks. The design reads as rhythmic and continuous, with a sense of movement that feels both intentional and balanced. Size: 7.6" Diameter x 11.1" H (19.3 cm x 28.2 cm) Water bottles like this were functional containers, but within Caddo communities they also carried social and ceremonial importance. Engraved bottles were often used in formal settings and frequently placed in burial contexts, where they served as meaningful offerings connected to status, identity, and remembrance. With its elegant silhouette and confident engraving, this bottle is a strong example of Caddo artistry in the Mississippian period, where utility and visual order were shaped into a single, enduring object. Provenance: private Denver, Colorado, USA collection; ex-private New York, USA collection, acquired in September 2014 via a private seller SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 201105

Lot: 52 - Mississippian Large Eel Effigy Pottery Bowl, Firing Clouds

Ca. 1000 - 1050 CE. Native American, Mississippian culture. A large and remarkably intact pottery bowl modeled in a subtle eel effigy form, its broad, rounded body and gently undulating rim punctuated by opposing lateral projections that suggest the head and tail, the darkened surface bearing traces of firing clouds that enhance its organic presence, reflecting a sculptural approach to utilitarian ceramics in which aquatic symbolism - particularly the eel, a creature associated with waterways and sustenance - may have held regional significance in the Mississippi River Valley, where this vessel was discovered in New Madrid County, Missouri. Provenance: Private Colorado, USA Collection; ex-private Denver, Colorado, USA collection; ex-private New York, USA collection, acquired October 2011 via Tony Putty Artifacts, Shelbyville, Indiana, USA; ex-Ken Partain collection (Ken's Relics), Arkansas, USA, found in New Madrid County, Missouri, USA SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202274

Lot: 53 - Prehistoric Mississippian / Caddo Pottery Bat Effigy Rim Bowl

Native American, Midwestern / Southeastern United States, Mississippian / Caddo. Ca. 1200 - 1400 CE. A pottery rim effigy bowl featuring a modeled zoomorphic head, limbs, and tail integrated along the vessel's rim. The head is somewhat ambiguous, suggesting either a rodent or bear-like creature, yet the elongated form with two extended legs and a trailing tail more closely suggests a bat effigy. The stretched surfaces between the lower limbs appear to evoke the webbed membranes of bat wings, reinforcing this interpretation. Such animal forms in Mississippian and Caddo ceramics can be difficult to identify with certainty, yet the wing-like treatment of the limbs strongly suggests a bat. As the only flying mammal and a nocturnal creature, the bat held symbolic associations with the Upper World within Southeastern Ceremonial Complex cosmology, a belief system that organized the universe into three interconnected realms. Size: 10.5" L x 5.75" H (26.7 cm x 14.6 cm) Provenance: private Denver, Colorado, USA collection; ex Boulder, Colorado and New York, New York, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 201268

Lot: 54 - Native American Stone Gorget, Bannerstone Preform & Pottery Trowel Group

Native American, Mississippian and Archaic cultures, ca. 6000 BCE – 1500 CE. A trio of worked-stone and fired-clay implements spanning millennia of Eastern Woodlands craft. The largest is a two-hole gorget of polished hardstone, its elongated tabular body drilled at center from both faces, a form worn as a pendant of status or lashed as a regalia ornament. Beside it rests a smoothed rectangular block, likely an Archaic preform or unfinished bannerstone, arrested mid-manufacture before its central perforation was ever begun. The third piece is a fired-clay pottery trowel, its mushroom-like discoid head balanced on a splayed three-pointed handle, a potter's tool used to compress and burnish the interior walls of coil-built vessels. Together the group traces the long arc of indigenous lithic and ceramic technology, from utilitarian toolkit to objects of personal adornment. Size of largest (gorget): 5.9" L x 2.3" W (15.0 cm L x 5.8 cm W). The two-hole gorget belongs to a long-lived Eastern Woodlands tradition of drilled tabular ornaments; paired perforations allowed the piece to hang flat against the chest, and such gorgets appear across Archaic through Mississippian contexts. Bannerstones, by contrast, are among the most enigmatic of North American ground-stone forms, typically interpreted as weights (bannerstone counterbalances) for the atlatl, or spear-thrower; a preform preserves the intermediate stage before the diagnostic central bore was drilled. The pottery trowel, sometimes called a "mushroom" trowel for its capped profile, was pressed against the inner wall of a vessel while a paddle struck the exterior, thinning and consolidating the clay. Its survival intact is notable, as these humble workshop tools were rarely curated. Provenance: private Colorado, USA Collection; ex-private Denver, Colorado, USA collection; ex-private Flushing, New York and Ridgeway, Colorado, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203157

Lot: 55 - Mississippian Basalt Pop-Eyed Birdstone Effigy

Native American, Mississippian culture, ca. 800–1600 CE. A compact, sculpturally distilled basalt effigy carved in the form of a perched bird, its body reduced to a sleek, river-smoothed mass from which the defining "pop-eyed" head emerges in characteristic profile. The vesicular grey stone has been patiently abraded and pecked into form, the bulging globular eyes set high on a tapered head while subtle ridges suggest the closed wings folding along the back and a stubby tail anchoring the rear. Birdstones of this type belong to a long lithic tradition of bannerstones and avian effigies produced across the eastern woodlands of North America, with the pop-eyed variant often associated with later prehistoric and Mississippian-era ceremonial production. Their precise function remains debated: candidates include atlatl weights, shamanic charms, and prestige objects exchanged within ritual economies. Whatever the original role, the form reduces the bird to its essential, watchful presence, an icon of avian power rendered in the densest available stone. Size: 4.1" W x 4.8" H x 7.5" D (10.4 cm W x 12.2 cm H x 19.1 cm D). Provenance: private Colorado, USA Collection; ex-private Denver, Colorado, USA collection; ex-private Flushing, New York and Ridgeway, Colorado, USA collection, acquired in March 2017 via Allard Auctions Inc., St. Ignatius, Montana, USA; ex-prominent Northwest Coast, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203000

Lot: 56 - Native American Mississippian Stone Spud, Flared Bit Rat Tail

Native American, Southeastern United States, Tennessee, Mississippian culture, ca. 800–1600 CE. A large prestige item known as a spud of the flared-bit, rat-tail form, ground and polished from a dense mottled stone. The rat-tail designation refers to the long tapering stem that distinguishes these spuds from shorter forms, and likely served hafted as a ceremonial axe or emblem of rank within the political and ritual hierarchies of southeastern chiefdoms. Reportedly found in Tennessee. Size: 17.5" L x 3" W (44.5 cm L x 7.6 cm W). Provenance: private Colorado, USA Collection; ex-private Denver, Colorado, USA collection; ex-private Boulder, Colorado, USA collection, ex-private Flushing, New York and Ridgeway, Colorado, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202887

Lot: 57 - Mississippian Carved Conch Shell Maskettes - Weeping Eye, Pair

Native American, Mississippian culture, ca. 1000–1500 CE. A pair of carved marine shell maskettes from the Mississippian world, each pared down to the essentials of a human face. The smaller example, warm honey in tone, is the more articulated of the two: pierced eyes set within concentric incised rings, a slender ridged nose, and a small drilled mouth, with three suspension perforations placed at the brow and chin. Cascading from the outer corners of each eye are zigzag bands, the iconographic shorthand known as the "weeping eye" or forked-eye motif, a hallmark of the Southeastern Ceremonial Complex and often read as falling tears or as the markings of the peregrine falcon, an avian alter ego of warriors and chiefly elites. The larger maskette, cut from a heavier section of conch, presents the same triangular facial silhouette in a more austere register, its features reduced to two drilled eyes and a single mouth perforation, its surface bearing the chalky patina of long burial. Worked from the lustrous whorls of lightning whelk or queen conch traded inland from the Gulf Coast, such maskettes were strung as gorgets or attached to garments, mediating between the wearer and the supernatural cosmology of the Mississippian temple-mound centers, from Spiro and Etowah to Moundville. They carry, in miniature, the weight of an iconography that bound together warfare, mortuary ritual, and the upper world. Size of larger: 2.9" W x 4" H (7.4 cm W x 10.2 cm H). Provenance: private Colorado, USA Collection; ex-private Denver, Colorado, USA collection; ex-private Flushing, New York and Ridgeway, Colorado, USA collection, acquired in 2014 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203054

Lot: 58 - Mississippian Pottery Bottle - Globular Long-Neck Vessel

Native American, Mississippian culture, ca. 1000–1500 CE. A swelling globular body rises to a tall, slender neck and flared rim in this earthenware bottle, its surface a mottled landscape of grey, smoky charcoal, and warm tan from open firing. The shell-tempered clay carries the soft burnish and fire clouds characteristic of Mississippian potters of the central and lower Mississippi Valley, who shaped such vessels by hand without the wheel. The form, a broad rounded reservoir balanced on a narrow throat, recalls the gourd that may have inspired it, prized for holding and pouring water or other liquids. Bottles of this type accompanied the living in daily domestic use and the dead as grave furniture, interred in the great mound centers that defined this agricultural society. The understated, unpainted finish lets the play of fire and form speak. Size: 7.6" D x 9" H (19.3 cm D x 22.9 cm H). The Mississippian culture (ca. 800 to 1600 CE) was a mound-building agricultural civilization spread across the American Midwest, South, and Southeast, anchored by maize farming and centered on great earthwork sites such as Cahokia in present-day Illinois. Its potters worked clay tempered with crushed freshwater mussel shell, an innovation that allowed thinner walls and larger forms. Long-necked bottles like this one are among the most recognizable Mississippian shapes, frequently recovered from burial contexts where they held offerings for the journey beyond. Provenance: private Colorado, USA Collection; ex-private Denver, Colorado, USA collection; ex-private Flushing, New York and Ridgeway, Colorado, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202247

Lot: 59 - Mississippian Pottery Jar - Incised Flared Rim, Utility Vessel

Native American, Mississippian culture, ca. 1000–1500 CE. A full-bodied earthenware jar swelling from a narrow rounded base to broad shoulders before drawing inward to a short, gently flaring rim. The shell-tempered fabric, fired to a mottled buff and smoky gray, carries the fire clouds and surface pitting that mark open pit firing. Across the upper shoulder and neck, fine incised hatching fans out in overlapping arcs, a restrained decorative scheme set against the otherwise plain, hand-burnished body. Built by coiling and scraping rather than the wheel, the vessel was a workhorse of domestic life in the river valleys of the American Southeast and Midwest, used for storing grain or water and for cooking over the hearth. Its generous capacity and sturdy, rounded form speak to the settled agricultural communities of the Mississippian world. Size: 8.5" D x 10.8" H (21.6 cm D x 27.4 cm H). The Mississippian culture (ca. 800 to 1600 CE) was a mound-building civilization centered on fertile river floodplains, with Cahokia near present-day St. Louis as its largest urban center. Shell tempering, crushed mussel shell mixed into the clay, is a diagnostic hallmark of the tradition: it allowed thinner, stronger walls and broad, capacious vessels suited to maize-based agriculture. Utility jars like this one, with constricted necks and flaring rims, were the everyday containers of the household, distinct from the elaborate effigy and engraved wares reserved for ritual and burial contexts. Provenance: private Colorado, USA Collection; ex-private Denver, Colorado, USA collection; ex-private Flushing, New York and Ridgeway, Colorado, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203023

Lot: 60 - Mississippian Pottery Jar - Ex Andy Warhol Collection, Sotheby's 1988

Native American, Mississippian culture, ca. 1000–1500 CE. A small earthenware jar coil-built from shell-tempered clay, its rounded body swelling from a constricted base to a gently everted rim. The dark, fire-clouded surface carries the earthy reds and browns of an open firing, with mineral accretions and an unburnished finish that speak to utilitarian rather than ceremonial use. Vessels of this modest scale served domestic functions, holding food, water, or seed within the agrarian villages that flourished along the river valleys of the American Southeast and Midwest. The Mississippian peoples raised earthen mounds, cultivated maize, and developed a sophisticated ceramic tradition, of which this unassuming pot is a humble but authentic survivor. Its globular silhouette and simple rim reflect the everyday wares that anchored Mississippian household life across the several centuries before European contact. Size: 4.7" D x 3.6" H (11.9 cm D x 9.1 cm H). This jar carries a provenance few antiquities can rival: it passed through the personal collection of Andy Warhol, the defining figure of American Pop Art, and was dispersed in the landmark Sotheby's New York sales of his estate. Warhol was a voracious and idiosyncratic collector, and his holdings of American Indian art revealed a private passion that ran parallel to his public career. When that collection came to auction in 1988, it drew international attention and recast even modest objects as cultural artifacts twice over: ancient in their own right, yet newly storied by their place in one of the twentieth century's most influential artistic eyes. To own a piece from this sale is to own a small intersection of two American histories, the agrarian villages of the pre-contact Southeast and the New York of postwar Pop. Provenance: private Colorado, USA Collection; ex-private Denver, Colorado, USA collection; ex-private Flushing, New York and Ridgeway, Colorado, USA collection; ex-Sotheby's New York, April 28th, 1988, "The Andy Warhol Collection: American Indian Art," lot 1622 (1 of 16); ex-Andy Warhol Collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202342

Lot: 61 - Mississippian Pottery Effigy Group - Fish, Turtle, Hexagonal Bowl

Pre-Columbian, United States, Mississippian culture, ca. 1000–1500 CE. A trio of hand-built earthenware vessels animated by the creatures of river and marsh. The smallest is a globular jar rendered as a fish seen in profile, its head modeled at one shoulder and tail tapering at the other. Beside it sits a turtle effigy bowl, the reptile's carapace hollowed into the basin while modeled limbs and a blunt head emerge from the body. The largest is an open bowl with a softly hexagonal, undulating rim that lifts and dips like the surface of moving water. Coil-built from shell-tempered clay and burnished to an earthen gray patina, these are utilitarian and votive forms at once, the zoomorphic conceits typical of Mississippian potters who dwelt the depicted fauna with everyday vessels of food and offering. Size of largest (bowl): 6.8" W x 2.2" H x 6.3" D (17.3 cm W x 5.6 cm H x 16.0 cm D). The Mississippian tradition flourished across the river valleys of the American Southeast and Midwest, its great earthwork centers such as Cahokia and Moundville anchoring a world of maize agriculture, chiefly authority, and a sophisticated ceramic art. Shell tempering, the diagnostic technical signature of the period, lent the clay strength and allowed the thin walls and ambitious modeled forms seen here. Animal effigy vessels, fish, frogs, turtles, owls, and human heads, recur throughout Mississippian pottery, blurring the line between functional ware and the symbolic vocabulary of a people deeply attuned to the waterways that sustained them. Provenance: private Colorado, USA Collection; ex-private Denver, Colorado, USA collection; ex-private Flushing, New York and Ridgeway, Colorado, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203164

Lot: 62 - Mississippian Incised Pottery Jar with Lug Nubs

Native American, Midwestern to Southeastern United States, Mississippian culture, ca. 1000–1500 CE. A globular hand-built earthenware jar rising from a rounded base to a short everted rim with four evenly spaced lugs, each pierce, perhaps for securing a lid or suspension. A band of punctate decoration arranged in arched rows follows incised arc lines around the neck and upper shoulder, with small raised nubs marking the tip of each arc. The surface is gray-brown with mottled fire clouding. Size: 7.3" D x 6.5" H (18.5 cm D x 16.5 cm H). Provenance: private Colorado, USA Collection; ex-private Denver, Colorado, USA collection; ex-private Flushing, New York and Ridgeway, Colorado, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202955

Lot: 63 - Caddo Mississippian Pottery Bowls - Engraved, Group of Three

Native American, Caddo, ca. 1200–1500 CE. A trio of hand-built earthenware bowls carrying the fine-line engraving that distinguishes Caddo ceramic art. Each vessel rises from a rounded base to a slightly incurving rim, the burnished brown and buff surfaces darkened by fire clouds. The largest bears a band of scrolling arcs and hatched crosshatched fields, meanders and nested curves that flow around the shoulder in the rhythmic style of the Caddo potters of the Mississippian world. The two smaller bowls repeat the language of engraved lines, wavy horizontals, punctate dots, and encircled elements, cut into the leather-hard clay before firing. Made without the wheel and coil-raised by hand, these were domestic and mortuary vessels alike, the labor of a settled agricultural people whose villages spread across the Arkansas, Texas, Louisiana, and Oklahoma borderlands. Size of largest: 7.9" D x 3.5" H (20.1 cm D x 8.9 cm H). The Caddo peoples flourished across the Trans-Mississippi South from roughly 900 CE onward, building mound centers and sustaining a farming economy of maize, beans, and squash. Their potters are among the most accomplished in North America, celebrated for thin-walled, highly burnished wares carved with engraved scrolls, meanders, and negative-space motifs. Such engraving was executed after the vessel had dried to a leather-hard state and often before firing, sometimes highlighted afterward with a red or white pigment rubbed into the incised lines. The smallest of the group is recorded as found in Little River County, in the far southwestern corner of Arkansas, a heartland of Caddo settlement along the Red and Little River drainages. Provenance: private Colorado, USA Collection; ex-private Denver, Colorado, USA collection; ex-private Flushing, New York and Ridgeway, Colorado, USA collection; most petite was found in Little River County, Arkansas, USA SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203165

Lot: 64 - Large Mississippian Pottery Olla - Globular Jar with Short Collar

Native American, Mississippian culture, ca. 1200–1500 CE. A broad, low-shouldered jar swells outward in a near-spherical body before drawing inward to a short, upright collar rim. Built by hand from shell-tempered earthenware and finished with a burnished surface, the vessel carries the smoky grays and ashen blooms of open pit firing, fire-clouding that lends each example its own mottled signature. The generous capacity and rounded base suit it to the storage and transport of grain, water, or seed, a workhorse form of the riverine settlements of the American Southeast and Mississippi Valley. Its appeal lies in economy of line: an unadorned, swelling silhouette whose power comes from proportion rather than decoration, the utilitarian pottery of a sophisticated maize-farming society that raised earthen mounds across the heartland of the continent. Size: 10.5" D x 9.4" H (26.7 cm D x 23.9 cm H). The Mississippian tradition (roughly 800 to 1600 CE) flourished along the Mississippi, Ohio, and Tennessee river systems, anchored by ceremonial centers such as Cahokia, Moundville, and Etowah. A defining technical innovation was the tempering of clay with crushed freshwater mussel shell, which lightened the body and allowed potters to throw the broad, thin-walled globular jars and bottles for which the culture is known. Vessels of this utilitarian form were the domestic vessels of communities sustained by intensive maize agriculture, frequently recovered from habitation sites and, in finer wares, from mortuary contexts as grave offerings. Provenance: private Colorado, USA Collection; ex-private Denver, Colorado, USA collection; ex-private Flushing, New York and Ridgeway, Colorado, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203015

Lot: 65 - Mississippian Pottery Bottle - Poinsett Co., Arkansas

Native American, Midwestern United States, Arkansas, Mississippian culture, ca. 1200–1500 CE. A bulbous-bodied earthenware bottle rising to a tall, slightly tapered cylindrical neck, its surface mottled in ash gray and smoky charcoal from ancient firing. The shell-tempered fabric and wide, low-shouldered form, broader than tall, are characteristic of Mississippian water bottles from the Central Mississippi Valley. A paper label on the shoulder reads "From Prehistoric Mounds, Poinsett Co., Ark.," a region settled by Mississippian communities. Size: 6" D x 7" H (15.2 cm D x 17.8 cm H). Provenance: private Colorado, USA Collection; ex-private Denver, Colorado, USA collection; ex-private Flushing, New York and Ridgeway, Colorado, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202992

Lot: 66 - Mississippian Pottery Jug with Four Protruding Faces

Native American, Mississippian culture, ca. 1200–1500 CE. A globular earthenware jug rising to a tall, slightly flaring neck, its swelling shoulder punctuated by four modeled faces set at the cardinal points. Each visage is rendered with economy: small applied lugs pinched into brows and noses, with shallow punctations marking eyes and mouths, lending the vessel the watchful quality of a sentinel circling its own circumference. The clay reads in muted gray and warm earth tones, the surface scumbled with fine pitting and the soft abrasions of long burial. Hand-built and likely shell-tempered in the manner characteristic of late Mississippian potters of the central and lower Mississippi Valley, the form belongs to a long tradition of effigy vessels in which the jar itself becomes a body, a head, or a gathering of spirits. Four-faced jars are uncommon and resonant: the cardinal arrangement evokes directional cosmology, with each face perhaps acknowledging a quarter of the world, a wind, or an ancestral presence. Such vessels likely accompanied feasting, ritual libation, or interment, mediating between the living community and the powers that sustained it. The Mississippian tradition, flourishing across the Southeast and Midwest from roughly the twelfth through the fifteenth centuries, produced some of the most sophisticated ceramic sculpture north of Mesoamerica. This jug, modest in pretension yet deliberate in its quadripartite gaze, carries the quiet authority of that legacy. Size: 7.9" D x 8.6" H (20.1 cm D x 21.8 cm H). Provenance: private Colorado, USA Collection; ex-private Denver, Colorado, USA collection; ex-private Flushing, New York and Ridgeway, Colorado, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203142

