Recovered from a burial and meticulously remounted on ancient cotton, this colorful collar from coastal Peru consists of shell and stone appliques in the form of stylized  More »

Recovered from a burial and meticulously remounted on ancient cotton, this colorful collar from coastal Peru consists of shell and stone appliques in the form of stylized pelicans and other forms. The collar measures about nine inches by 7-1/2 inches and is displayed in an antique ebonized frame. Peru,1000 to 1400 A.D.   « Less

Quite different in feel from the other tape in our collection (956288), this soft and warm band of red, russet brown, black and white vicuna wool reverses to the same stepped  More »

Quite different in feel from the other tape in our collection (956288), this soft and warm band of red, russet brown, black and white vicuna wool reverses to the same stepped design. It is in very fine, healthy condition, with several holes where it was attached to the main wrappings of the mummy. (It is here that is revealed the original blue-gray color of the black.) Chimu Culture, ca. 1200. 1-1/4 inches wide and approximately 225 inches long.   « Less

Its colors still brilliant, this tape was used to bind up a mummy buried in the Andes. The fine stylized pattern repeats on the other side to quite a different effect.  More »

Its colors still brilliant, this tape was used to bind up a mummy buried in the Andes. The fine stylized pattern repeats on the other side to quite a different effect. Chimu culture, circa 1000 A.D. Approximately 1-1/4 inches wide and 16 feet long.   « Less

Excavated near Filadelfia, Costa Rico, this impressive vase is in the striking Nicoya Polychrome style. Applied to one side of the bulbous tripod body is the head of an  More »

Excavated near Filadelfia, Costa Rico, this impressive vase is in the striking Nicoya Polychrome style. Applied to one side of the bulbous tripod body is the head of an animal, probably a jaguar or coatimundi, resting on its forearms. A band of hieroglyphs encircles the vase's collar and other designs run around the legs and in a ribbon down the back. Excellent unbroken condition, with some wear to the buff paint of the body, but with all motifs intact. Approximately 11 inches tall and 10-1/2 inches wide at the largest point.   « Less

In the bright, baroque style of Magna Graecia--a vivid reminder of what a colorful place the classical world really was--this vessel was part of the funerary offerings left  More »

In the bright, baroque style of Magna Graecia--a vivid reminder of what a colorful place the classical world really was--this vessel was part of the funerary offerings left at the tomb of some person otherwise unknown to us. The hollow body of the vase was designed to let libations of wine and other liquids seep into the tomb mound below as appeasement for the spirit of the deceased. We might guess from the predominantly feminine themes on this vase, and its mate, that these were offerings made for a woman. In their lively and elegant style, these pieces do not evoke the sadness of death, but rather the joy of life. - (PF.0011)   « Less

One of a pair, this delicately rendered vessel was probably used to pour libations at the tomb of some lady of ancient Magna Graecia. The woman depicted on the vase is  More »

One of a pair, this delicately rendered vessel was probably used to pour libations at the tomb of some lady of ancient Magna Graecia. The woman depicted on the vase is perhaps an idealized portrait of female beauty, or she may be a local goddess who was the special protector of women. Her gently faded colors remind us that the vanished classical age was once vibrant with artistic life. - (PF.0048)   « Less

This striking silver Buddha dates to one of the most troubled and dynamic periods of Cambodian history. After the fall of Angkor and the great Khmer Empire in the 15th  More »

This striking silver Buddha dates to one of the most troubled and dynamic periods of Cambodian history. After the fall of Angkor and the great Khmer Empire in the 15th Century, Cambodia fell under the control of the Thai until the French granted independence in 1953. In many senses the piece looks back towards the Golden age of Khmer civilization, when the kingdom of Kambuja ruled vast territories from its capital in the region of Angkor in western Cambodia. The empire was enlarged at considerable cost to neighbouring Vietnam and the Cham peoples, but Khmer cultural creativity and artistic production was admired throughout the region. However, socioeconomic deterioration saw the gradual collapse of this great empire in the 15th century. The so-called Dark ages were characterised by the Cambodia’s increasing powerlessness to prevent being used as a pawn in the struggles between Vietnam and Siam (Thailand), which resulted in annexation of rich mineral and agricultural lands and a resulting impoverishment of the populace. Partly to stave off a total defeat at the hands of their voracious neighbours, Cambodia signed a treaty with France that was designed to provide revenue for the latter, and protection for the former. While the exact terms of the deal were amended to Cambodia’s cost, the effect was positive. Perhaps most significantly, from our point of view, they retained a highly active and creative artistic and cultural identity, which is manifested in the current piece.This silver sculpture of the Buddha reveals the influence of foreign cultures on the art of Cambodia. Thailand, which began as a breakaway province of the Khmer Empire with the establishment of the Sukhothai Kingdom in 1238, was initially artistically and culturally