Lot: 67 - Caddo Greyware Pottery Jars, Pair

Native American, United States, Caddo, ca. 1200–1600 CE. A pair of hand-built earthenware jars from the Caddoan Mississippian world of the Trans-Mississippi South, each shaped with the low, swelling shoulder and constricted neck that define the regional vessel grammar. The larger jar carries a tall, slightly flaring collar above a broad globular body, while its companion presents a shorter, more pronounced rim rising from a wider, flatter shoulder. Both surfaces wear the soft, smoke-blackened patina characteristic of Caddo greywares, the result of reduction firing in low-oxygen pits that transformed iron-bearing clays into muted shades of charcoal and slate. Fine inclusions of crushed shell and grog speckle the burnished walls, catching light along the rounded carinations. Caddo potters, working across what is now eastern Texas, southwestern Arkansas, northwestern Louisiana, and southeastern Oklahoma, produced some of the most refined ceramic traditions in pre-contact North America. Vessels of this form likely served domestic and mortuary functions alike, holding water, food, or offerings deposited with the dead in the shaft tombs and mound burials that mark Caddo ceremonial centers such as Spiro and the Davis site. The economy of line, the symmetry achieved without a wheel, and the quiet authority of the silhouettes speak to generations of inherited skill. Together the two jars present a study in variation within a shared idiom, each vessel a distinct solution to the same sculptural problem. Size of larger: 7" D x 6.2" H (17.8 cm D x 15.7 cm H). Provenance: private Colorado, USA Collection; ex-private Denver, Colorado, USA collection; ex-private Flushing, New York and Ridgeway, Colorado, USA collection, acquired April 2015 via Jackson's International Auctioneers, Cedar Falls, Iowa, USA; ex-Harold Ripley collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202996

Lot: 68 - Caddo Engraved Pottery Bowl - Scroll & Punctate Banded Carinated Vessel

Native American, Caddo, ca. 1300–1600 CE. A carinated earthenware bowl rising from a sharply angled lower body to flaring walls, its burnished surface carrying the muted browns and smoky grays of pit firing. Beneath the rim runs a register of fine engraved horizontal lines, while the carination is encircled by a band of incised scrolls punctuated with rows of small impressed dots, a rhythmic interplay of line and point characteristic of Caddo potters of the Trans-Mississippi South. Such vessels, crafted by coiling and finished by hand without the wheel, served both domestic and mortuary functions, the finer engraved wares often accompanying the dead. The controlled geometry of the decoration, likely evoking water serpents or cosmological motifs, reflects a sophisticated ceramic tradition centered in present-day Texas, Arkansas, Louisiana, and Oklahoma. Size: 9.5" W x 5" H x 9.3" D (24.1 cm W x 12.7 cm H x 23.6 cm D). The Caddo peoples occupied the region where Texas, Arkansas, Louisiana, and Oklahoma meet, building mound centers and sustaining a distinctive ceramic tradition from roughly 900 CE through European contact. Their engraved and incised fine wares, executed on highly burnished surfaces, rank among the most accomplished pottery of the North American Southeast. Decorative vocabularies such as scroll bands, hatched zones, and punctate fields carried meanings tied to cosmology and the supernatural, and specific named types (Hardy, Glassell, Ripley, and others) remain key chronological markers for archaeologists working the Caddo sequence. Provenance: private Colorado, USA Collection; ex-private Denver, Colorado, USA collection; ex-private Flushing, New York and Ridgeway, Colorado, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203016

Lot: 69 - Caddo Engraved Pottery Water Bottle

Native American, Southeastern United States, Mississippian culture, Caddo, ca. 1200 to 1500 CE. A Mississippian Caddo engraved pottery water bottle defined by its full globular body, tall cylindrical neck, and flowing Walls Engraved decoration that moves across the surface like a slow current. The vessel is formed with a rounded body that transitions cleanly into a narrow, upright neck, a classic Caddo water bottle profile designed for carrying and pouring liquids. The surface is dark fired, ranging from deep charcoal to warm brown, with lighter engraved lines cut crisply into the clay before firing. These incised motifs consist of sweeping scrolls, curving bands, and triangular panels filled with fine diagonal hatching, arranged in a continuous horizontal rhythm around the body. Size: 6.8" W x 8.6" H (17.3 cm x 21.8 cm) The scroll elements are characteristic of Walls Engraved pottery, a decorative tradition associated with later Caddo ceramic production. The design suggests movement and circulation, often interpreted as references to water, wind, or cosmological cycles. The engraved lines are confident and evenly spaced, indicating a practiced hand and careful planning of the composition. Around the shoulder and lower body, additional engraved bands anchor the design visually, while the neck remains largely undecorated, emphasizing the contrast between form and ornament. The surface shows light wear and firing clouds consistent with age and use, reinforcing the sense that this was a functional object as well as a bearer of symbolic imagery. Caddo water bottles like this example occupied an important place in Mississippian daily and ceremonial life. They were practical vessels, but also objects through which ideas about balance, motion, and the natural world were expressed. This bottle stands as a refined example of Caddo engraving traditions, combining utility with a visual language that remains striking centuries later. Provenance: private Denver, Colorado, USA collection; ex-private New York, USA collection, acquired January 2018; ex-Arrowhead Museum (auction house), Perry, Missouri, USA SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 201058

Lot: 70 - Mississippian Caddo Pottery Bottle - Blakely Engraved

Native American, Mississippian culture, Caddo, Blakely Engraved type, ca. 1200 to 1400 CE. A dark-fired Caddo Blakely Engraved water bottle with a tall, tapering neck and rounded body, its surface marked by restrained linear engraving that traces the vessel’s contours with quiet precision and understated elegance. Size: 5.9" Diameter x 8.5" H (15 cm x 21.6 cm) Provenance: private Colorado, USA Collection; ex-private Denver, Colorado, USA collection; ex-private New York, USA collection; ex-Caddo Trading Company, Murfreesboro, Arkansas, USA; found in Clark County, Arkansas, USA SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202145

Lot: 71 - Caddoan Mississippian Means-Haley Engraved Bowl

Ca. 1200 - 1250 CE. Native American, Mississippian, Caddo culture, Ouachita River drainage, Arkansas, Clark County. This substantial hand-built ceramic bowl presents the characteristic hemispherical profile and dark, burnished surface of the Haley phase tradition, fired to a rich charcoal brown with warm umber mottling where the flame kissed unevenly. The form is generous and low, with a gently flared rim and a broad, rounded body curving continuously into a rounded base. Encircling the vessel's shoulder is the defining decorative register of Means-Haley Engraved ware: two bounding horizontal lines frame a continuous band of rectangular ladder-motifs, their vertical divisions executed with a fine-pointed tool drawn through the leather-hard clay with deliberate, unhurried confidence. Short oblique tick marks punctuate the margins, lending the frieze a rhythmic, almost architectural cadence. This geometric vocabulary is characteristic of Middle Caddo ceramic expression, in which engraved registers functioned not merely as ornament but as encoded markers of social and cosmological affiliation within the densely interconnected communities of the Red River and Ouachita drainages. Collector labels affixed to the base record the Terre Noire Creek provenience with pleasing specificity, placing this vessel within a documented Caddo locale in Clark County and conferring the kind of field attribution that serious collectors and institutions increasingly prize. A compelling exemplar of Middle Caddo ceramic artistry at its most assured. Provenance: Private Colorado, USA Collection; ex-private Denver, Colorado, USA collection; ex-private New York, USA collection; found in the Terre Noire Creek, Clark County, Arkansas, USA SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202268

Lot: 72 - Mississippian Hume Engraved Bottle

Native American, Southeastern United States, Mississippian culture, ca. 1400 to 1650 CE. A commanding Mississippian pottery water bottle, shaped with clean authority and finished with Hume Engraved lines that still cut sharply across the clay. The form is classic and deliberate: a rounded, full-bodied chamber rising into a tall cylindrical neck, designed for controlled pouring and easy carrying. Around the shoulder runs a band of repeating triangles, like a serrated crown, while vertical engraved registers descend in long panels filled with chevrons and angular hatching. The decoration is not scattered or casual - it is planned, measured, and executed with the steady hand of an experienced potter. This style is consistent with Hume Engraved, a celebrated late Mississippian bottle tradition in which vessels were more than containers. Size: 7.8" Diameter x 9.8" H (19.8 cm x 24.9 cm) Bottles like this moved through a world of public ceremony, gift exchange, and communal feasting, where the quality of a vessel could speak for the standing of its owner and the skill of its maker. In that setting, geometry was not simply ornament - it was visual order, an encoded language of identity and belonging. The surface preserves a rich range of firing tones, from warm earthen brown to darker fire clouding that drifts across the body like smoke. With its bold profile and disciplined engraved design, this bottle stands as a strong example of Mississippian ceramic artistry at its most refined. Provenance: private Colorado, USA collection; ex-private Denver, Colorado, USA collection; ex-private New York, USA collection, acquired October 2013 via a private seller SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 201023

Lot: 73 - Three Woodland to Mississippian Stone Tools

Native American, Woodland to Mississippian, ca. 1000 BCE – 1500 CE. A trio of ground and flaked stone implements attesting to the enduring toolcraft of the eastern North American woodlands. The tan sandstone discoidal, smoothly rounded and disc-like, likely served in gaming or grinding, its worn faces polished by handling and use. Beside it rests a three-quarter grooved axe head, its dark igneous body pecked and ground to a bit at one end, the encircling groove hafted to a wooden handle for felling and woodworking. The third piece, a dark flaked hand tool, retains bold conchoidal scars where a knapper struck flakes to shape a working edge, likely a chopper or scraper. Together they span the domestic and utilitarian labor of everyday life, tools of subsistence and craft carried across generations of forest-dwelling peoples from the Woodland through Mississippian periods. Size of largest (flaked tool): 4.6" W x 5" H x 2" D (11.7 cm W x 12.7 cm H x 5.1 cm D). The three-quarter grooved axe is a diagnostic form of the eastern woodlands, its groove encircling three sides of the poll to receive a bent-wood or socketed haft, an advance in hafting efficiency over the earlier full-grooved types. Discoidals, meanwhile, are among the more debated artifacts of the region: many are associated with the game of chunkey, in which players rolled a stone disc and cast spears toward its predicted stopping point, a contest of skill and ritual significance that spread widely during the Mississippian florescence. Provenance: private Lumberton, Texas, USA collection, acquired before 2010 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203385

Lot: 74 - Chumash Carved Charm Stone - Two-Faced Effigy Totem

Native American, United States, West Coast, California, Chumash, ca. 1000–1800 CE. A rounded cobble of reddish sandstone, worked into a compact charm stone bearing an incised, pale-lined effigy on its face. The ground surface reveals a schematic figure, perhaps anthropomorphic or a spirit being, its raised arms and rounded forms picked out against the warm stone by a chalky mineral residue. Charm stones of this kind held potent significance among the Chumash of coastal southern California, credited with influence over weather, hunting, fishing, and the movement of game and fish. Often deposited in caches, buried in fields, or suspended near dwellings, they served as instruments of supernatural power wielded by shamans and ritual specialists. The stone sits comfortably in the palm, its worn contours suggesting long handling and the accumulated intention of ceremonial use. Size: 4" W x 3.8" H x 1.2" D (10.2 cm W x 9.7 cm H x 3.0 cm D). The Chumash inhabited the coast and Channel Islands of what is now Santa Barbara, Ventura, and San Luis Obispo counties. Their charm stones (sometimes called "plummet stones" when elongated) are among the most enigmatic objects of California archaeology. Ethnographic accounts gathered by John P. Harrington describe such stones as tools of the 'antap ritual specialists, believed to command rain, guide swordfish and other marine resources, or bring success in hunting. Many were interred as offerings or kept concealed, their power understood to be dangerous if mishandled. Provenance: private Saint Louis, Missouri, USA collection acquired between 1970 and 1995 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. This item may fall under the Safeguard Tribal Objects of Patrimony (STOP) Act or other federal laws protecting Native American, Alaska Native, or Native Hawaiian cultural heritage. As such, it is not eligible for international shipping, and may also be subject to repatriation or tribal consultation within the United States. Buyers are responsible for ensuring their legal right to acquire, possess, or transfer this item under all applicable laws. Item # 204010

Lot: 75 - Four Acoma Pueblo & Santo Domingo Polychrome Vessels

Native American, Southwest, New Mexico, Santo Domingo (Kewa) and Acoma Pueblo, ca. 1900–1960 CE. A grouping of four hand-coiled Pueblo earthenware vessels from the high mesas of New Mexico. The largest, a Santo Domingo (Kewa) wedding vase, rises to twin spouts joined by an arching handle, its cream slip painted with a russet flower and dark foliate sprigs above an unslipped lower body. Beside it stand three diminutive Acoma jars: two olla forms bearing crisp black-on-white geometric lattices and stepped triangles, and a charming miniature basket vessel with a twisted strap handle and earth-toned banding. Each was raised by hand from local clays, slipped and painted with native mineral and vegetal pigments, then open-fired. Together they distill the painterly traditions of two neighboring pueblos, the bold botanical idiom of Santo Domingo and the precise abstraction of Acoma. Size of largest: 7.1" W x 7" H x 6.3" D (18.0 cm W x 17.8 cm H x 16.0 cm D). The double-spouted "wedding vase" is among the most recognizable forms of Rio Grande Pueblo pottery, traditionally exchanged in marriage ceremonies where bride and groom drank from its paired openings. Santo Domingo (now known by its Keres name, Kewa) is celebrated for a restrained palette of black and red on cream and a fondness for bold floral and geometric motifs. Acoma, the "Sky City" perched atop a sandstone mesa, is renowned for thin-walled vessels and exacting black-on-white geometry, the fineness of its clay permitting walls of remarkable delicacy. Provenance: private Colorado, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203327

Lot: 76 - Santa Clara Blackware Vase with Avanyu Serpent, by Mida Tafoya

Native American, Santa Clara Pueblo, ca. 1960–2000 CE. A lustrous and deeply carved blackware vase by Mida Tafoya depicting Avanyu, the water serpent, with an arrow-like tongue of lightning emerging from the stylized head. The neck rises above the serpent band with vertical feather carving, and the entire surface carries the deep, even stone polish for which the Tafoya family is renowned. The underside is signed by the artist. Mida Tafoya (1931-2024) was a daughter of matriarch Margaret Tafoya and granddaughter of Sara Fina Tafoya, two of the most celebrated potters in Santa Clara history. Size: 5" D x 8" H (12.7 cm D x 20.3 cm H). Mida Tafoya (1931-2024) belonged to the celebrated Tafoya dynasty of Santa Clara Pueblo, the granddaughter of Serafina "Sara Fina" Tafoya, the matriarch whose monumental burnished vessels helped define twentieth-century Pueblo pottery, and whose descendants (including Margaret Tafoya) elevated Santa Clara blackware to international renown. Working entirely by traditional means, gathering and processing native clay, coiling by hand, polishing with smooth stones, and firing in an outdoor reduction fire smothered with pulverized manure to draw the carbon that blackens the clay, Mida sustained the deeply carved style for which her family is known. Avanyu, the plumed or horned water serpent, is among the oldest and most potent images in Tewa iconography. Undulating like a flowing stream and spitting lightning that heralds the storm, the serpent embodies water itself, the most precious force in the arid Southwest. Its recurrence on Santa Clara vessels is both decorative and devotional, a prayer for rain rendered in clay. Provenance: private Denver, Colorado, USA collection; ex-Trautenberg Estate SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 204030

Lot: 77 - Navajo Sandpainting Design Print on Muslin, Thunderbirds & Corn

Native American, Southwest, New Mexico, Navajo, ca. 1933 - 1966 CE. A lovely muslin cloth print representing a Navajo sandpainting motif. The fine example features four thunderbirds surrounding a centrally placed quatrefoil decorated with Navajo symbols for corn, all in hues of russet, powder blue, marigold, tan, deep grey, and white on a beige-dyed fabric. Standing upright with legs and wings spread, each stylized figure presents a rectangular head, a lengthy neck, a minimalistic face, a slender body, a pentagonal tail, and long undulating of hook-like extensions at their feet. White striations extend from the central circle, forming the Navajo symbol for rain or prosperity and separating each of these avian figures. Each of these striations end with phytomorphic finials. Size: 33" W x 39" H (83.8 cm x 99.1 cm) Provenance: private Fresno, California, USA collection; ex-Artemis Gallery; ex-Tambaran Gallery, New York, New York, USA, acquired 1970s to 1980s SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202477

Lot: 78 - Larry E. Carnes Pottery Sculpture "Chickasaw Warrior"

Larry E. Carnes (American, active XX-XXI century). "Chickasaw Warrior" pottery sculpture. Signed with artist's mark on verso. Label with title and artist's name on interior of base. Ca. 1980–2020 CE. A hand-built stoneware figure rises from a broad, bell-shaped torso to a small, tilted head, the proportions deliberately weighted toward mass and stillness. The wide body swells like a vessel,

Lot: 79 - Walrus Ivory Sculpture of Gecko & Centipede

United States, ca. 21st century CE. A walrus ivory carving depicting a gecko and centipede, masterfully detailed along the natural curve of the tusk. The gecko is rendered with fine texturing across its body and inlaid amber eyes that give it a lifelike presence. Alongside, the centipede is intricately carved with segmented body and arched legs, emphasizing naturalistic movement. The ivory rests on a wooden base, designed to complement the form and display the artwork beautifully. Size: 12.5" L x 1.6" W (31.8 cm x 4.1 cm); wood base: 16.5" L x 4" W (41.9 cm x 10.2 cm) This item is made of or contains walrus ivory and is classified under the ESA (Endangered Species Act) as an exempt piece. Due to federal and state regulations regarding the sale of ivory, this item cannot be shipped internationally or to individuals residing in the following U.S. states: California, Hawaii, Illinois, Nevada, New Hampshire, New Jersey, New York, Oregon, and Washington. Additionally, buyers are responsible for ensuring that their purchase complies with all local laws and regulations concerning ivory. We guarantee that this piece meets the criteria for an ESA antique exemption under U.S. Federal law, however, we advise buyers to consult with their local authorities to confirm their ability to legally acquire, possess, trade, or sell this item in your state of residence. Provenance: private Hagar collection, Wildwood, Missouri, USA SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 197528

Lot: 80 - Mousterian Neanderthal Stone Hand Tool From Mali

West Africa, Mali, Mousterian Period, ca. 120,000 to 40,000 years old. A handsome chert biface, a stone tool made by Homo neanderthalensis to use as a hand axe. The tool has a nice manageable size and shape that neatly fits in the palm of a hand - unlike their much larger predecessors of the Sahara during the Acheulian period. Note the flaking and indentations polished and smooth with use and age. This is an exceptional example with a clear form, made from a beautiful piece of chert in hues reddish-mauve and beige. Size: 4.6" L x 2.4" W (11.7 cm x 6.1 cm) Provenance: private New Jersey, USA collection acquired February 2023 via Artemis Gallery, Louisville, Colorado, USA; ex-private southwestern Pennsylvania, USA collection, acquired prior to 2000 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 201971

Lot: 81 - Tall Dayak Wood Hampatong Figure - Ancestral Guardian

Southeast Asia, Borneo, Dayak, ca. late 19th to early 20th century CE. A tall carved wood hampatong figure, this commanding Dayak sculpture embodies ancestral presence, spiritual vigilance, and communal protection, presented here in explicitly female form. The figure is constructed from multiple carved elements rather than a single block of wood. The elongated torso and legs form the central core,

Lot: 82 - Borneo Dayak Wood Ancestor Guardian Figure

Southeast Asia, Indonesia, Borneo, Iban Dayak, ca. mid-20th century CE. Crafted from hardwood, this figure represents an honored Dyak ancestor, a hampatong, traditionally used for protection. It served as a guardian for villages, people, graves, longhouses, and the routes leading to rivers and rice fields. In common with many Dyak standing figures, the carving is in relatively low relief,

Lot: 83 - 20th C. Indonesian Brass Buddha Grouping - 16 Figures on Tiered Stand

Southeast Asia, Indonesia, ca. 1900–1999 CE. A congregation of sixteen cast brass Buddhas ascends a stepped wooden platform, each figure seated in meditative repose upon its own pedestal block. The diminutive icons sit cross-legged with hands resting in the lap, robes falling in soft folds across the shoulder, crowned by the ushnisha that marks an awakened mind. Their arrangement on the tiered base evokes the rising terraces of a stupa or mountain temple, the highest Buddha presiding from the summit. Five slender parasols, ancient emblems of royalty and spiritual sovereignty, rise among the ranks to shelter the enlightened. The brass carries a dark, mellow patina that lends weight and quiet gravity to the assembly. Likely produced as a devotional or decorative ensemble, the grouping channels the layered sacred geometry of Indonesian Buddhist architecture into a tabletop tableau. Size: 16.8" W x 10" H x 7" D (42.7 cm W x 25.4 cm H x 17.8 cm D); on included custom stand: 20" W x 12.5" H x 13" D (50.8 cm W x 31.8 cm H x 33.0 cm D). The tiered, pyramidal arrangement recalls Borobudur, the ninth-century Javanese monument where seventy-two perforated stupas and hundreds of Buddha images rise across concentric terraces toward a crowning summit, a stone mandala mapping the soul's ascent toward enlightenment. The chatra, or ceremonial parasol, is among the oldest auspicious symbols in Buddhist art: a canopy of protection signifying both temporal kingship and the sheltering authority of the Dharma. Here, five parasols distributed among the seated figures echo that vocabulary of honor reserved for sacred presence. Provenance: private Rogers, Arkansas, USA collection; ex-Bosio collection, Miami, Florida, USA, 1960-2000 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 199997

Lot: 84 - Four 19th C. Indonesian Carved Kris Dagger Hilts

Southeast Asia, Indonesia, Javanese, ca. 19th to early 20th century CE. A group of four ivory hilts (hulu) for the kris, the wavy-bladed dagger central to Javanese and wider Indonesian material culture. Each grip is carved in low relief with foliate scrollwork, figures, and interlacing motifs, likely Durga or wayang-derived iconography that lends the weapon its talismanic charge. Each hilt is mounted on a carved hardwood stand. Size of largest: 1.6" W x 3.5" H x 2" D (4.1 cm W x 8.9 cm H x 5.1 cm D). This item is made of or contains elephant ivory and is classified under the ESA (Endangered Species Act) as an exempt piece. Due to federal and state regulations regarding the sale of ivory, this item cannot be shipped internationally or to individuals residing in the following U.S. states: California, Hawaii, Illinois, Nevada, New Hampshire, New Jersey, New York, Oregon, and Washington. Additionally, buyers are responsible for ensuring that their purchase complies with all local laws and regulations concerning ivory. We guarantee that this piece meets the criteria for an ESA antique exemption under U.S. Federal law, however, we advise buyers to consult with their local authorities to confirm their ability to legally acquire, possess, trade, or sell this item in your state of residence. Provenance: private Colorado, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 183943

Lot: 85 - Indonesian New Guinea Wood Ancestral Figure Post, Openwork Arms

Southeast Asia, Indonesia, Western New Guinea, ca. 1800 - 1933 CE. A carved wooden ancestral figural post, featuring an oversized head with angular facial planes, openwork arms, and a weathered surface from age and use. The sides of the post are drilled with holes, likely from mounting. Size: 4.75" W x 23" H (12.1 cm x 58.4 cm); 25" H (63.5 cm) on included custom stand. Provenance: private Rogers, Arkansas, USA collection; ex-Bosio collection, Miami, Florida, USA, 1960-2000 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 200172

Lot: 86 - Superb Early 20th C. Papua New Guinea Wood Canoe Model

Oceania, Melanesia, Papua New Guinea, ca. 1930s to 1940s CE. An intricate carved and painted wood model of an outrigger canoe with an elevated fishing platform, rendered with remarkable attention to detail. The outrigger is realistically connected to the hull by twin struts lashed with fiber cord, recreating the engineering that allowed these vessels to ride the Pacific swells with stability. Rising from the edges of the platform are three carved and painted decorative uprights, their diamond motifs highlighted in red and black, each terminating in fish. The canoe's prow is adorned with further zoomorphic decoration, including fish and a bird, while its hull is incised with more fish among bold geometric and abstract designs, accented with black, white, and red pigments. Such outrigger canoes were central to life in coastal Papua New Guinea, serving as essential craft for fishing, trade, and inter-island travel. This model, with its complex iconography and carefully painted surface, functions both as a miniature of vital seafaring technology and as a work of art. Size: 28" L x 19.5" W x 8.15" H (71.1 cm x 49.5 cm x 20.7 cm) Provenance: private Atlanta, Georgia, USA collection, acquired between 2020-2024; ex-Artemis Gallery; ex-private Hawaii, USA collection; ex-Aguttes, Paris, France SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 197856

Lot: 87 - Papua New Guinea Stone Adze Celts

Melanesia, Papua New Guinea, ca. mid-20th century CE. A pair of ground stone celts shaped from dense rock, their surfaces worked to a smooth sheen. One is a warm slate-gray, broad and triangular, tapering from a wide rounded bit toward a narrowed poll; the lower is darker, nearly charcoal-black, longer and lenticular, narrowing to a tapered point. Such celts served as the heads of hafted adzes and axes throughout New Guinea, indispensable for felling timber, hollowing canoes, and clearing garden ground, and fine polished examples circulated as prestige objects in exchange networks that endured into the twentieth century. Size: 2" W x 5" H (5.1 cm W x 12.7 cm H). Provenance: ex-private collection, Fairhaven, Massachusetts, USA, collected from 2010 to 2015 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 198615

Lot: 88 - Papua New Guinea Cassowary Bone Figural Dagger w/ Plumage & Shells

Oceania, Melanesia, Papua New Guinea, Sepik River region, ca. 1940–1990 CE. A tapering dagger ground from the leg bone of a cassowary, its ivory-toned shaft narrowing to a smooth, lethal point. The upper handle blooms into a carved standing ancestor figure, ribs and folded arms rendered in low relief, crowned by a stylized face with almond eyes and swept brows in the flowing curvilinear idiom of the Sepik. A dense collar of chicken feathers, mottled brown and cream, fans from the head like a headdress, bound with resin studded with small inlaid shells. A second band of shell-set resin runs partway down the blade. Weapons of this kind, worn thrust through a woven armband, served as both fighting tools and prestige emblems, the carved ancestor lending the bearer protective potency. Mounted on a custom wooden display stand. Size: 1.8" W x 18.5" H x 2.6" D (4.6 cm W x 47.0 cm H x 6.6 cm D); on included custom stand: 5.5" W x 20" H x 5.5" D (14.0 cm W x 50.8 cm H x 14.0 cm D). Cassowary-bone daggers are among the most prized weapons of the Sepik and highland peoples of Papua New Guinea. The flightless cassowary, a large and dangerous bird, held potent symbolic associations with aggression and male power, so a dagger fashioned from its femur carried meaning beyond mere utility. The finest examples, like this one, are elaborately incised with ancestral imagery; a warrior's status could be read in the richness of his blade's carving. Such daggers were carried openly, often slung in a plaited armlet against the upper arm, ready for close combat while also broadcasting the owner's lineage and standing. Provenance: ex-David Zahler collection, acquired between 1975 to 2004 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Parts from certain animal species including nacre shell may require an additional license upon import into another country due to legislation relating to endangered species and environmental conservation. If you are not sure whether CITES rules apply to your item, please see the CITES Appendices. Item # 203794

Lot: 89 - Papua New Guinea Abelam Female Initiation Figure - Tetepeku

Melanesia, Papua New Guinea, East Sepik Province, Abelam people, ca. 1950–2000 CE. A carved female figure whose long legs splay outward into a dramatic A-frame, hands drawn inward toward a prominently rendered vulva. Above rises a slender neck supporting an elongated ovoid head, its features pared to a ridged nose and hollowed sockets. Traces of red, white, and black pigment cling to the weathered timber, remnants of the vivid painting that once animated the form. This is a tetepeku, not a display sculpture but a threshold: such figures were mounted inside the men's ceremonial house (korombo), above doorways to the interior passages and initiation chamber. Novices stooped or crawled beneath her splayed legs, emerging as if reborn into the sacred space beyond. The posture is functional, a symbolic birth canal through which men passed to attain initiated status. Size: 9.3" W x 21.5" H (23.6 cm W x 54.6 cm H); on included custom stand: 9.75" W x 22.25" H x 4" D (24.8 cm W x 56.5 cm H x 10.2 cm D). The male initiation cycle of the Abelam, who inhabit the Prince Alexander Mountains north of the Sepik River in the Maprik region, is saturated with female symbolism. The korombo itself is understood as a female being; the brilliantly painted panels lining the initiation chamber are called women's string bags (wut), and some scholars liken the chamber to a womb. To the uninitiated, the tetepeku is known as "she who blocks the road," the gap between her legs closed off by a string bag of barklike sago-palm petioles serving as a door. Beyond her waited the full splendor of the chamber: painted carvings and towering effigies of the clan spirits (nggwalndu). Like all Abelam wood images, the tetepeku was intended to be seen freshly painted in the red, yellow, black, and white pigments favored by Abelam artists. Figures were often preserved and reused for decades, ritually washed in running streams to strip away the physical and magical residue of earlier paint before being repainted for each new installation. Provenance: private Saint Louis, Missouri, USA collection; ex-Greg Hamson (brother of Michael Hamson, d. 2022), California, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203964

Lot: 90 - 17th-18th C. Chinese Sandstone Seated Lohan - Anjali Mudra

East Asia, China, Ming-Qing Dynasty, ca. 1600–1799 CE. A serene arhat carved from warm reddish sandstone sits in quiet devotion, both feet planted on the ground and palms pressed together at the chest in the anjali mudra, gesture of greeting and gratitude. The bald, smooth-domed head, softly furrowed brow, and gently smiling mouth convey the composed inner life of an enlightened disciple. A long monastic robe drapes across the body in fluid, deeply cut folds, closing at the chest and pooling over the plinth in rhythmic pleats. Traces of green mineral staining linger in the recesses, evidence of age and burial. As a lohan (Sanskrit arhat), the figure represents a perfected follower of the Buddha who has attained nirvana, one of the venerated worthies who populated temple halls in sets, guarding the dharma and offering the faithful a human model of spiritual attainment. Size: 12.9" W x 26.8" H x 9.9" D (32.8 cm W x 68.1 cm H x 25.1 cm D). Lohans (from the Sanskrit arhat, "worthy one") were most often venerated in China in a canonical group of sixteen, later expanded to eighteen and then to five hundred. Temple halls dedicated to them, the luohan tang, arranged the figures in ordered ranks, each with a distinct physiognomy and attribute, so that the faithful might contemplate the diversity of paths to enlightenment. The anjali mudra seen here, palms joined at the heart, is among the most universal Buddhist gestures, signalling reverence and the unity of the devotee with the sacred. Provenance: private Los Angeles, California, USA collection, acquired from 1990 - 2005 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203853

Lot: 91 - 17th C. Chinese Lacquered Wood Taoist Official - Hu Tablet

East Asia, China, Qing Dynasty, ca. 1644–1800 CE. A carved and lacquered wood figure of a seated Taoist official, poised in an attitude of grave devotional composure. The deep oxblood robe falls in fluid, deeply channeled folds across the shoulders and knees, its high collar rising to a serene, gilded face with downcast eyes and softly parted lips. Crowning the head is an elaborate multi-tiered hat, its lotus-petal and geometric registers picked out in gilt and pigment against a red-lacquered crest. The figure clasps a narrow Hu tablet to the chest with long, tapering fingers, the audience implement that marks him as an official summoned before the celestial court. Once seated upon a backless plinth within a domestic shrine or sanctuary, such an image served as a guardian presence, invoked to ward off malevolent spirits, heal the afflicted, and mediate ritual communion with the immortals. Size: 15" W x 32.3" H x 13.5" D (38.1 cm W x 82.0 cm H x 34.3 cm D). The Hu tablet clasped to the chest is the key to identifying this figure. A flat, narrow strip of wood, it originated as a functional court implement: from the Han Dynasty onward, secular officials held such tablets during formal audiences with the emperor, using them to record his commands and prompt their own speech. Taoism absorbed the tablet as a ritual instrument, wielded by priests to purify space, repel malign influences, and open communication with the spirit world. A high-ranking priest is conventionally shown gripping the tablet in both hands, as if standing in audience before a deity of the Heavenly Court. Because Ming and Qing carvers rendered Taoist figures interchangeably as scholars, sages, officials, and priests, individual identity is notoriously difficult to recover once an image leaves its altar context. The encompassing term Daoshi (master of the Tao) is often applied, embracing priest, official, and adept alike. Provenance: private Los Angeles, California, USA collection, acquired from 1990 - 2005 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203856

Lot: 92 - Qing Dynasty Gilt Lacquer Papier-Mache Temple Attendant Figure with Peach

East Asia, China, Qing Dynasty, ca. 1700 - 1899 CE. A standing figure constructed from lacquered and gilt papier-mache and canvas, depicting a robed attendant holding a peach in one hand while the other forms a socket intended to receive a separate attribute. The figure's stylized hair buns, calm expression, and flowing robes reflect traditional Chinese sculptural conventions associated with temple or domestic altar figures. Size: 14" W x 36" H (35.6 cm x 91.4 cm); gold quality: 22% to 31% (equivalent to 5K+ to 7K+) Provenance: private Los Angeles, California, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 193426

Lot: 93 - Han Dynasty Ceramic Musicians and Dancer Group (6)

East Asia, China, Han Dynasty, ca. 206 BCE to 220 CE. A remarkable ensemble of six Han Dynasty ceramic tomb attendants, beautifully representing the harmony of music and movement in the ancient afterlife. The group comprises five seated male musicians and one standing female dancer, each rendered with a quiet dignity and a gentle sense of realism. The musicians are shown in performance, their gestures captured mid-action - one kneeling and playing a flute, while the remaining four hold pipes close to their chests. Their faces are softened by time, yet their postures retain the poise of courtly ritual. At the center stands the dancer, her graceful form cloaked in a long robe with sleeves drawn forward in a gesture of movement, suggesting a performance of reverence or celebration before the departed spirit. Each figure wears a tall, rounded hat and a thick-collared robe, their garments modeled with subtle folds and natural drapery. Size of largest (dancer): 3" L x 2.7" W x 8.1" H (7.6 cm x 6.9 cm x 20.6 cm) Traces of pigment remain on the gray and red clay surfaces, hinting at the lively colors that once animated these attendants. Such figures were placed in tombs to serve and entertain the deceased, ensuring the comforts of status and ceremony continued into eternity. This intimate grouping reflects the Han fascination with the continuity of life and the joy of artistic expression - an echo of music and dance preserved for two millennia in clay. Provenance: private Dallas, Texas, USA collection; ex-Artemis Gallery, Louisville, Colorado, USA collection; ex-private Hawaii, USA collection; ex-Honking Gallery acquired in the 1980's SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 198952

Lot: 94 - Chinese Tang Dynasty Terracotta Mingqi Tomb Figures, Group of Three

East Asia, China, Tang Dynasty, ca. 618–907 CE. A group of three unglazed terracotta tomb figures (mingqi) modeled as standing attendants in long robes. The tallest wears an elaborate high coiffure and holds the hands together at the chest beneath draped sleeves; the two smaller figures stand in similar attitudes with hair dressed in topknots. The reddish earthenware has remains of white cold painted pigments and earthen burial deposits across the surfaces. Such figures were produced in quantity for interment, placed in tombs to serve the deceased in the afterlife as retainers and companions. Size of largest figure: 2.4" W x 9" H x 2" D (6.1 cm W x 22.9 cm H x 5.1 cm D). From the collection of Eugene Rotberg (1930-2025), longtime vice president and treasurer of the World Bank, noted collector of Asian art, and a figure widely regarded as one of the most influential in international finance of the late 20th century. Provenance: private Colorado, USA collection, from the estate of Eugene and Iris Rotberg, acquired before 2000 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203880

Lot: 95 - Chinese Northern Song / Jin Cizhou Meiping Vase, Stoneware

East Asia, China, Northern Song to Jin Dynasty, ca. late 11th to 13th century CE. A stoneware meiping of classic proportions, its broad ovoid shoulder tapering to a narrow waist and small everted mouth, the top half covered in a creamy white slip that has aged to a warm ivory tone with mottled and streaked surface deposits accumulated over centuries. The unglazed flat base and coarse stoneware body identify this as the product of one of the provincial kilns of Hebei, Henan, or Shanxi, where the Cizhou tradition flourished in its most utilitarian and unadorned register. Without painted or incised ornament, the meiping silhouette, originally developed to store wine or liquor, is presented on a later carved hardwood stand. Size: 7.9" D x 11.5" H (20.1 cm D x 29.2 cm H); on included custom stand: 13.1" H (33.3 cm H) Provenance: private Great Barrington, Massachusetts, USA collection, 1995 to 2005 or via inheritance; ex-JCT collection, U.S. Navy Commander, assembled 1926 to 1934 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202464

Lot: 96 - Ming / Qing Dragon Teapot Iron Oxide Glaze

East Asia, China, Ming to Qing Dynasty, ca. 16th to 18th century CE. A large stoneware teapot vessel featuring a spout, handle, and a raised dragon motif around the shoulder. The piece reflects a low-fired technique and the addition of iron oxide to the glaze, resulting in its warm yellow-brown hue. The dragon motif adds a touch of cultural symbolism and visual interest to this utilitarian yet artful piece. Size: 11" W x 9" H (27.9 cm x 22.9 cm) Provenance: private Los Angeles, California, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 193421

Lot: 97 - 2 Yuan & Ming Celadon Bowls - Twin Fish & Lotus Motifs

East Asia, China, Longquan kilns, Yuan Dynasty, ca. 13th to 14th century CE; Ming Dynasty, ca. 14th to 17th century CE. A scholarly pair of celadon-glazed bowls: the larger a Ming dish with an elegant lotus-barbed rim and a soft underglaze floral scroll, the smaller a Yuan example centered by the classic molded twin-fish medallion, each bathed in the spectrum of Longquan greens from cool sea-green to brownish-olive, their raised motifs subtly revealed where the glaze thins to produce a gentle relief. Thrown in high-fired porcellaneous stoneware and glazed inside and out, the Ming bowl presents a lobed profile on a neat footring with incised vegetal ornament to the interior and floral panels to the exterior; the Yuan bowl is broad and shallow with an everted lip and a raised double-fish design in the well, an auspicious emblem of abundance and harmonious union. Size of larger (floral motif): 9" Diameter x 2" H (22.9 cm x 5.1 cm) Bowls of this type were mass-produced at Longquan from the late Southern Song through the Yuan, with excavated parallels from kiln complexes at Shangyan'er, Dayao, and Jincun and comparable examples in major museums; such wares were likely used for serving or presentation at the table. Provenance: private collection of S. Saunders, Nogales Arizona, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 201695

Lot: 98 - Chinese Ming Sancai Ceramic Funerary Mingqi w/ Offering Bowl

East Asia, China, Ming Dynasty, ca. 1368 - 1644 CE. East Asia, China, Ming Dynasty, ca. 1368 to 1644 CE. A mold-made pottery tomb attendant, or mingqi, coated in vibrant yellow, green, and amber sancai (three-color) glaze. The figure stands solemnly atop a hexagonal plinth, presenting a large, circular bowl - perhaps once filled with symbolic offerings of food or drink for the deceased. She wears layered robes that cascade in naturalistic folds, and a tall headdress rises above her serene, cold-painted visage. Figures such as this were placed in tombs to serve the spirit of the deceased in the afterlife, part of a broader tradition of mingqi designed to replicate the comforts and rituals of earthly existence beyond the grave. A striking funerary piece that reflects both spiritual devotion and the refined ceramic artistry of the Ming period. Size: 5.3" W x 18.3" H (13.5 cm x 46.5 cm) Provenance: private Colorado, USA collection; ex-collection of Y. Kayvan, Los Angeles, California, USA, acquired from a Los Angeles, California, USA gallery acquisition dates range from the late 1990s to 2005 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203010

Lot: 99 - Ming Dynasty Green-Glazed Pottery Attendant Figure - Tomb Mingqi

East Asia, China, Ming Dynasty, ca. 1368–1644 CE. A standing attendant rises with quiet dignity, his long robe washed in the cool lead-green glaze that distinguishes Ming funerary sculpture. Molded earthenware gives the figure his sturdy presence: hands clasped before the chest in a posture of deferential service, the body draped in heavy folds that cascade to the feet in crisp vertical pleats. The face, left in cool white slip with delicately inked brows, eyes, and a wisp of beard, is crowned by a russet cap that lends warm contrast to the verdant drapery. Such figures, modeled as mingqi (spirit goods), were arrayed within tombs to accompany and serve the deceased in the afterlife, a retinue of perpetual servants ensuring comfort and status beyond death. The attendant embodies the Ming preoccupation with replicating the ordered hierarchies of earthly life underground. Size: 4.7" W x 16.8" H (11.9 cm W x 42.7 cm H). Lead-glazed earthenware figures of this type belong to the long Chinese tradition of mingqi, surrogate objects buried in lieu of living retainers, a practice softened from the human and animal sacrifices of high antiquity. Ming tomb assemblages often deployed processions of such attendants, grooms, musicians, and guardians, their glaze palette of green, amber, and straw recalling the sancai tradition of the Tang while adopting the more restrained two- and three-color schemes typical of the later dynasty. The cool lead-green derives from copper oxide fired at low temperature; the unglazed, slip-painted face was a deliberate convention, allowing fine brushwork to convey individualized expression that glaze could not. Provenance: Collection of Y. Kayvan, Los Angeles, California, USA, acquired from a Los Angeles, California, USA gallery acquisition dates range from the late 1990s to 2005 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 194625

Lot: 100 - Pair of Chinese Ming Pottery Tomb Attendants

East Asia, China, Ming Dynasty, ca. 15th to 16th century CE. A formal pair shaped for eternity, these Chinese Ming dynasty pottery tomb attendant figures stand as enduring companions to the deceased, their composed gestures and balanced bearing conveying service and readiness. Modeled in earthenware and once enlivened with pigment, they retain a soft, mineral surface that speaks to long burial and

Lot: 101 - Qing Wood Ancestor as Official, Glass Eyes & Horse Hair

East Asia, China, Qing Dynasty, ca. 18th century CE. A powerful embodiment of filial reverence, this stately seated ancestor figure was carved in wood during China's Qing Dynasty, likely in the 18th century, to commemorate and honor a deceased patriarch. The figure represents a high-ranking official, seated with upright bearing and solemn presence, his hands carefully arranged - one resting on his

Lot: 102 - Qing Lacquered Matsu Sculpture - Guardian of the Sea

East Asia, China, Qing Dynasty, ca. 18th century CE. A venerable lacquered wood sculpture of Mazu (also known as Matsu), the beloved sea goddess of Chinese coastal folk religion, portrayed here in seated reverence, her hands held at the waist in a gesture of benevolent composure. Carved with formal restraint yet powerful spiritual presence, this figure depicts the deity in full court regalia, her

Lot: 103 - Qing Dynasty Polychrome Wooden Lohan Figure

East Asia, China, Qing Dynasty, ca. 18th to 19th century CE. A finely carved and polychrome-painted wooden figure of a seated Lohan (Arhat), depicted with serene features and a composed expression. He is robed in layered garments with flowing folds, seated on a tall hexagonal pedestal, and presents a money pouch or alms sack clasped in both hands - likely symbolizing abundance or spiritual wealth. The figure’s high scholar's cap and formal posture suggest reverence and authority, aligning with traditional depictions of enlightened Buddhist disciples. Traces of original pigment in deep mercury red, black, and green remain visible, testifying to the sculpture's vibrant appearance in its original devotional setting. Size: 8" W x 19" H (20.3 cm x 48.3 cm) Provenance: private Los Angeles, California, USA collection, acquired from 1990 - 2005 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 193631

Lot: 104 - 18th C. Chinese Gilt & Lacquered Wood Seated Guanyin

East Asia, China, Qing Dynasty, ca. 18th century CE. Envision the serene presence of Guanyin, the Bodhisattva of Compassion, captured in this 18th-century sculpture. Carved from wood and adorned with layers of rich gilt and lacquer, the figure radiates a gentle, golden light. Seated in the lotus position, with her hands resting in the dhyana mudra, Guanyin's tranquil expression and graceful posture speak of boundless mercy and wisdom. This artwork, a relic of a bygone era, is not merely an object of beauty, but a tangible echo of devotion, reflecting centuries of faith and the enduring quest for enlightenment. The intricate details of the carving, from the delicate folds of the robes to the serene countenance, invite contemplation and offer a glimpse into the spiritual heart of the past. Size: 5.9" L x 8.6" W x 16" H (15 cm x 21.8 cm x 40.6 cm); 17" H (43.2 cm) on included custom stand. Guanyin's significance in 18th-century China, during the Qing Dynasty, was profound. As the embodiment of compassion and mercy, Guanyin was widely revered by people from all walks of life. She was seen as a protector, a source of comfort, and a guide, particularly for women, children, and those facing hardship. During this period, Guanyin's image was frequently invoked in prayers for healing, safe childbirth, and good fortune. The proliferation of sculptures like this one reflects the deep integration of Guanyin worship into the daily spiritual practices and artistic expressions of the time, highlighting her central role in Chinese Buddhism and popular religion. Provenance: private Los Angeles, California, USA collection, acquired from 1990 - 2005 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 192631

Lot: 105 - 18th C. Chinese Kangxi Porcelain Bowl w/ Butterflies

East Asia, China, Qing Dynasty, ca. 18th century CE. A large and exquisite porcelain bowl or wash basin, adorned with vibrant enamel decorations of butterflies atop scrolling vines, with gourds and flower blossoms in soft pastel hues. The gilded rim adds an elegant touch to the piece. The exterior features a vines, flowers, and red fu bats, all classic motifs rich in auspicious symbolism. The base is stamped with a six-character Kaishu seal (Made in Qing Dynasty Kangxi) encircled within a double-line border. This mark suggests that the piece is most likely genuine from the Kangxi reign (1661-1722), as later copies from the 19th century often featured Kangxi's seal with only four characters and lacked the ring border. A previous owner has scratched "CHINA" next to the mark. This spectacular and sizable piece is a beautiful example of early Qing Dynasty porcelain artistry. Size: 19.25" Diameter x 9" H (48.9 cm x 22.9 cm); gold quality: 65% (equivalent to 15K+) Provenance: private Los Angeles, California, USA collection, acquired in the 1980s SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 193387

Lot: 106 - Four 18th C. Chinese Qing Stone & Glass Snuff Bottles

East Asia, China, Qing Dynasty, 18th to 19th century CE. A compact survey of Qing ingenuity and taste, this group of four snuff bottles captures the playful intellect and tactile pleasure that made these objects irresistible companions of the scholar and courtier alike. Ranging from sober mineral elegance to lighthearted figural whimsy, the lot reflects the remarkable breadth of materials and

Lot: 107 - Chinese Qing Buddhist Textile, Wool & Silk Brocade, Framed

East Asia, China, late Qing Dynasty, ca. 19th to early 20th century CE. A composite textile - possibly a Buddhist altar hanging, temple banner, or ritual decoration - comprising two wool pile-woven panels in crimson, blue, yellow, and ivory, each decorated with symmetrical Buddhist bumpa (treasure vase) motifs and auspicious manji symbols, joined at the center by a square Chinese silk brocade panel woven with a frontal dragon in metallic gold and blue tones. Consistent with Qing dynasty Buddhist practice, the fragments appear to have been salvaged and assembled into a devotional object for temple or altar use. Presented framed under glass and ready to display. Size of frame: 41.5" L x 13.5" W (105.4 cm x 34.3 cm); textile: 32" L x 5" W (81.3 cm x 12.7 cm) Provenance: private el Paso, Texas collection, USA, by inheritance, acquired before 1996 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202337

Lot: 108 - 19th C. Chinese Smoking Pipes, Tortoiseshell & Ivory

East Asia, China, Qing Dynasty, ca. 19th to early 20th century CE. A collection of three antique smoking pipes with mottled tortoiseshell veneers and elephant ivory fittings, reflecting the luxury materials favored in late imperial China. Each pipe is formed from a wood or bamboo core, overlaid with thin sheets of heated and molded tortoiseshell that create a warm, variegated surface. The group is

Lot: 109 - Early Chinese Brass Steelyard Balance | Crane and Ship Weights

East Asia, China, Qing Dynasty to early Republic period, circa 1880 to 1930 CE. A brass steelyard balance, the long tubular beam terminating in a hook for suspending goods, the opposing end fitted with a suspension collar and fulcrum. A compound counterweight, cast from a copper-rich alloy, hangs beneath the beam in the form of an elongated bird, likely a crane, above a secondary weight in the form of a stylized ship riding curling waves, its surface with relief detailing and small incised marks. Size: 56" L x 1.2" W x 21.5" H (142.2 cm x 3 cm x 54.6 cm) Above the suspended weight, a coin-form plaque with a square central aperture bears an auspicious inscription, likely a traditional prosperity phrase meaning "to attract wealth and bring in treasure." Such expressions were commonly used in commercial contexts, reflecting both practical concerns and a belief in fortune and favorable outcomes. The integration of this charm into a weighing device transforms the object from a simple instrument into a subtle talisman of success in trade. Steelyard balances of this type were essential tools in Chinese markets, used for weighing goods ranging from grain and medicinal materials to metals and textiles. The system relied on the careful adjustment of the counterweight along the beam, a method refined over centuries and central to everyday commerce. Here, that functional design is elevated through decorative flourish. The bird and ship, suspended in careful balance, lend the piece a sculptural quality rarely seen in more utilitarian examples. It stands as both a working instrument and a symbolic object - a reminder that in trade, precision mattered, but a touch of good fortune was always welcome. Provenance: private southern California, USA collection, acquired before 2000 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 186376

Lot: 110 - Chinese Neolithic Revival Red Stone Ceremonial Blade

East Asia, China, late Qing to Republic period, ca. early to mid-20th century CE. A blade carved from a reddish stone, inspired by Neolithic yue axes and early Shang-Zhou blade forms, reinterpreted as a scholar's or collector's object. The elongated rectangular body is pierced with three evenly spaced circular perforations, and finished with a smooth polish. Size: 8.75" L x 3.75" W (22.2 cm x 9.5 cm) Provenance: private New Jersey, USA collection, before 2000 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 200328

Lot: 111 - Chinese Neolithic Revival Jade Ceremonial Blade

East Asia, China, late Qing to Republic period, ca. early to mid-20th century CE. A blade carved from nephrite jade, inspired by Neolithic yue axes and early Shang-Zhou blade forms, reinterpreted as a scholar's or collector's object. The elongated rectangular body is pierced with four evenly spaced circular perforations and two shallow spine notches, and finished with a smooth polish that reveals mottled transitions from pale celadon green to smoky brown and black within the stone. Size: 8.125" L x 2.5" W (20.6 cm x 6.4 cm) While the clean symmetry and precise drillwork signal contemporary craftsmanship, the blade's design channels the power and elegance of China's earliest ceremonial jades. The yue blades of the Liangzhu culture (ca. 3300 to 2300 BCE) often served as symbols of authority, just as this modern piece carries an aura of elevated ritual. Echoes of Shang and Zhou bronze dao blades can be seen in the cutting edge and commanding form, while the jade's natural patterning suggests the quiet complexity of Qijia knives. Provenance: private New Jersey, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 200326

Lot: 112 - Chinese Mammoth Ivory Erhu Player w/ Dog

East Asia, China, Republic to People's Republic period, ca. 1912 to 1970 CE. A seated elder bends over his erhu with the unselfconscious absorption of a man who has long since stopped performing for anyone but himself - his dog, curled at his feet, apparently shares that opinion. Carved from mammoth ivory with considerable technical accomplishment, this okimono-style figure presents an elderly

Lot: 113 - Chinese & Mongolian Silver Charms of Figures + Animals

East Asia, Northern China / Mongolia, ca. late 19th to mid-20th century CE. A collection of 13 silver and nickel brass charms depicting auspicious human figures and animals rendered in a lively folk style. Forms include livestock, mythical creatures, and playful human figures, each cast in the round with integrated loops or chain remnants for suspension. One small rounded human figure functions as a bell, retaining an internal pellet that produces sound when moved. The surviving chains and attachment loops indicate the group could be restrung or worn in varied arrangements. Size of largest ox: 2.1" L x 1.4" W (5.3 cm x 3.6 cm); smallest figure: 0.7" L x 0.5" W (1.8 cm x 1.3 cm); silver quality: 40% to 97%; total combined weight: 93 grams Provenance: private Thousand Oaks, California, USA collection, acquired 1970s to 2000s SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 198147

Lot: 114 - Chinese Sterling Silver & Greenstone Animal Pendant

East Asia, China / Tibet, ca. early to mid-20th century CE. A sterling silver pendant set with a carved green stone plaque depicting the Buddhist auspicious pair of fish rising from a lotus in low relief, enclosed within a closely fitted silver bezel and crowned by a goat or deer in motion. Suspended from a modern brass chain and wearable. Size of pendant: 3.25" L x 2" W (8.3 cm x 5.1 cm); silver quality: 97%; weight: 48 grams; chain: 18" L (45.7 cm) Provenance: private Thornton, Colorado, USA collection acquired in Hawaii. Ex Kona, HI resident who traveled S. E. Asia in the 1960's SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 201265

Lot: 115 - Vibrant Japanese Silk Uchikake Wedding Kimono

East Asia, Japan, ca. mid to late 20th century CE. A silk uchikake wedding kimono with extended sleeves, composed in vivid polychrome with painted, dyed, and embroidered decoration. The surface features cranes, floral sprays, and fan motifs with trailing cords, accented with areas of metallic pigment and gold thread couching that highlight select elements across the design. The composition unfolds across the garment in a continuous arrangement, balanced by bold color contrasts of red, green, orange, blue, and purple. The interior is lined in red, terminating in a thickly padded hem characteristic of formal bridal wear, designed to trail elegantly when worn. Size with sleeves outstretched: 69" L x 53" W (175.3 cm x 134.6 cm); sleeves: 41" L (104.1 cm) Provenance: private Great Barrington, Massachusetts, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 201137

Lot: 116 - Japanese Mammoth Ivory Okimono Fisherman w/ Children

Tadamori (Japanese, active 20th to 21st century). Fisherman with children. Mammoth ivory and wood okimono carving. Signed in Japanese characters on inlay on base. A lively and finely composed okimono carved in mammoth ivory and wood, depicting a fisherman seated atop a tall ladder platform while two cheerful children climb toward him, the scene animated by delicate incised patterns across the garments and expressive, smiling faces that capture a moment of playful interaction. The fisherman, wearing a broad conical hat and holding a small cup, is rendered with a flowing beard and relaxed posture, suggesting a quiet pause amid daily labor, while the children cling to the ladder rungs with a sense of movement and delight. The warm-toned wood base, inlaid with circular shell elements and raised on short legs above a pierced apron, provides both structural support and decorative contrast to the pale ivory figures. Size: 8.3" L x 5.7" W x 11" H (21.1 cm x 14.5 cm x 27.9 cm); 14.8" H (37.6 cm) on included custom stand. Suspended from the ladder, a small woven basket with an intricately carved ivory chain introduces an additional layer of narrative detail, hinting at the tools of the fisherman's trade. Signed by Tadamori on a small inset plaque, the work reflects the continued tradition of Japanese okimono carving into the modern era, blending technical precision with a gentle, genre-inspired storytelling. Provenance: private Hagar collection, Wildwood, Missouri, USA SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202195

Lot: 117 - Japanese Meiji Ivory Figure - Warrior by Matsuyama

Matsuyama (Japanese, active late XIX century). Martial Arts Warrior. Ivory and wood okimono carving, ca. 1868 to 1912. Signed in Japanese characters on inlay on base. A lively study of motion and discipline, this finely carved okimono captures a martial artist mid-gesture, his stance grounded and alert as he raises a small hand drum, perhaps poised to punctuate rhythm or ritualized movement. Executed in contrasting materials, the figure's head, hands, and feet are carved from warm-toned mammoth ivory, their smooth surfaces delicately detailed with expressive features, parted lips, and carefully incised fingernails, while the robe is rendered in dark wood, its flowing volumes providing visual weight and contrast. The figure stands atop a naturalistically carved wooden base, its undulating edges recalling a cut section of timber, lending an organic stage to the composition. Size: 3.8" L x 3.5" W x 7.2" H (9.7 cm x 8.9 cm x 18.3 cm); 9" H (22.9 cm) on included custom stand. On the reverse, a circular ivory inset medallion is intricately engraved with a mon (family crest), demonstrating the artist's attention to detail even in areas not immediately visible. The robe's folds, the tension in the limbs, and the slight forward lean of the body suggest a moment suspended between movement and sound. Signed on the base in an ivory reserve for Matsuyama, the work reflects the refined craftsmanship of Meiji period okimono, when Japanese carvers produced highly detailed sculptural objects for both domestic appreciation and export, blending traditional themes with technical virtuosity. Publication: A pair of ivory carvings by Matsuyama hammered 5,875 British pounds at Christie's London on November 16th, 2000 (live auction 6385 "Japanese Art & Design," lot 208). That was equivalent to $8354.25 at the time, which equals $15,845.39 today. This is an ESA antique exempt piece of ivory and cannot be sold internationally or to anyone residing in the states of California, Hawaii, Illinois, Nevada, New Hampshire, New Jersey, New York, Oregon, and Washington. Provenance: private Hagar collection, Wildwood, Missouri, USA SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202196

Lot: 118 - Korean Joseon Blue-Glazed Fish Water Dropper & Vase

East Asia, Korea, Joseon Dynasty, ca. 19th century CE. A charming pair of blue-glazed porcelain vessels from the late Joseon dynasty, comprising a fish-shaped water dropper and a bud vase, both showcasing the technical refinement and symbolic grace of Korean ceramic art. The water dropper, modeled in the form of a plump fish with stylized scales and rounded fins, bears two small openings for filling and pouring water - an indispensable tool for the scholar's desk, used in preparing ink for calligraphy and painting. The fish, a frequent motif in Joseon art, symbolized abundance, perseverance, and scholarly tranquility. Its softly rounded contours are accentuated by a lustrous cobalt-blue glaze, pooling richly in the recessed details and thinning to reveal lighter hues across raised surfaces. The companion vase, of elegant bulbous form with a slender neck and small mouth, complements the dropper in both color and simplicity. Size of larger (vase): 3.1" Diameter x 4" H (7.9 cm x 10.2 cm); of custom box: 10.5" L x 4.5" W x 3.5" H (26.7 cm x 11.4 cm x 8.9 cm) Its smooth surface displays the same deep, watery blue glaze, mottled with delicate tonal variations that capture the aesthetic restraint of the Confucian scholar's world. Blue-glazed porcelain was a distinctive and technically challenging innovation within the broader Joseon ceramic tradition, valued for its subtle play of light and texture. Together, these vessels embody the era's harmony between utility and artistry - functional yet deeply poetic expressions of the Korean spirit. Housed in a fitted silk-lined presentation box, the pair represents not only the enduring refinement of Joseon craftsmanship but also the quiet beauty of the scholar's pursuit of harmony and contemplation. Provenance: private California, USA collection acquired prior to 2005 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 197967

Lot: 119 - 19th C. Tai-Burmese Spirit Manuscript - Yantra Diagrams

Southeast Asia, Burma (Myanmar), Tai Cultural Regions, ca. late 19th to 20th century CE. A remarkable accordion-folded manuscript comprising fourteen panels of mulberry paper, twelve of which are double-sided with two dark brown versos serving as protective covers, yielding twenty-six pages in total. Illustrated throughout in black and red ink, this manuscript presents a vivid tableau of hybrid

Lot: 120 - Large 19th C. Burmese Coppered Wood Crowned Buddha

Southeast Asia, Burma (Myanmar), ca. 19th century CE. A serene and commanding crowned Buddha carved from wood and richly coppered, seated in bhumisparsa mudra ("earth-touching gesture"), his right hand reaching to the ground to summon the earth goddess as witness to his enlightenment. The figure exudes majesty and poise, adorned in regal attire and an elaborate multi-tiered crown with curling foliate wings and a flaming finial rising at the center. His face bears the gentle, introspective expression characteristic of Burmese sculpture, the eyes half-closed in meditation, the lips softly curved in composure. The entire surface is embellished with inlaid glass of green, red, and mirrored tones, their reflective brilliance echoing the divine radiance of the Enlightened One. The coppered finish, now aged to a warm, mottled patina, lends the sculpture a sense of sacred endurance and time-worn devotion. Size: 4" L x 11" W x 25" H (10.2 cm x 27.9 cm x 63.5 cm) Figures such as this belong to the Burmese Jambupati tradition, representing the Buddha in royal form. This iconography reflects the belief that the Buddha, though renouncing worldly power, transcends it entirely, embodying a spiritual kingship beyond temporal rule. The bhumisparsa mudra - the moment of victory over Mara - captures the instant when Siddhartha Gautama, seated beneath the Bodhi tree, called upon the earth to bear witness to his enlightenment, symbolizing steadfast resolve and triumph of truth over illusion. This example would likely have occupied a temple shrine or private devotional space, where the gleaming glass inlays caught the flicker of candlelight, amplifying the aura of sanctity. The delicate tracery of floral and geometric motifs across the robes and base exemplifies the refinement of late Konbaung-era craftsmanship, a fusion of opulent court style and spiritual iconography. Provenance: private Anahola, Hawaii, USA collection, acquired 1970s to 1990s SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 197925

Lot: 121 - 19th C. Burmese Nat Figure - Striking Nacre Shell Eyes

Southeast Asia, Burma (Myanmar), ca. 19th century CE. Southeast Asia, Burma, ca. 19th century. Southeast Asia, Burma, ca. 19th century. A splendid teakwood carving of a dynamic male figure with inlaid shell eyes, likely representing a Nat spirit - one of the 37 supernatural beings in Burmese cosmology revered as guardians and intermediaries between the human and spirit worlds. Carved with animated

Lot: 122 - 19th C. Burmese Bronze Buddha w/ Inlaid Enamel Eyes

Southeast Asia, Burma (Myanmar), ca. 19th century CE. A serene bronze sculpture of Buddha, depicted with a tranquil countenance of a gentle smile and downcast, enamel-inlaid eyes. Billowing folds of a robe cloak his left shoulder and arm, as long-lobed ears fall to his shoulders, serving of symbols of his casting off of worldly riches. A prominent headband sits just above his fine brow line, surmounted by tight, knob-like coils that comprise his coiffure. Size: 4.4" L x 6.4" W x 12.1" H (11.2 cm x 16.3 cm x 30.7 cm); 17.4" H (44.2 cm) on included custom stand. Provenance: private Miami, Florida, USA collection; ex-Scollard Auctions, Brea, California, November 2023 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 185091

Lot: 123 - 20th C. Cambodian Sandstone Durga - Mahishasuramardini, Slayer of Buffalo Demon

Southeast Asia, Cambodia, Khmer revival, ca. 1900–1970 CE. A four-armed goddess rises serene above the very demon she has slain, the water buffalo Mahisha couchant at her feet, his swept horns and broad muzzle worked in low relief across the plinth. This is Durga in her most celebrated role, Mahishasuramardini, slayer of the buffalo demon, carved in sandstone after the grave frontal manner of early Cambodia. She stands with weight set evenly on both feet, hips squared, wearing the calm of the conqueror rather than the violence of the contest, for in the Khmer idiom her victory is told not by struggle but by simple presence above the vanquished. Engaged colonettes joined by a bar brace the figure, the time-honored scaffolding by which Khmer sculptors held an image fully in the round. Size: 16.3" W x 42.2" H x 8" D (41.4 cm W x 107.2 cm H x 20.3 cm D); on included custom stand: 16.3" W x 44.5" H x 9.75" D (41.4 cm W x 113.0 cm H x 24.8 cm D). The myth she embodies is the gods' confession of their own limits. Mahisha, swollen with power won through long austerity, could be checked by neither Shiva nor Vishnu nor any single deity, and so the gods poured their massed energies into a woman and lent her their weapons, that she might wield all their powers at once. She carries here the attributes of Vishnu, the spoked wheel raised in one upper hand, the conch opposite, the borrowed armament that marks Durga as the sum of the divine assembly. Her tall cylindrical crown echoes the mukuta of Vishnu himself, and banded, scrolling curls frame a full and gently smiling face. The work belongs to the twentieth century, a devotional carving in the venerable Cambodian manner, cut by a hand steeped in the canon of the temple goddesses. It asks to be read as an act of homage, the old iconography of Devi triumphant carried forward in living stone... the serene authority of the ancient pattern, newly made. Provenance: private Studio City, California, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 197323

Lot: 124 - Cambodian Sandstone Skanda on Peacock - Khmer-Style War God

Southeast Asia, Cambodia, Khmer style, ca. 1980–2000 CE. A war god rides his peacock into perfect stillness, the great bird drawn up on splayed talons, its tail rising behind him in a broad carved fan stippled with the hundred eyes of its plumage. Skanda sits astride the mount with the ease of a commander, bare to the waist, a tall tiered crown banded with ornament above a serene and faintly smiling face, the whole worked in sandstone after the grave manner of early Cambodian statuary. The peacock is rendered with patient delight, neck and breast sheathed in overlapping scales, a crested finial sprung from its brow, the body engraved feather by feather across flank and tail. A rounded object, perhaps fruit or offering, rests cradled at his lap, an emblem of the abundance that follows victory. Size: 30" W x 16.4" H x 42.5" D (76.2 cm W x 41.7 cm H x 108.0 cm D). Skanda, son of Shiva and known across the Hindu world as Kartikeya, Murugan, and Subrahmanya, is the god of war and the appointed general of the heavenly armies, born for the single purpose of destroying the demon Taraka whom no elder god could overcome. His mount is the peacock Paravani, and in that pairing the iconography folds martial ferocity into beauty, the killer of serpents made the throne of the killer of demons. To the Khmer who first gave this subject monumental form, Skanda astride his peacock was both a god of battle and, likely, a mirror held to royalty, the warrior-deity standing in for the warrior-king. This is a contemporary devotional sculpture carved in the venerable Cambodian idiom by a hand schooled in the canon of the temple gods. It asks to be read as homage, the old war god and his shining mount carried forward in fresh stone, the serene authority of the ancient pattern newly cut. Provenance: private Studio City, California, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 194936

Lot: 125 - 18th C. Tibetan Gilt Brass Vajrapani Figure

Central Asia, Tibet, ca. 18th century CE. A powerful gilt brass figure of Vajrapani, the thunderbolt-wielding protector and guide of the Buddha, depicted with three glaring eyes and a wrathful expression. His right hand is raised, brandishing the vajra, symbolizing jnanavajra (the vajra of analytical knowledge) that cuts through ignorance and the clinging of consciousness. His dynamic posture, with one leg bent and the other extended, tramples upon a recumbent demon, asserting his dominion over chaotic forces. Vajrapani's body is adorned with beaded jewelry, flowing scarves, and a necklace of skulls, emblems of his role as the fierce manifestation of enlightened energy. His head is crowned with a five-pointed bodhisattva crown, each point symbolizing the wisdom of the Five Dhyani Buddhas, representing the complete awakened state. His broad chest, muscular limbs, and intense visage convey both physical strength and transcendent authority, embodying his role as the protector of the dharma. Size: 2.3" L x 6.3" W x 9.6" H (5.8 cm x 16 cm x 24.4 cm) Wrathful yet compassionate, Vajrapani is often associated with the ancient yaksha spirits, generating fear not as punishment but as a force to dissolve rigidity, ego, and dogmatism. His presence served to remind practitioners that liberation is won through fearless confrontation with ignorance. This piece has been consecrated with a prayer cavity in the verso of the figure and on the underside of the base. The underside is further incised with a yin-yang motif alongside a double-vajra (visvavajra), sealing the figure with sacred potency. With remnants of gilding and darkened patina from centuries of ritual handling, this work encapsulates both the spiritual gravitas and the artistic finesse of Tibetan Buddhist metalwork. Provenance: ex-P.T. collection, Queens, New York, USA SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 197499

Lot: 126 - 19th C. Tibetan Thangka Amitayus 'Boundless Life' with Flanking Figures

Central Asia, Tibet, ca. 1800 - 1899 CE. A venerable long-life deity presides over this compact yet devotionally rich Tibetan thangka, painted in mineral pigments on cloth and mounted in its original brocade silk surround. Amitayus, the "Boundless Life" emanation of Amitabha Buddha, occupies the composition in his characteristic sambhogakaya form: red-bodied, crowned, and richly ornamented with bodhisattva jewels, seated in full vajraparyankasana above a white lotus throne, hands resting in dhyanamudra, his kalasha of amrita nestled in his lap like a promise kept. Twin lotus stems ascend to either shoulder, his most recognizable attribute, framing the figure within a blue inner aureole and a broad orange mandorla ringed in rainbow bands. Behind him, a jade-green nimbus rises against a cerulean sky streaked with stylized clouds. Size of painting: 13.3" W x 17.8" H (33.8 cm W x 45.2 cm H); of cloth: 21.3" W x 34.5" H (54.1 cm W x 87.6 cm H); of frame: 28" W x 43" H x 3.8" D (71.1 cm W x 109.2 cm H x 9.7 cm D) The lower register pairs a red-robed lineage lama, seated informally in his monastic hat, with a golden, crown-adorned deity, perhaps Vasudhara or yellow Jambhala, the two figures flanking a central offering vessel to complete the traditional trifecta of blessings: longevity, lineage, and abundance. The lama portrait suggests a specific institutional affiliation, most likely Sakya or Kagyu, though without an inscription on the verso, his name remains a pleasing open question. The painting belongs to a provincial workshop tradition of the 19th century, competent and sincere if not academically refined in the manner of the Karma Gadri or Menri schools. The brocade mounting, in deep burgundy damask with geometric repeat patterning, is original to the thangka and survives with the painting in a modern shadowbox frame. A meditation object first and an art object second, it has lost none of the quiet authority of its original purpose. Provenance: private Houston, Texas, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 201675

Lot: 127 - 19th C. Tibetan Brass Seated Kubera / Yellow Jambhala

Central Asia, Tibet, ca. 19th century CE. A finely cast brass figure of the Hindu deity Kubera, also revered in Buddhist contexts as Yellow Jambhala, the god of wealth and prosperity. The deity is shown seated in dhyanasana (lotus position), his corpulent belly emphasized as a symbol of abundance and prosperity. With a calm, meditative expression, he holds in his right hand a jewel representing inexhaustible wealth, while in his left he clasps a mongoose, the mythic creature that spews forth treasures and precious gems, a classic attribute of Jambhala imagery. The deity wears a crown centered by a lotus flower, a symbol of purity and spiritual enlightenment rising from the mud of worldly existence. His adornments include elaborate earrings, necklaces, and armbands, reflecting his role as a celestial sovereign. The casting is detailed and smooth, the surface polished to a warm dark patina that enhances the figure's sculptural presence. Size: 3" L x 4.5" W x 7" H (7.6 cm x 11.4 cm x 17.8 cm) Kubera/Jambhala occupies a unique position within Tibetan Buddhism and Hinduism alike. In Hindu tradition, Kubera is the guardian of the north and king of the yakshas, spirits associated with fertility and riches. In Vajrayana Buddhism, Jambhala is worshipped as a protector deity who bestows material security and removes poverty, often invoked in rituals to ensure prosperity. This dual significance made images such as this one especially important in Himalayan devotional practice, bridging cultural and religious traditions across South Asia. Provenance: private Lafayette, Colorado, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203541

Lot: 128 - Buddhist Copper & Brass Bhumpa - Ritual Water Vase

Central Asia, Tibet, ca. 18th to 19th century CE. A ritual bhumpa (bumpa) water vessel crafted of copper with a brass spout and lid. Rising from a flared pedestal foot, the rounded body supports a tall neck capped by a broad brass brim, with a central opening. To the side is an arched brass spout, designed for dispensing consecrated water or other sacred liquids during Buddhist ceremonies. Such vessels were integral in purification rites, offerings, and blessings, symbolizing the cleansing of negative energies and the flow of wisdom. This example retains a subtle musky, sandalwood-like aroma from ritual use, adding a sensory link to its long devotional history. Size: 4" W x 5.75" H (10.2 cm x 14.6 cm) Provenance: private Lafayette, Colorado, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203540

Lot: 129 - Nepalese Wood & Hide Dhyangro Shaman's Drum - Carved Kila Handle

Central Asia, Nepal, ca. early 20th century CE. A dhyangro, the double-headed frame drum played by jhakri (shamans) of Nepal during traditional ceremonies, with hide drumheads lashed over a wooden frame. The carved wooden handle takes the form of a kīla, a ritual dagger reflecting Buddhist influence, with a deity head above the triangular blade. Drums of this type are held aloft by the handle and struck with a curved cane beater. This example functions and emits a nice tone. Size: 16" W x 28" H x 4.75" D (40.6 cm W x 71.1 cm H x 12.1 cm D). Provenance: private Los Angeles, California, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203788

Lot: 130 - 19th C. Western Himalayan Brass Bodhisattva Maitreya with Kamandalu

Western Himalaya, Kashmiri revival style, ca. 1800–1899 CE. A cast brass shrine figure of the bodhisattva Maitreya, seated in lalitasana with one leg pendant and the other folded, set against a circular beaded aureole and rising from a stepped rectangular plinth pierced with a niche. The slender body is elegantly modeled, the chest bare save for a beaded torque and looping necklaces, the lower body wrapped in an incised dhoti whose hem ripples across the throne. Heavy earrings flank a serene face crowned by a tall, piled jatamukuta, the hair drawn upward in the ascetic top knot proper to a princely bodhisattva on the threshold of buddhahood. The raised right hand cradles a bulbous, stoppered kamandalu, the water flask that holds amrta, the elixir of immortality and Maitreya's most diagnostic attribute, a quiet promise of the future buddha's advent. The lowered left hand grasps a sinuous stalk with a curling terminal, best read as the nagapushpa, the dragon-flower of the bodhi tree beneath which Maitreya is prophesied to attain enlightenment, here rendered in metal with a serpentine elasticity that has often invited misreading as a snake. The circular nimbus, ringed with a beaded border, frames the figure with the radiant authority of a portable altar piece. The patina is dark and granular, with green cuprite blooms along the recesses, the surface bearing the dignified wear of long devotional handling. The work belongs to a 19th century Western Himalayan tradition that looked back to the elegant Kashmiri bronzes of the eighth to tenth centuries, perpetuating earlier Buddhist iconography in the monastic workshops of Ladakh, Zanskar, and Lahaul, where Maitreya, the bodhisattva-in-waiting, remained an object of particular fervor. Size: 5.3" W x 7" H x 3.7" D (13.5 cm W x 17.8 cm H x 9.4 cm D). Provenance: private Rogers, Arkansas, USA collection; ex-Bosio collection, Miami, Florida, USA, 1960-2000 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 199988

Lot: 131 - Three 19th C. Indo-Persian Mughal-Style Paintings - Battle Scenes

South Asia, Indian subcontinent, Mughal style, ca. 1850–1950 CE. A trio of miniature paintings in the Mughal manner, executed in opaque watercolor and gold on paper, each inset into a later illuminated album border and framed under glass. The first captures a cavalry engagement at its climax: two mounted leaders cross sabers, massed lancers press behind a raised Islamic banner, and the fallen lie among discarded arms beneath a band of hills. The second surveys the aftermath of a rout, a victorious commander on a grey horse riding through the slain, flanked by a war elephant and a musketeer, a white lakeside palace beyond; its Devanagari caption and provincial handling suggest a Rajput or North Indian hand. The third stages an execution before an enthroned emperor, likely Aurangzeb, the swordsman's stroke falling over prostrate victims as the ruler watches from his canopied throne, a stock tableau of royal justice. Size of largest painting: 9.8" W x 13" H (24.9 cm W x 33.0 cm H); of largest frame: 13.5" W x 16.5" H x 1" D (34.3 cm W x 41.9 cm H x 2.5 cm D). The Mughal atelier tradition, born of Persian models introduced under Humayun and refined through the reigns of Akbar, Jahangir, and Shah Jahan, prized minute brushwork, jewel-toned mineral pigments, and burnished gold. Battle and darbar scenes such as these belonged to illustrated histories and albums (muraqqa), where individual leaves were mounted within decorated borders. The recurring image of justice dispensed before a canopied throne, here associated with Aurangzeb, functioned as a visual assertion of imperial authority. Paintings of this type were produced in quantity for the collectors' market from the later 19th century onward, reprising earlier compositions in a decorative register. Provenance: private Colorado, USA collection, from the estate of Eugene and Iris Rotberg SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203899

Lot: 132 - 12th C. Ghurid Pottery Pitcher, Piriform w/ Concentric Circles

Ca. 1200 - 1250 CE. Central Asia, central Afghanistan, Jam in Ghur Province, Ghurid Dynasty. A hand-built pottery pitcher displaying a beautiful and neatly arranged register of concentric circles across the upper body. Above the circular program is a register of zigzagging bands with petite triangles within the wide peaks and valleys, and the rim exhibits a strip of petite protrusions. The broad piriform vessel presents atop a squat foot and has an arching handle stretching between the tapered shoulder and tiered neck. The upper rim is of a slightly narrow form, perhaps meant to accommodate a lid. Despite scholars knowing little about the Ghurid Dynasty and its artistic stylings, they do know it had a rich heritage and a unique presentation. The area today known as Jam was once called Firuzkuh, the summer capital of the Ghurid sultanate that was destroyed by the Mongols around 1222 to 1223 CE and rediscovered by international researchers in 1957 because of its huge minaret. A wide profusion of different style vessels seem to have been made in medieval Jam during the short Ghurid Dynasty, which enjoyed brief success in the 12th century before collapsing after the death of its most charismatic rulers; indeed, when the Mongols destroyed it, it seems to have already been a city in decline. The pottery made there is all the more remarkable for the brief window in which it was made. Provenance: Tull collection, Fresno CA 2021; ex-Artemis Gallery; Art for Eternity, New York, NY; ex-private prominent D.K. collection, New York, USA, acquired in the 2000s SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202495

Lot: 133 - Islamic Bronze Incense Tripod, Kufic Inscriptions

Central Asia, Afghanistan, Turkmenistan or Iran, ca. 10th to 13th century CE. Cast in bronze, this hemispherical bowl rests on three short, triangular-section feet and is surmounted by four evenly spaced, tab-like rim flanges, each bearing traces of incised or cast Kufic inscriptions. The interior retains a deep, mottled turquoise and green patina, the result of centuries of stable burial and oxidation, while the exterior exhibits darker, earthy accretions. The flanges, likely functional as well as decorative, were designed to accommodate lifting rods or for suspending the vessel above a fire, suggesting use as a cauldron or incense/fire bowl. Size: 15" W x 5.5" H (38.1 cm x 14 cm) This form—tripod, flange-rimmed, undecorated body—is characteristic of metalwork produced in the Khorasan region during the Seljuk and early Khwarazmian periods, where bronze casting reached exceptional technical and artistic refinement. Closely related examples are preserved in the collections of the David Collection (Copenhagen), the British Museum, and have appeared in notable auctions (cf. Christie’s, Art of the Islamic and Indian Worlds, 2011, Lot 89). Provenance: ex-T.F. Holy Lands collection, formed since the 1960s SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 195738

Lot: 134 - Persian Siljuk Bronze Lamp Stand, Khorasan Region

Near East / Central Asia, Persia (Iran), likely Khorasan region, Abbasid / Seljuk (Saljuq) Empire, ca. 11th to 13th CE. A tall leaded-bronze lamp stand with a baluster form, resting on three feet, with a tray for the lamp. The base is a tripod design with three outward-sweeping feet, and between the feet, the surface flares outward into a broad circular platform, scalloped into six distinct recessed roundels. Each recessed section is engraved with decorative motifs. Rising from the base is a ribbed, hollow column and at the top sits a flat circular tray, designed to hold an oil lamp while catching any dripping oil or wax. Size: 7" W x 20.5" H (17.8 cm x 52.1 cm) Provenance: ex-T.F. Holy Lands collection, formed since the 1960s SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 196001

Lot: 135 - 9th C. Persian Nishapur Pottery Bowl Bird Motif

Near East / Central Asia, Persia, Nishapur, ca. 9th to 11th century CE. A wheel-thrown pottery bowl featuring a rounded body on a ring-form foot, all enveloped in a rich terracotta-hued slip. The interior presents a charming black slip-painted zoomorphic design of a abstract-bird - likely a peacock - accented with applied white dots and geometric elements. The bird's plumage gracefully curves throughout the basin, surrounded by vegetal scrolls and additional decorative motifs. Such bowls exemplify the artistic sophistication of Islamic Persian ceramics, where abstracted animal forms and polychrome embellishments were used to enliven utilitarian vessels. Size: 7.5" Diameter x 3.25" H (19 cm x 8.3 cm) Provenance: private London, UK collection; ex-Gray's Market, 1990s SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 194740

Lot: 136 - Sumerian Multi-Strand Black and White Bead Necklace

Ancient Near East, Sumer or Bactrian, ca. 3rd to 2nd millennium BCE. 10 beaded strands, hand-carved from stones of gunmetal, chalk and tan hues. Each strand consists of dozens of small pierced beads which are presented on modern string. Presented on fishing line, these should be restrung onto a thin wire or other suitable line and possibly accompanied with other ornamentation to create a truly stunning work of wearable art. Size: 22" L (55.9 cm L) per strand - total of approximately 220 inches. Provenance: Collection of Y. Kayvan, Los Angeles, California, USA, acquired from a Los Angeles, California, USA gallery acquisition dates range from the late 1990s to 2005 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202986

Lot: 137 - Sumerian Faience & Stone Beads - One Pound Lot of Disc & Tube Beads

Ancient Near East, Mesopotamia, Sumerian, ca. 3000–2000 BCE. A full pound of ancient beads, a dense drift of small disc and short-tube forms drilled through the center for stringing. The palette runs from bone-white and cream through smoky gray to muted earthen tones, some retaining the pale bloom typical of aged faience, a self-glazing quartz paste favored across early Mesopotamia. Others are cut from stone, worn soft at the edges by handling and burial. Individually modest, these beads once accumulated into necklaces, bracelets, garment trim, and votive offerings, worn by the living and interred with the dead. Assembled here by weight rather than by set, the lot offers thousands of authentic elements for study, restringing, or the sheer tactile pleasure of holding fragments of the world's earliest urban civilization in the palm of the hand. Size of largest bead (roughly): 0.6" W x 0.3" H (1.5 cm W x 0.8 cm H); total weight: 1lb. Faience, an ancient siliceous paste distinct from true glass and from clay-based ceramics, was among the earliest synthetic materials, produced across Mesopotamia and Egypt from the fourth millennium BCE onward. Ground quartz was shaped and fired with an alkaline glaze that migrated to the surface during firing, yielding the characteristic vitreous sheen, here softened by millennia of burial. Disc and cylinder beads of this kind were mass-produced in Sumerian city-states such as Ur, Uruk, and Lagash, threaded into jewelry and sewn onto textiles as markers of status and as protective adornment. The Royal Cemetery at Ur, excavated by Leonard Woolley in the 1920s, famously yielded such beads by the thousands. Provenance: Collection of Y. Kayvan, Los Angeles, California, USA, acquired from a Los Angeles, California, USA gallery acquisition dates range from the late 1990s to 2005 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203212

Lot: 138 - Sumerian Stone, Shell & Faience Bead Necklaces - Six Black & White Strands

Mesopotamia, Sumerian, ca. 3000–2000 BCE. A cascade of six strands gathers thousands of small disc and tubular beads into a rhythmic interplay of slate gray and chalky white. The beads, ancient in origin, are worked from steatite and other stone, shell, and faience, each one drilled by hand and worn smooth across the millennia. Strung on modern cords for contemporary wear, the necklaces preserve the alternating dark and light cadence that once adorned the inhabitants of southern Mesopotamia, where bead ornaments signaled status, devotion, and the eye for pattern that runs through Sumerian craft. The monochrome palette lends the ensemble a quiet austerity, a graphic counterpoint to the lapis and carnelian of grander Sumerian jewelry, and a testament to the enduring human delight in stringing small beautiful things in measured succession. Size of largest bead (roughly): 0.2" D x 0.2" H (0.5 cm D x 0.5 cm H); of longest necklace: 22" L (55.9 cm L). Faience, one of the materials represented here, is among the earliest synthetic substances made by human hands: a ground quartz paste that vitrifies in the kiln to yield a hard, lustrous bead, prized across the ancient Near East long before true glass. Steatite (soapstone) was favored for its softness, easily carved and bored before hardening, and could be glazed to mimic costlier stones. Beads such as these were produced in quantity throughout Sumerian cities, strung in multiple rows to encircle the neck and wrists of the living and to accompany the dead, as the great cemetery at Ur famously revealed. Provenance: Collection of Y. Kayvan, Los Angeles, California, USA, acquired from a Los Angeles, California, USA gallery acquisition dates range from the late 1990s to 2005 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203214

Lot: 139 - Four Luristan Bronze Garment Pins - Floral & Domed Finials

Northwest Persia, Luristan, ca. 1000–650 BCE. A quartet of long bronze pins from the highland workshops of Luristan, each hand-forged to a slender, tapering shaft and crowned by a distinct decorative head. Two of the larger examples carry biconical or stacked spherical finials, swelling like seed pods above the point, while the two smaller pins terminate in finely modeled crowns of radiating petals, stylized floral rosettes whose openwork tiers catch the light. The surfaces wear a mottled patina of pale earthen deposit and cuprite green, the record of long burial. Such pins fastened woven garments at the shoulder and doubled as personal ornament and votive offering, frequently deposited in graves and sanctuaries. The most petite pin is cast in leaded bronze, an alloy favored for its fluidity in rendering the intricate petalled head. Together they distill the metalworking genius of the Zagros nomads. Size of largest: 0.8" D x 9.3" H (2.0 cm D x 23.6 cm H). Luristan, the mountainous province of the western Zagros, produced during the early first millennium BCE an astonishing corpus of cast and forged bronzes, horse trappings, standards, vessels, and dress pins, associated with the pastoral, semi-nomadic peoples of the region. Long-shafted pins of this type served the dual role of practical fastener and prestige adornment; many were recovered from grave assemblages and from the votive deposits of sanctuary sites such as Surkh Dum-i-Luri, where worshippers left them as offerings. The floral and rosette-headed variants echo a broader Near Eastern vocabulary of the sacred blossom, while the domed and biconical heads recall the poppy-capsule forms found across the wider Iron Age koine of the Iranian plateau. Provenance: ex-David Zahler collection, acquired between 1975 to 2004 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203760

Lot: 140 - Two Luristan Bronze Blades - Petaloid Daggers with Tangs

Near East, Persia, Luristan culture, ca. 1200–700 BCE. A pair of cast bronze blades from the mountainous valleys of western Persia each drawn to a slender leaf-shaped, or petaloid, body tapering to a fine point. The larger of the two retains an earthen crust of reddish sediment across its length, its central spine still discernible beneath the accretion. The smaller blade wears a mottled green patina and preserves a flat tang pierced with rivet perforations near the base, where the handle of wood, bone, or bronze was once secured. Weapons and tools of this type were forged in prodigious quantity by the Luristan bronzeworkers, a semi-nomadic pastoral people renowned across the ancient Near East for their metallurgy. Whether wielded in the hunt, in warfare, or deposited as votive offerings, such blades speak to a martial culture whose artistry in bronze remains unrivaled among the highland peoples of the Iron Age. Size of larger (brown patina): 11.1" L x 1.7" W (28.2 cm L x 4.3 cm W). The Luristan bronzes derive their name from the Lorestan province of the Zagros Mountains in western Persia, where thousands were recovered from graves and hoards beginning in the late 1920s. Produced largely between the twelfth and seventh centuries BCE, they encompass horse trappings, standards, pins, vessels, and an abundance of weaponry. The pastoral and horse-breeding peoples who made them left scant written record, so the objects themselves, cast by the lost-wax method and often finished by cold-hammering, remain the primary testimony of their world. Provenance: private Englewood, Colorado, USA collection; ex-private collection acquired in 1950s SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203815

Lot: 141 - Ancient Sassanian Beaked Pitcher Scrolled Finial, TL Tested

Near East or Central Asia, Iran and Southeastern Turkey, Sassanian (Sasanian/Sassanid) Empire. Ca. 200 BCE - 200 CE. A beautiful brownware long-spouted pitcher with an arching handle and a tab thumb rest at the apex. The carinated body rests on a flat foot, and a dramatically flared neck rises from the center. The spout is supported by a tall neck and the channel groove extends horizontally outward, a curved hook adorns the point that touches the rim - all resembles a bird like a crane. Such an ornate neck might help filter wine dregs, but ultimately may have been ritualistic, pouring libations during religious ceremonies or funerals. Size: 11.5" L x 6" W x 6" H (29.2 cm x 15.2 cm x 15.2 cm) This piece has been tested using thermoluminescence (TL) analysis and has been found to be ancient and of the period stated. A full printed and bound report is available to the buyer upon request. Provenance: Private Fresno CA; ex-Artemis Gallery; ex-Nancy and Dr. E.F. Simpson collection, Los Angeles, California, USA, acquired from 1970 to 2000 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202506

Lot: 142 - Egyptian Predynastic Chert Knife w/ Hippo Tooth Handle

Ancient Egypt, Predynastic Period, Naqada III, ca. 3310 to 3000 BCE. A rare bifacial chert knife with a tapered, finely knapped blade and a fitted organic handle, likely hippo tooth, which has developed a deep umber-brown patina from age and handling. The blade is worked to a sharp point with broad flake scars visible along both faces, while the grip is smoothly shaped with longitudinal striations and a rounded terminal. One side of the blade bears an old, now largely illegible inscription, probably an early collection number or collector's note. Size: 6.5" L x 1.25" W (16.5 cm x 3.2 cm) Provenance: private London, UK collection, acquired after 2015; ex-Jean-Loup Despras, France collection, acquired in 1982; ex-Elsa Bloch-Diener, Switzerland collection, acquired in 1977 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 200941

Lot: 143 - Egyptian Leaded Bronze Bastet Cat Ring-Loop Finial

Ancient Egypt, Late Dynastic to Ptolemaic Period, ca. 664 to 30 BCE. A small leaded-bronze cat finial, modeled in an upright seated pose with the tail curling to the right, rises from a circular ring loop pierced by an opening, suggesting it once functioned as a fitting rather than a freestanding figure. Finials shaped as revered animals were commonly made for temple furnishings and ceremonial gear, and this feline type echoes imagery associated with Bastet. The ring element indicates it was designed to be mounted - likely set into the end of a staff or pole - so it could be carried as part of processional rites within the goddess's cult setting, such as the sanctuary at Bubastis. Provenance: private Keokuk, Iowa, USA collection, acquired in Orlando, Florida, USA in the late 1980s SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 197607

Lot: 144 - Late Dynastic Egyptian Faience Bead Strands - Six Restrung Necklaces

North Africa, Egypt, Late Dynastic Period, ca. 664–332 BCE. A cascade of six strands gathers hundreds of disc-shaped faience beads in muted greens, ochres, dusky blues, and terracotta reds, their once-vivid glaze softened by millennia in Egyptian soil. Each tiny ring was formed from quartz paste and self-glazing, then fired to a glassy surface, a technique the Egyptians prized for its evocation of regeneration and the radiant flesh of the gods. Such mass-produced beads adorned the living and shrouded the dead, sewn into bead-net mantles, strung as collars, or layered as protective amulets. Here the ancient beads have been restrung onto six modern threads, awaiting clasps to render them wearable once more, a wardrobe spanning the centuries. The chromatic range, from pale celadon to russet, speaks to the varied mineral colorants and the gentle weathering of the original blue-green faience. Size of beads (roughly): 0.1" D x 0.2" H (0.3 cm D x 0.5 cm H); of longest strand: 36" L (91.4 cm L). Egyptian faience, the world's first high-tech ceramic, predates glass and held deep symbolic weight: its characteristic blue-green hue, called "tjehenet" (that which gleams), was associated with the Nile, fertility, and rebirth. Disc beads like these were produced in vast quantities during the Late Dynastic Period, particularly for funerary bead-nets draped over mummies and for broad collars worn in life and death alike. The weathered, varied palette seen here results from differing copper, iron, and manganese colorants reacting with burial conditions over more than two thousand years. Provenance: Collection of Y. Kayvan, Los Angeles, California, USA, acquired from a Los Angeles, California, USA gallery acquisition dates range from the late 1990s to 2005 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203429

Lot: 145 - Egyptian Faience Beads - One Pound of Loose Tubular & Discoid Forms

North Africa, Egypt, Late Dynastic to Roman Period, ca. 664 BCE – 395 CE. A full pound of ancient Egyptian faience beads, tumbled loose in the thousands and glowing across a spectrum of turquoise, sage, powder blue, violet, and pale beige. Two forms predominate: slender cylindrical tube beads and flat discoid ring beads, their self-glazed surfaces softened by burial and time. Faience, a paste of crushed quartz, natron, and copper colorant, was the quintessential Egyptian material, its blue-green sheen prized as an evocation of fertility, rebirth, and the life-giving Nile. Beads such as these were strung into broad collars, netted over mummy wrappings, and worn as amulets by living and dead alike. Mass-produced in temple and household workshops, they surface in vast quantities across cemetery and settlement sites. This substantial lot offers the collector, jeweler, or restringer a wealth of authentic ancient material in a single accumulation. Size of largest bead (roughly): 0.9" L x 0.2" W (2.3 cm L x 0.5 cm W); total weight: 1lb. Egyptian faience is among the oldest synthetic materials in human history, produced continuously from the Predynastic era into the Roman period. Its characteristic glaze forms through efflorescence or cementation, drawing soluble salts to the surface during drying and firing, so the object glazes itself. The Egyptians called it tjehnet, "that which shines" or "dazzling," associating its luminous blue-green with the sun, water, and regeneration. Funerary bead nets and mummy collars from the Late and Ptolemaic periods used exactly this range of tubular and ring beads, threaded in geometric lattices across the linen-wrapped body. Provenance: Collection of Y. Kayvan, Los Angeles, California, USA, acquired from a Los Angeles, California, USA gallery acquisition dates range from the late 1990s to 2005 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203422

Lot: 146 - Egyptian Faience & Stone Bead Strands - Six Restrung Necklaces

North Africa, Egypt, Late Dynastic to Roman period, ca. 664 BCE – 395 CE. A cascade of six long strands threaded with hundreds of small disc beads in faience and stone, their surfaces weathered to a muted spectrum of turquoise, sage, ochre, and dusky rose. Each bead is a modest ring, roughly uniform in scale, the faience once glazed a brilliant blue-green now softened by millennia in the earth. Ancient Egyptians prized faience for its luminous color, associated with rebirth, fertility, and the life-giving Nile, and strung such beads into broad collars, girdles, and funerary nettings. Interspersed stone beads add tonal variation and quiet weight. Now restrung on six modern threads, the beads remain wearable should clasps be added, offering the rare pleasure of adorning oneself in genuine antiquity spanning the Late Dynastic through Roman horizons of Egypt. Size of beads (roughly the same): 0.2" D x 0.2" H (0.5 cm D x 0.5 cm H); of strands (about the same): 35" L (88.9 cm L). Faience, a non-clay ceramic of ground quartz coated in an alkaline glaze, was Egypt's signature bright material, known to its makers as tjehenet, "that which is brilliant." Its blue-green sheen evoked turquoise and lapis, colors linked to the heavens, water, and regeneration. Small disc beads like these were produced in vast quantities, sewn into bead-net shrouds laid over the mummified dead and strung into jewelry for the living alike, so that the same humble form served both the tomb and the toilette across many centuries. Provenance: Collection of Y. Kayvan, Los Angeles, California, USA, acquired from a Los Angeles, California, USA gallery acquisition dates range from the late 1990s to 2005 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203431

Lot: 147 - Egyptian Faience Bead Necklace - Wedjat Eye of Horus Amulet

Egypt, Late Dynastic to Roman period, ca. 664 BCE – 395 CE. A supple strand of ancient Egyptian faience beads, their glazes ranging from turquoise and pale green to russet and near-black, gathered around a small wedjat amulet, the protective Eye of Horus. The beads are predominantly cylindrical and disc forms, their tin-glazed silica bodies still holding the cool, watery blue-green that the Egyptians prized as a color of rebirth and fertility. Faience of this kind adorned the living and accompanied the dead, worn for its apotropaic power as much as its beauty. The wedjat at the center, emblem of healing, wholeness, and divine watchfulness, was among the most enduring of all Egyptian amulets. The ancient elements have been restrung on a modern strand with a lobster-claw clasp, rendering an artifact of the Nile wearable once more. Size of pendant: 0.5" W x 0.3" H (1.3 cm W x 0.8 cm H); of necklace: 16.25" L (41.3 cm L). Egyptian faience is not clay but a self-glazing quartz paste: ground silica mixed with alkaline salts and copper compounds, which migrate to the surface during firing to yield the characteristic blue-green sheen. The Egyptians called it tjehnet, "that which shines," associating its luminous color with the life-giving waters of the Nile and the regenerative power of the sun. The wedjat, or Eye of Horus, recalls the myth in which Horus lost his eye in combat with Seth and had it restored by Thoth. As a symbol of healing and completeness, it was among the commonest of funerary and personal amulets, placed on the body of the deceased and worn by the living to ward off harm. Provenance: private Arden, North Carolina, USA collection; ex-Palmyra Heritage Gallery, acquired 2025; ex-Secret Eyes Gallery 1970s to1980s SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203607

Lot: 148 - Egyptian Ptolemaic Terracotta Bes Figure - Apotropaic Household Guardian

North Africa, Egypt, Ptolemaic period, ca. 305–30 BCE. A hand-modeled terracotta figure of Bes, the leonine dwarf-god whose grotesque features were thought to repel evil. Rendered in warm reddish-brown clay, the surviving upper body preserves the deity's broad bearded face, mane-like fringe, and stout torso, the modeling vigorous and tactile. Bes presided over the thresholds of daily life: childbirth, sleep, music, and the protection of the household, his fierce grimace meant to frighten away malevolent spirits and serpents. A suspension loop on the reverse indicates the figure was meant to be hung, perhaps worn or fixed within a domestic shrine as a perpetual ward. Mass-produced from molds and modeling alike during the Ptolemaic centuries, such figures carried the comforting presence of a beloved protector into ordinary homes across Hellenistic Egypt. Size: 1.96" W x 2.75" H x 1.58" D (5.0 cm W x 7.0 cm H x 4.0 cm D); on included custom stand: 4.75" H (12.1 cm H). Bes was among the most widely beloved of Egyptian deities, a rare divinity depicted frontally (rather than in profile) to confront the viewer directly with his apotropaic stare. Neither a major temple god nor a figure of the funerary pantheon, he belonged to the intimate sphere of the home, invoked at moments of vulnerability: the birthing chamber, the marriage bed, the cradle. His worship endured for millennia and flourished anew under the Ptolemies, when Greek and Egyptian visual traditions intermingled. Terracotta Bes figures of this period, cheap to produce and easy to display, brought his protective power within reach of ordinary households throughout the Nile valley. Provenance: Collection of Y. Kayvan, Los Angeles, California, USA, acquired from a Los Angeles, California, USA gallery acquisition dates range from the late 1990s to 2005 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203504

Lot: 149 - 3 Romano-Egyptian Pottery Oil Lamps - Frog Motif & Human-Head Handle

Roman Egypt, Romano-Egyptian, ca. 100–400 CE. A trio of mold-formed terracotta oil lamps from Roman Egypt, each shaped by hand and fired to warm earthen tones. Two lighter beige examples bear the frog in relief, its stippled body radiating across the discus in the manner long favored along the Nile, where the amphibian signified fertility, rebirth, and the goddess Heket. The third, a deeper reddish lamp, rises to a small modeled human head that crowns the nozzle as a decorative handle, its features softened by wear. Each retains the essential grammar of the ancient lamp: a central filling hole, a wick channel, and a reservoir once brimming with olive oil. Humble instruments of everyday illumination, they lit homes, tombs, and shrines alike, their imagery binding domestic light to enduring promises of regeneration. Size of largest (larger frog): 3.4" W x 3.1" H x 3.6" D (8.6 cm W x 7.9 cm H x 9.1 cm D). The frog lamp is one of the most recognizable products of Roman Egypt, produced in vast numbers from the first through fourth centuries CE. The frog (and its associated goddess Heket, midwife of the sun's daily rebirth) had signified emergence and renewal since Pharaonic times, and the motif endured well into the Christian era, when it was sometimes reinterpreted as a symbol of resurrection. Such lamps were pressed from two-part molds in workshops around the Fayum and the Delta, then trimmed and pierced by hand, which accounts for the slight variation seen across surviving examples. Provenance: private Fountain Hills, Arizona, USA collection, by family descent, acquired via Israeli and American dealers from the 1980s to 2003 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203801

Lot: 150 - Lustrous Attic Kylix with Stamped Floral Motifs

Greece, Athens, ca. 525 - 475 BCE. Truly a work of art! A gorgeous ceramic kylix with a perfectly round, deep bowl that stands on a circular foot, and twin, delicate handles projecting from the sides, all enveloped in a lustrous black glaze. The center of the interior basin is slightly more recessed and adorned with 7 lovely stamped floral motifs. The black glaze has a silvery, almost iridescent patina, suggesting that it was possibly intended to appear as though cast from bronze. Size: 10.375" in diameter x 3" H (26.4 cm x 7.6 cm) Cups like these were made in variety of materials - ceramic, bronze, silver, and even gold! They were a vital component of the symposium, the formal drinking party frequently enjoyed by elite Greek men. The kylix played a crucial role in the drinking game of kottabos, where players attempted to throw the portion of wine - usually the dregs - remaining in their kylikes to knock a bronze disc into a larger one. Many frescoes and ceramic paintings show men reclining, kylikes raised above their heads, caught in the act of playing ancient Greek beer pong. Provenance: Tull collection, Fresno CA, 2021; ex-Artemis Gallery; private J. Parker. collection, Rye, Colorado, USA; ex-Bill Buffinger collection, Hollywood, California, USA, 2000s SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202502

Lot: 151 - Impressive Etruscan Bucchero Ware Lidded Urn

Classical World, Etruria, ca. 600 - 567 BCE. A remarkable Bucchero ware cinerary urn of a sizable form featuring a convex lid atop a lipped rim, a stepped shoulder, and a narrowing base, all supported by a ring-form foot. A pair of horizontal, loop handles flank the wide shoulder, each adorned with an extended wing-like decoration in low relief. The lid is crowned by a flared handle and incised with concentric rings. Bucchero is a specifically Etruscan style for firing pottery which results in a smooth, shiny black finish. This kyathos was likely made only to be buried with offerings, as much fine Etruscan pottery was. Size: 14.8" W x 15.8" H (37.6 cm x 40.1 cm) Provenance: Tull collection, Fresno CA, 2023; ex-Artemis Gallery; private Orange County, California, USA collection, imported to the United States in September 2019; ex-Bertolami Fine Art, Rome, Italy, July 10, 2019, Auction 66, Lot 42; ex-private English collection, acquired prior to 2000 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202501

Lot: 152 - 1st-3rd C. Roman Glass Bottles - Pair of Free-Blown Vessels

Roman, Imperial period, ca. 1–300 CE. A pair of free-blown glass vessels surviving from the Roman Imperial world, each a study in the quiet elegance of the ancient glassblower's craft. The taller stands as a slender bottle with a swelling body, tapering neck, and outward-flaring rim, while its companion is a squat, near-spherical flask crowned by a broad everted lip. Both were shaped from naturally tinted glass, once translucent and now veiled in the milky iridescence and earthen encrustation that centuries of burial confer. Such small containers, likely intended for perfumed oils, unguents, or cosmetics, were ubiquitous across the Empire, gracing the dressing tables of the living and accompanying the dead into the tomb. Their gentle asymmetries betray the human breath and turning hand that gave them form, a signature of the age when glass became an everyday luxury. Size of taller: 1.4" D x 3.3" H (3.6 cm D x 8.4 cm H). The invention of glassblowing in the mid-first century BCE, likely along the Syro-Palestinian coast, transformed glass from a costly rarity into an affordable staple of Roman domestic life. Free-blowing, in which molten glass is gathered on a hollow iron and inflated by the maker's breath, allowed vessels to be produced quickly and in great variety. Small bottles of this type, often called unguentaria, held the scented oils and salves integral to Roman bathing, grooming, and funerary ritual. The lustrous, flaking iridescence prized by collectors is not original but a product of chemical weathering, as moisture leaches alkali from the glass surface over the long centuries underground. Provenance: private Marysville, Washington, USA collection; ex-private Seattle, Washington, USA collection, acquired 1970-2000 via US and online auctions SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 204058

Lot: 153 - 5 Roman & Romano-Egyptian Apotropaic Amulets | Fascina & Evil Eye Talismans

Roman and Romano-Egyptian, Imperial period, ca. 1st to 4th century CE. A cohesive group of five apotropaic amulets representing two of the most potent protective forms circulating across the Roman world and its Egyptian provinces, united by their shared function as talismans against the evil eye and the malevolent forces that shadowed daily life in antiquity. The two larger pieces are Roman phallic amulets, known as fascina: one cast in bronze and one in leaded bronze, both in the characteristic form of the phallus with flanking testicular elements, worn as suspension pendants and among the most ubiquitous protective objects in the Roman material record, their apotropaic power rooted in the ancient association of phallic imagery with generative force and the deflection of harmful influences. Size of largest: 2.2" L x 0.9" W x 0.8" H (5.6 cm x 2.3 cm x 2 cm) The remaining three are mano fico amulets, representing the closed fist with the thumb thrust between the index and middle fingers, a gesture of both sexual potency and protective defiance whose use stretches from ancient Rome into modern Mediterranean folk practice. Of these, one is carved in stone, compact and direct in its rendering, while the two Romano-Egyptian examples are faience, their blue-green glaze carrying the added protective resonance that Egyptians associated with that color and material across millennia of amulet production. Together the five objects trace the easy commerce of protective symbolism across the Roman Empire's cultural geography, from the workshops of Italy to the Nile Valley. Provenance: private Dayton, Maryland, USA collection; ex-private F. B. collection, Maryland, USA, acquired between 1990 to 2010 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 201983

Lot: 154 - Roman–Medieval Bronze Artifacts | Snake Hooks, Penannular Brooch & Buckles

Western Europe, Roman to Medieval periods, ca. 1st to 15th century CE. A collection of seven bronze and brass alloy artifacts including two S-shaped hooks with snake head terminals, a penannular brooch, two buckles / strap fasteners. The forms reflect a range of utilitarian and personal adornment objects spanning late antiquity through the medieval era. Size of largest: 2.5" L x 0.5" W (6.4 cm x 1.3 cm) Provenance: private Keokuk, Iowa, USA collection, acquired in Orlando, Florida, USA in the late 1980s SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 197614

Lot: 155 - Roman Glass Jar - Flared Rim with Iridescent Weathering

Roman, Imperial period, ca. 100–300 CE. A free-blown vessel of pale aqua glass, its squat globular body swelling from a narrow neck to a widely flaring mouth finished with a folded, rounded rim. The gentle asymmetry of the profile records the breath and turn of the glassblower's pipe, a technique that revolutionized Roman workshops and made such small containers ubiquitous across the empire. Centuries of burial have veiled the surface in a milky weathering film, mottled with earthen deposits and enlivened by scattered sparkles of iridescence where the decayed glass refracts light in silvery flecks. Jars of this modest scale served domestic and cosmetic ends, holding unguents, ointments, or powders on a household shelf. Its quiet elegance lies in the interplay of translucent body and encrusted patina, an accident of time that the ancient maker could never have foreseen. Size: 3" D x 3.5" H (7.6 cm D x 8.9 cm H). The invention of glassblowing in the eastern Mediterranean during the first century BCE transformed glass from a luxury into an everyday material. By the height of the Imperial period, workshops in Syria, the Levant, and Italy produced blown vessels in enormous quantity, and small jars like this one accompanied the living in their toilette and the dead in their tombs. The prismatic iridescence prized by modern collectors is not original but a product of chemical weathering: moisture leaches alkali from the glass, leaving microscopic layers that scatter light into shifting rainbow sheens. Provenance: private Marysville, Washington, USA collection; ex-private Seattle, Washington, USA collection, acquired 1970-2000 via US and online auctions SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 204056

Lot: 156 - Romano-Egyptian Bronze Lamp Erotic Satyr Equestrian

Roman, Egypt, ca. 2nd century BCE. A very heavy bronze oil lamp of a generally pear shape depicting a humanized Satyr riding a horse in a somewhat erotic fashion. The lamp has a flared foot and suspension loops - one above the horse's snout and one behind the satyr's head. Finely delineated with details in relief and incised - the half-nozzle upturned with a raised flange. A striking example, replete with impressive form and iconography - as well as a gorgeous patina that has developed over the ages. Size: 5.25" L x 3" H (13.3 cm x 7.6 cm) In earlier Greek art, Silenos appear as grotesque, old, and ugly; however, in later art, especially in Attic works, these characteristics were softened to present a more youthful and graceful aspect. We witness this humanization or transformation of the Satyr in late Greek art. The depiction on this example may be modeled upon this humanized depiction. Another example of this shift occurs in the portrayal of Medusa and in that of the Amazon, characters who are traditionally depicted as barbaric and uncivilized. A humanized Satyr is also depicted in a work of Praxiteles known as the "Resting Satyr". Provenance: private Dayton, Maryland, USA collection; ex-private F. B. collection, Maryland, USA, acquired between 1990 - 2010; private Florida, USA collection, purchased in 1999 from Avraham Rosen, New York, New York, USA. Consignor had the piece vetted by Christie's New York in 2013 - estimate was $6,000 - $8,000. SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 195025

Lot: 157 - Pair of Roman Glass Vessels - Ribbed Bottles

Roman, Imperial period, ca. 100–300 CE. A pair of blown-glass bottles, each rising from a rounded, near-globular body to a slender neck and a flaring, out-turned rim folded at the lip. The walls carry soft vertical ribbing that catches the light, while the smaller vessel is further worked with a subtle dimpled pattern pressed into its shoulder and belly. Centuries in the earth have veiled the surfaces in a milky, silvery-green weathering, that iridescent bloom prized by collectors of ancient glass, shot through here with warm earthen ochres. Modestly scaled and unguent-sized, such bottles likely held perfumed oils, cosmetics, or ointments in the Roman household, their forms shaped freehand at the furnace by a glassblower's practiced breath and turning tool. Size of largest: 2.5" D x 3.1" H (6.3 cm D x 7.9 cm H). The introduction of glassblowing in the first century BCE, likely in the Syro-Palestinian region of the Roman East, transformed glass from a rare luxury into an everyday commodity. Small toilet bottles like these, produced in vast numbers across the Empire, carried the perfumed oils and cosmetics central to Roman grooming. The lustrous surface iridescence is not original but a product of burial: alkali leaching from the glass in damp soil builds up microscopic weathering layers that refract light, a chemical accident later generations came to treasure as beauty. Provenance: private Marysville, Washington, USA collection; ex-private Seattle, Washington, USA collection, acquired 1970-2000 via US and online auctions SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 204062

Lot: 158 - Roman Bronze Priapus Figure + Anglo-Saxon Chatelaine

Ca. 200 - 250 CE. Roman empire. 500 to 700 CE. Interesting pair of ancient objects! First, a cast bronze Priapus. Priapus was a minor Greek fertility god and protector of male genitalia. He is shown wearing a long cloak parted at the middle to expose his huge erect phallus. Along with a very rare "dark ages" chatelaine - bronze implement hung of a belt usually holding tools or adornments - in this case a pair of triangular danglers. Provenance: Private Dayton, Maryland, USA collection; ex-private F. B. collection, Maryland, USA, acquired between 1990 to 2010 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 201989

Lot: 159 - Byzantine Bronze & Copper Jewelry Group - 3 Bracelets, 2 Rings

Eastern Mediterranean, Byzantine Empire, ca. 500–1200 CE. A group of five personal ornaments cast and worked in copper alloy, comprising three open-ended penannular bracelets and two finger rings, their surfaces deepened by centuries of burial into mottled greens and earthen browns. Two bracelets are slender rods tapering toward their terminals, while a third is a broader tubular hoop of hollow section. The rings echo the same repertoire: one a flat band, the other a tubular loop of leaded bronze. The penannular form, worn slightly open so it could be sprung onto wrist or finger, was a staple of Byzantine adornment across social strata, valued for its simplicity and its subtle apotropaic resonance. Unpretentious yet intimate, such pieces accompanied their wearers in daily life and, often, into the grave, surviving as quiet testaments to the everyday elegance of the medieval Eastern Mediterranean. Size of largest (thicker tubular braclet): 2.8" W x 2.7" D (7.1 cm W x 6.9 cm D); ring sizes: flat: 7.25, tubular: 7. The penannular (open-ended) bracelet endured for centuries in the Byzantine world precisely because of its practicality: the gap allowed the band to be flexed onto the limb without a clasp. Metallurgy varied within a single assemblage such as this one, where the flat bracelet is worked copper and the tubular ring is a leaded bronze, the added lead improving the flow of the molten alloy in casting hollow or thin-walled forms. The green and brown patina is cuprite and malachite corrosion, the natural signature of long interment. Please note that the tubular ring contains up to 4% lead. Provenance: private Englewood, Colorado, USA collection; ex-private collection acquired in 1950s SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203816

Lot: 160 - 18th C. French Folding Iron Knife w/ Bone Handle Panels

Western Europe, France, ca. 18th to early 19th century CE. An intimidating folding knife featuring a single-edged iron blade and a handle with bone or antler panels. Folding knives of this type were produced in the Chatellerault region, a noted center of French blade-making, and reflect the practical cutlery traditions of the period, when durable folding knives were widely carried for everyday tasks, personal use, and perhaps protection. Size extended: 17.25" L x 1" W (43.8 cm x 2.5 cm); blade only: 8" L x 1" W (20.3 cm x 2.5 cm) Provenance: private southwestern Pennsylvania, USA collection, acquired prior to 2000 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202017

Lot: 161 - 19th C. An XI Light Cavalry Saber - Napoleonic Hilt, Spanish Inscribed Blade

Western Europe, Napoleonic light cavalry tradition, modele An XI hilt with later associated Spanish-inscribed blade (composite), ca. 1802–1850 CE. A light cavalry saber in the modele An XI manner, a genuine Napoleonic-pattern hilt now married to a shorter foreign blade by a later hand, a documented composite of the kind that filled the saddle-scabbards of working horsemen. The hilt is the

Lot: 162 - Three Handcrafted Knives w/ Damascus Steel Blades

United States, ca. 21st century CE. A group of three handmade knives, each showcasing unique artisan materials and bold visual character. The largest features a dramatic handle cast in clear resin embedding a natural pinecone, creating a warm, organic pattern that contrasts beautifully with its long, sweeping Damascus (watered steel) blade. The mid-sized knife is fitted with a swirling blue resin handle shot through with pearl-like shimmer, paired to a robust Damascus blade with crisp patterning and a compact working profile. The smallest is a folding knife with a handle crafted from mammoth tusk, fitted with titanium-anodized blades and tools that display the iridescent rainbow finish produced by controlled electrical oxidation. Size of largest: 12.25" L x 1.125" W (31.1 cm x 2.9 cm) This item is made of or contains mammoth ivory and is classified under the ESA (Endangered Species Act) as an exempt piece. Due to federal and state regulations regarding the sale of ivory, this item cannot be shipped internationally or to individuals residing in the following U.S. states: California, Hawaii, Illinois, Nevada, New Hampshire, New Jersey, New York, Oregon, and Washington. Additionally, buyers are responsible for ensuring that their purchase complies with all local laws and regulations concerning ivory. We guarantee that this piece meets the criteria for an ESA antique exemption under U.S. Federal law, however, we advise buyers to consult with their local authorities to confirm their ability to legally acquire, possess, trade, or sell this item in your state of residence. Provenance: private Hagar collection, Wildwood, Missouri, USA SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 198033

Lot: 163 - 18th C. Spanish Colonial Hide-Covered Document Box - Iron Lock & Brass Tacks

Spanish Colonial, Americas, ca. 1700–1799 CE. A domed-lid casket of pine sheathed in hair-on hide, its rawhide skin worn to a mottled chamois and umber surface where the original pelt has rubbed away. Rows of domed brass tacks march along every edge, securing the hide and tracing a scalloped collar around the wrought-iron carrying handle on the lid. A hand-forged iron lockplate and pierced keyhole anchor the front, paired with a strap hasp riveted to the underside of the lid. The interior retains its paper lining, soft and creased with age. Boxes of this type, light enough to carry yet sturdy enough to lock, safeguarded documents, coin, and valuables in colonial households and on muleback journeys, a humble but evocative survivor of Spanish provincial craft in the Americas. Size: 15" W x 7.5" H x 8" D (38.1 cm W x 19.1 cm H x 20.3 cm D). Hide-covered traveling and document chests were a staple of the Spanish colonial world, descended from the Iberian "petaca" tradition. Cowhide or deerhide was stretched wet over a softwood carcass and tacked down with brass nails; as it dried it shrank into a tight, protective skin. Such boxes traveled the trade routes of New Spain and the Rio de la Plata, where the hide was both abundant and durable against weather and rough handling. The wrought-iron lock and hasp, individually forged by a local blacksmith, mark the contents as worth securing: deeds, letters, jewelry, or specie. Provenance: private Glorieta, New Mexico, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 163480

Lot: 164 - 16th C. Spanish Colonial Copper Jug, Hispaniola, Early Exploration

Ca. 1500 - 1550 CE. Caribbean Sea, Hispaniola, early Spanish Colonial period. Remarkable early exploration period copper jug of a type you would normally find in Spanish ship wrecks. Hammered copper of bulbous form with straight neck and slightly pinched spout, copper strap handle attached with two large rivets. Parallels are known from Iberian and New World contexts, including shipboard assemblages of the 1622 fleets - for example pieces in the Mel Fisher Maritime Museum from the Nuestra Señora de Atocha - as well as Spanish colonial household finds. Provenance: Private Massachusetts collection via family descent. Owner's father spent considerable time in Hispaniola in the 70's looking for Spanish treasure and Taino artifacts SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202538

Lot: 165 - Two Vintage Peruvian & Guatemalan Textiles

South America, Peru, Quechua, ca. 20th century CE; Mesoamerica, Guatemala, Maya, ca. 20th century CE. A matched encounter between two of the Western Hemisphere's most sophisticated weaving traditions, this lot pairs a Guatemalan Maya ceremonial cloth with a Quechua Andean woven garment, each a testament to the living textile arts of their respective highland cultures. The Maya piece is a large multi-panel ceremonial cloth, likely a sobrecama or altar cloth, constructed from multiple backstrap loom-woven cotton panels seamed together and finished with characteristic pink cinta tape borders. Vertical bands of supplementary weft brocade in red, yellow, green, and blue advance across a crisp white plain-weave ground in repeating zigzag, lozenge, and rosette motifs, the visual grammar of highland Guatemalan weaving rendered in synthetic dyes of mid-century vibrancy. Size of larger: 64" W x 72" H (162.6 cm W x 182.9 cm H) The Andean piece is a warp-faced wool garment of southern Peruvian origin, its surface dense with complementary-warp pallay bands of stacked hourglass and triangle figures in cochineal red, aniline pink, olive green, and dark brown, finished on all sides with exuberant polychrome fringe in red, yellow, and green. Together the two pieces constitute a rare cross-cultural study in indigenous American textile mastery, the architectural geometry of the Andes in quiet dialogue with the chromatic exuberance of the Maya highlands. Provenance: ex-private Moore collection, Denver, Colorado, USA, acquired prior to 1990 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 201443

Lot: 166 - 18th C. Cusco School Oratorio Portátil, Viceregal Peru, ex-Holler & Saunders

Spanish Colonial, Viceregal Peru, Cusco School, ca. 1720 - 1780 CE. This is an exceptionally rare and scholarly object — a Cusqueno portable devotional oratory (oratorio portátil), the domestic equivalent of the great Baroque altarpieces that filled Andean churches in the 17th–18th centuries. These were made for elite criollo households, clergy on pastoral circuits, or traveling

Lot: 167 - Colonial Andean Silver Tupu Pins - Set of Three

South America, Andean region, post-Conquest period, ca. 16th century CE. A refined trio of silver tupu pins, each forged with broad, paddle-shaped heads and slender shafts, like flattened spoons, and pierced near the center to accommodate suspended charms or ornaments. Their surfaces retain a soft, timeworn sheen, with subtle variations in silver content ranging from 81.6% to 95.4%, reflecting the adaptive metallurgy of the colonial Andes where indigenous traditions met European materials and techniques. Tupus were essential elements of traditional Andean dress, used to fasten garments such as the lliclla (shawl), while also serving as markers of identity, status, and regional style. In the post-Conquest era, these forms persisted with remarkable continuity, even as silversmithing evolved under Spanish influence. Size of largest: 8.9" L x 2.7" W (22.6 cm x 6.9 cm); silver quality: 81.6% to 95.4%; total weight: 316.6 grams The addition of suspension holes suggests a further decorative or symbolic function, likely intended to carry small pendants, beads, or ritual elements that animated the wearer in both daily and ceremonial life. Provenance: private collection of S. Saunders, Nogales Arizona, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 201705

Lot: 168 - Andean Silvered Coquera, Tureen Form with Bird Finial, ex-Holler & Saunders

South America, Andean region (Bolivia or Peru), Republican period. Ca. 1800 - 1999 CE. A substantial Andean coquera of silvered nickel silver, assembled from two components of related but distinct manufacture. The bowl, raised in gourd form on a stepped polygonal foot, carries two handles each formed as a pair of entwined serpents, their bodies coiling outward from the vessel wall in a gesture that owes something to indigenous Andean serpent symbolism and something to the Rococo Revival taste that swept Republican-era silverwork across the continent. The gourd form itself carries meaning: the calabash was among the first containers in Andean material culture, used to hold lime powder for coca chewing long before the silversmiths of the highlands cast its shape in metal. Size: 15.9" W x 12.4" H x 11.2" D (40.4 cm W x 31.5 cm H x 28.4 cm D) The domed lid, not original to the bowl but sympathetic in scale and spirit, is worked in high-relief repousse with a generous program of fruits, vegetables, and foliate sprays, the whole crowned by a clustered finial of rounded forms among leaves, perhaps tomatoes or small gourds, rendered with the exuberance characteristic of Republican Andean workshop production. Where the bowl is silvered over the alpaca substrate, the lid presents as unplated nickel silver, the two components likely produced in different workshops or at different moments before finding each other in use or trade. Coqueras of this scale and formal ambition were household objects of standing in the Andean Republican home, where the social ritual of coca sharing bridged indigenous practice and colonial inheritance with equal ease. The serpent handles are the piece's most arresting feature, rare among surviving examples and suggesting a workshop with stronger roots in indigenous iconographic tradition than the purely European-derived floral and fruit programs that dominate the type. Provenance: Ex-private collection of Samuel Saunders, Nogales, AZ, partner of Holler & Saunders, Ltd., founded in 1979 and widely regarded as one of the preeminent authorities in Spanish Colonial and Mexican folk art. SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 201758

Lot: 169 - Colonial Peruvian Silver Turkey Effigy Incense Burner, ex-Holler & Saunders

South America, Peru, ca. 1800 - 1899 CE. A silver sahumador incense burner formed as a turkey with a rounded body raised on slender legs above a shallow dish base. The domed body opens on a hinge, revealing a hollow interior, while the spread wings and fan-shaped tail are detailed with engraved feather patterns. The surface is worked with scrolling and textured motifs that enhance the naturalistic form. A sahumador is a ceremonial incense burner used in Indigenous traditions for purification, rituals, and offerings, typically holding copal or other resins. During the colonial period, animal-form sahumadores became popular among elites, serving both functional and decorative purposes. In Peru, these silver examples reflect a long history of colonial-era metalwork tied to the region's rich mining industry. Size: 7.5" W x 8.5" H (19 cm x 21.6 cm); silver quality: 92%; weight: 997 grams Provenance: Ex-private collection of Samuel Saunders, Nogales, AZ, partner of Holler & Saunders, Ltd., founded in 1979 and widely regarded as one of the preeminent authorities in Spanish Colonial and Mexican folk art SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 201709

Lot: 170 - Bolivian Silver Tupu Pin | Heart-Shaped Finial | Glass Inlay, ex-Holler & Saunders

South America, Bolivia, ca. 19th to early 20th century CE. A magnificent silver tupu pin with vivid semi-translucent faceted glass inlays set within a heart-shaped finial. The slender pin features a twisted section at the junction with the large finial panel, with the stem riveted and welded along the verso and terminating in a curved hook. The heart-shaped finial is decorated in repousse with geometric shapes and floral motifs, topped by trumpet-shaped flowers likely representing Cantua buxifolia, the national flower of Bolivia and Peru, long associated with Incan myth and Andean identity. Women used tupu pins to fasten and adorn garments, inserting tupu pins into wrap-around dresses at the chest and to fasten mantles draped around the shoulders. Size: 13.75" L x 5.2" W (34.9 cm x 13.2 cm); silver quality: 84% to 85%; weight: 170.4 grams Provenance: private collection of S. Saunders, Nogales Arizona, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 201697

Lot: 171 - Andean Coquera | Snake Amaru Handles & Fruit Finial, ex-Holler & Saunders

South America, Andean (Bolivia or Peru), ca. 1800 to 1900 CE. A sumptuous lidded coquera in silver-plated nickel brass, its generously lobed, gourd-like body raised on three globular feet and crowned by a sculptural fruit finial with leaves and blossoms; the opposing side handles transform into paired snakes that meet at the mouth to seize a fruit, a potent Andean motif associated with the protective amaru and ideas of fertility and abundance. Hammered and repousse work define the swelling contours, while cast and applied elements articulate the finial and zoomorphic grips, and a scalloped rim delineates lid from bowl. Such vessels traditionally housed coca leaves - chewed in the Andes long before the arrival of the Spaniards and still consumed through colonial and republican eras - and were also used for yerba mate infusions, preserves, and sweets. Size: 11.7" L x 9.5" W x 9.3" H (29.7 cm x 24.1 cm x 23.6 cm) The bright, durable surface reflects 19th-century workshop practice across the highlands, where nickel brass (alpaca or niquel plata) was often silver-plated to emulate costly sterling; the tripod stance and lush vegetal ornament echo European Rococo and Neoclasico tastes adapted by local maestros plateros. Comparable Andean coqueras are preserved in Peruvian and Bolivian collections, including the Museo Pedro de Osma, underscoring the hybrid elegance of viceregal and post-independence decorative arts. Provenance: private collection of S. Saunders, Nogales Arizona, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 201753

Lot: 172 - Early Mexican Folk Art Candelabras, Painted Wood (pr)

Ca. 1950 - 2000 CE. Latin America, Mexico. A matched pair of large painted wood candelabras of arched, fan-shaped form, each constructed from rounded wooden members joined at angular intervals and retaining their original polychrome surface in ochre, celadon, and verdigris, the paint worn to a pleasing patina consistent with decades of use. Objects of this scale and form are characteristic of Mexican folk devotional craft traditions, likely intended for altar or processional use, where their generous proportions would have accommodated rows of votive candles in ceremonial settings. Provenance: Private Denver, Colorado, USA collection, acquired in the 1960's SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202404

Lot: 173 - 3 Spratling & Sucesores de Spratling Silver Spoons

Ca. 1950 - 2000 CE. William Spratling (American/expatriate in Mexico, 1900-1967). Silver spoon with circle, 1951 to 1956. Stamped with the WS script and the eagle 63 hallmarks on verso; Sucesores de William Spratling. Two silver spoons with neck rings, ca. 1979 or later. Each stamped with the WS script square and "TS-24" on verso. A refined trio of silver spoons that quietly traces the legacy of

Lot: 174 - 19th C. Tiffany & Co Ivory Glove Stretcher - Union Square Mark

North America, United States, American, ca. 1870–1906 CE. A pair of slender ivory blades, pivoting scissor-like on a central rivet, tapers from gracefully waisted handles to smooth, spatulate tips. Carved from elephant ivory, the implement served a distinctly Gilded Age purpose: eased into the fingers of a tight kid glove, its rounded jaws were spread to loosen the leather, coaxing a snug

Lot: 175 - Massive 1858 Belgian Cistercian Antiphonary - Westmalle

Western Europe, Belgium, Cistercian Order, Westmalle, ca. 1858 CE. A monumental brass-bound choir book, engraved by the Brothers of Westmalle Abbey, this second edition "Antiphonale Cisterciense, ad Ordinis Breviarium dispositum" preserves the measured voice of the Cistercian liturgy in sound and script. Issued in 1858 at Westmalle Abbey in Belgium - "Ordinis Cisterciensis in Belgio" - the volume

Lot: 176 - 19th C. World Postage Stamps - Group of 72, British Empire & Colonial

International, various nations and colonial administrations, ca. 1850–1940 CE. A wide-ranging assembly of roughly seventy-two postage stamps, predominantly used and cancelled, gathered across nearly a century of philatelic history. The lot draws its breadth from the far corners of the British Empire and beyond: Newfoundland, Queensland, Western Australia, Tasmania, and the Australian Antarctic Territory sit alongside British Guiana, Jamaica, Gambia, and British South Africa, joined by the princely and coastal issues of India, Cochin (Kerala), and Bhopal. Continental Europe answers with France, Germany, Estonia, Switzerland, and Tunisia, while the New World contributes the United States and Canada. Mounted and loose on annotated collector's leaves, many bear crisp cancellations, engraved vignettes, and monarchical portraits. A single leaf preserves a "S/S Normandie" inaugural-voyage cachet dated 7 June, marking transatlantic maritime history. Size of largest (American Railroads): 1.5" W x 2" H (3.8 cm W x 5.1 cm H). The geographic spread reflects the reach of imperial postal networks at their zenith. Cochin Anchal and Bhopal were feudatory princely states of British India that operated their own semi-independent postal systems, prized today for their distinctive local typography. Newfoundland issued stamps as a self-governing dominion separate from Canada until 1949, and Queensland, Tasmania, and Western Australia printed independently before Australian federation unified their posts in 1901. The "Caledonia Railway" and cancellation markings point to specialized parcel or railway franking usage. The S/S Normandie cachet commemorates the French liner's celebrated 1935 maiden crossing from Le Havre to New York, a touchstone of Art Deco-era ocean travel. Provenance: private Sheffield, Massachusetts, USA collection, by inheritance, collected 1970's SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 199715

Lot: 177 - 1887 to 1892 Queen Victoria Jubilee Stamps, 29 Assorted

Western Europe, Great Britain, ca. 19th century CE. A group of 29 Great Britain Queen Victoria Jubilee postage and revenue stamps issued to commemorate the fiftieth anniversary of Queen Victoria's reign. Each stamp bears the crowned portrait of Victoria within ornate late nineteenth-century frames and is printed on paper with the Imperial Crown watermark, a crown device embedded in the paper verso. The set includes a range of denominations in varied colors, notably the yellow 3 pence (3d) stamp. The group is mounted on paper, likely assembled for philatelic presentation in a album. Size of stamps: 0.9" L x 0.75" W (2.3 cm x 1.9 cm); paper: 8.5" L x 5.5" W (21.6 cm x 14 cm) Provenance: private Sheffield, Massachusetts, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 200682

Lot: 178 - Award Winning Finland Stamp Collection

Northern Europe, Finland, ca. 1900 - 1933 CE. What an unusual collection! Portfolio of postage stamps all from Finland. Hundreds of stamps, each painstakingly identified and categorized by location of post office (over 100 cities and towns) where the stamp was cancelled and the design / shape of the cancellation. This collection was entered into the 1934 Baltimore Philatelic Society competition and it won a first award. A blue ribbon attesting this fete is still attached to the inside of the portfolio. Issues include Imperial Russian period (pre-1917) and early Republic along with coat of arms issues dating to the last quarter of the 19th century. Size of book: 9" W x 11.375" H x 1.125" D (22.9 cm W x 28.9 cm H x 2.9 cm D). Stamps are well, stamp-sized. If you have any questions about exact cities/ towns or issues, we will do our best to answer your inquiries. Provenance: private Colorado, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202849

Lot: 179 - Korean War Propaganda Leaflets & WWII Documents Archive

Korea & Germany, ca. mid-20th century CE. An extraordinary and historically significant binder containing original Korean War propaganda leaflets, typewritten translations, and related documents - including several hand-illustrated psychological warfare pamphlets distributed by both United Nations and North Korean forces. Included is a selection of German WWII propaganda materials and paper currency from various countries. This compilation presents an unparalleled firsthand record of mid-century propaganda efforts, exploring themes of loyalty, nationalism, and emotional manipulation during one of the Cold War's most volatile conflicts. The collection also includes documentation from U.S. Army intelligence personnel, contextual notes, and wartime ephemera such as professional certificates and personal reflections. Size of binder: 12" L x 2.5" W x 12" H (30.5 cm x 6.4 cm x 30.5 cm) Assemblages of this completeness - uniting original leaflets, translations, and military provenance - are exceedingly rare in private hands and seldom appear outside institutional archives or museum holdings. The artwork, language, and messaging within provide critical insight into the era's psychological and informational warfare. A remarkable primary source archive for collectors, historians, and institutions dedicated to military history, Korean studies, and Cold War propaganda research. Provenance: private Fort Collins, Colorado, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 196460

Lot: 180 - Edward Curtis "The Mussel Gatherer" Photogravure 1900

Edward Sheriff Curtis (American, 1868-1952), ca. 1900 - 1930 CE. The Mussel Gatherer, photogravure. 1900, printed ca. 1900-1930. Inscribed in plate, upper left: Plate 313. Titled in plate, lower left: THE MUSSEL GATHERER. Inscribed in plate, lower center: From Copyright Photograph 1900 by E.S. Curtis. Inscribed in plate, lower right: Photogravure John Andrew & Son. "The Mussel Gatherer" is a hand-pulled photogravure from Edward Curtis' 20-volume project to document Native Americans threatened by westward expansion, titled "The North American Indian" (1907-1930), funded by John Pierpont Morgan and estimated by experts to cost more than $35 million to create today. The piece depicts a Native American woman foraging mussels along a rocky shoreline, in sepia tone. Size (image): 11.875" L x 15.375" W (30.2 cm x 39.1 cm) Size (sheet): 17.75" L x 21.875" W (45.1 cm x 55.6 cm) Size (frame): 23.875" L x 27.75" W (60.6 cm x 70.5 cm) Provenance: private Boulder, Colorado, USA Collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 201715

Lot: 181 - Brian Hamill, John Lennon, The Dakota Rooftop, NYC, 1975, Signed

Brian Hamill (American, XX-XXI). TableauJohn Lennon Looking Towards Fifth Avenue, The Dakota Rooftop, NYC. Pigment print, February 1975. Edition 19 of 25. Signed & numbered in ink at lower right, also on verso. This limited-edition photograph of John Lennon on the rooftop of the Dakota—where he lived with Yoko Ono—was taken in 1975 by photographer Brian Hamill, brother of actor

Lot: 182 - Brian Hamill, 'Arms Folded' John Lennon, The Dakota, NYC, 1975

Brian Hamill (American, XX-XXI). Arms FoldedJohn Lennon, The Dakota Rooftop, New York. Pigment print, February 1975. Edition 9 of 25. Signed and numbered in pencil at lower right, also on verso. This limited-edition photograph of John Lennon on the rooftop of the Dakota, where he lived with Yoko Ono, was taken by photographer Brian Hamill—brother of actor Mark Hamill—in 1975.

Lot: 183 - Raymond Van Doren 'Van Roy Wieze' Enamel Sign, 1952

Raymond Van Doren (Belgian, 1906-1991). "Van Roy Wieze" enameled iron sign, 1952. An enameled iron advertising sign for Van Roy Wieze beer. At its center stands a waiter in formal black attire, his head depicted as a chalice of golden beer crowned with foam. The composition is rendered in flattened geometric planes against a yellow ground. Size: 35.3" W x 36.3" H (89.7 cm x 92.2 cm) Provenance: private Texas, USA Collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 201885

Lot: 184 - Peter Max Poster - "Penneys" (1969)

Peter Max (American, b. Germany 1937). "Penneys" color lithograph, 1969. Hand-signed and dated near bottom edge. A vivid collision of commerce and counterculture, "Penneys" transforms a department store catalog into a psychedelic proclamation of 1969. Designed as an advertisement for JC Penneys, the poster announces "Special Edition with Groovy Kid Stuff" in bold, undulating type that feels less

Lot: 185 - Peter Max Mixed Media Lithograph "Cosmic Flowers" (1981)

Ca. 1950 - 2000 CE. Peter Max (American, b. Germany 1937). "Cosmic Flowers" mixed media lithograph, 1981. Signed at lower center left beneath plate. A jubilant scatter of rounded, cartoonish blooms in cobalt blue tumbles across a ground of sun-yellow and warm orange, punctuated by looping gestural marks in red, a central mushroom-like form in rose and red, and freely drawn calligraphic flourishes that refuse to sit still long enough to be identified as anything other than pure visual energy. The composition has the loose, improvisational confidence of an artist who has internalized the psychedelic vocabulary of the 1960s so completely that by 1981 it flows from him the way a musician plays scales - effortlessly, with joy. The multicolor hand-drawn borders, in arcing lines of red, orange, blue, and green, extend beyond the printed image and into the surrounding paper, collapsing the distinction between the mechanical and the handmade and making each impression technically unique. Max's looping multicolor crayon signature below the image reinforces that intimacy. Presented in a white-painted wood frame with gilt liner. About the artist: Born in Berlin, Peter Max moved frequently with his family, living in more than six countries until they settled in the United States. Max studied in New York City at the Art Students League, the Pratt Institute, and the School of Visual Art. Max has been revered as a visionary Pop Artist since the 1960's, beloved for his "Cosmic '60s" style which would later evolve to Neo Expressionism. Max developed a bold style of painting using striking Fauvist colors and intriguing themes. As he evolved from Pop to Neo-Expressionism, his work became more painterly and sensuous. Max's unique symbolism and vibrant color palette have continued to inspire new generations of Americans throughout the decades. Provenance: Private Lafayette, Colorado, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 202111

Lot: 186 - Batalla del Cinco de Mayo 1862, Mexican Folk Painting, ex-Holler & Saunders

Anonymous (Mexican, active late XIX-early XX century). Ca. 1866 - 1933 CE. Batalla del Cinco de Mayo de 1862. Acrylic on board, ca. late 19th to early 20th century CE. A compelling and richly narrative acrylic on board painting depicting the Batalla del Cinco de Mayo de 1862, presented in a folk-historical style that blends documentary intent with artistic interpretation. The composition is

Lot: 187 - Rodolfo Morales Mixed Media Collage - Puppies (1993)

Rodolfo Morales (Mexican, 1925-2001). Puppies Drinking Tea. Mixed Media Collage, 1993. Signed at lower right. A playful yet tender mixed media collage, this work by Rodolfo Morales presents two wide-eyed puppies flanking a tea bag labeled "Plantation Mint," surrounded by shimmering silver hearts inscribed "10 de Mayo" and "Felicidades," transforming an everyday object into a dreamlike celebration

Lot: 188 - Johnnie Winona Ross "Roswell, New Mexico" (1995)

Johnnie Winona Ross (American, b. 1949). "Roswell, New Mexico" mixed media, 1995. Hand signed and dated "12 '95" on stretcher. Title handwritten on stretcher. Also signed on left and right peripheries of canvas. A striking interpretation of the northern New Mexican landscape by Johnnie Winona Ross, who has lived and worked in Taos since 1999. Ross renders the high desert of the American Southwest with layers of earth tones and white in pure abstraction. When viewed from a distance, this piece captivates with its minimalist horizontal stripes and subtle coloration; however, up close one can also appreciates the artist's magical ability to conjure a contemplative state. In Ross' words, "I try to produce a physical object which is extra-ordinary from one's everyday life. An object that transcends the physical." Size: 14" L x 12" W (35.6 cm x 30.5 cm) About the Artist: "Johnnie Winona Ross received his BFA from Washington University and his MFA from the University of Illinois in 1973. His work is included in numerous public collections, including the New Mexico Museum of Art, the Portland Museum of Art, and the Greenburger Collection in New York, NY. He grounds his luminous minimalist paintings in his inspiration drawn from the desert of the American Southwest, and borrows techniques from ancient Native American sources, burnishing pigment and minerals with a potter's stone to create a hard surface of translucent depth. This creates an effect within his meditative paintings that is reminiscent of the softening of marble steps. He melds this process with a distinctly sophisticated and utterly contemporary vision." (Source: Stux Gallery website) Provenance: private Louisville, Colorado, USA collection SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 200234

Lot: 189 - Michael Ome Untiedt Painting - "Red Barn with Creek"

Michael Ome Untiedt (American, b. 1952). Signed "MT" at lower right. Oil on canvas, n.d. An inviting landscape painting by Michael Ome Untiedt that captures unspoken ties between humankind and nature. Born and raised in Colorado, Untiedt captures the American West with his signature shimmering palette, expressive brushstrokes, and lively impasto technique. In this painting, Untiedt welcomes the

Lot: 190 - James Verbicky Painting - Red Diptych

James Verbicky (Polish-Canadian, b. 1973). Red Diptych, oil on canvas, n.d. Signed at lower right of one panel. A large-scale two-panel painting by contemporary artist James Verbicky, this piece exemplifies Verbicky's sophisticated abstract language. The composition features sweeping circular and arc-like brushstrokes that appear to move across the divide, continuing from one canvas to another and

Lot: 191 - 20th C. Vance Larson Pastel Painting - Abstraction in Blue and Teal

Vance A. Larson (American, 1951-2010). Abstract painting. Pastel painting on board, n.d. Signed at lower right. A large-scale abstraction worked in pastel on board, its surface a weather of deep blues, teals, and shadowed greens broken by sudden flares of warmer pigment. Vance A. Larson layered the chalk with the saturated intensity he prized in the medium, building atmosphere rather than outline,

Lot: 192 - Yang Yang Mixed Media Painting w/ Inscription (2016)

Yang Yang (Chinese-American, b. 1953). Untitled. Mixed media painting, 2016. Signed at lower right. A dreamlike fusion of gesture, color, and form, this mixed-media painting by Yang Yang embodies the artist's enduring fascination with transformation and mythic unity. Rendered in delicate washes of watercolor, layered pigments, and expressive line work, the composition unfolds across an elongated

Lot: 193 - 20th C. Michel Delacroix "L'Artiste" Naif Paris Quayside" - Hand Signed Lithograph

Michel Delacroix (French, b. 1933). "L'Artiste" color lithograph, ca. 1980s. Artist's Proof. Hand-signed with "E.A." (Epreuve d'Artiste or Artist's Proof) below plate. A quiet stretch of quay unfolds in the naif idiom that made Michel Delacroix famous: ochre-fronted shops and cafes line the embankment above, their facades dissolving into the still water below in a shimmering, slightly melancholic

Lot: 194 - Guatemalan Amber Lizard Carving on Wood Base

Central America, Guatemala. A carved amber lizard on a driftwood branch, the dark amber body showing translucency at the crest and limbs. The carving depicts scaled hide, splayed toes, and a curved tail, mounted on a wood plinth. Guatemalan amber, sourced mainly from the Alta Verapaz and El Progreso departments, is a fossilized tree resin known for its caramel to cognac tones and organic inclusions. Size of carving: 5.5" W x 2.5" H x 4" D (14.0 cm W x 6.3 cm H x 10.2 cm D). Provenance: ex-David Zahler collection, acquired between 1975-2010 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203710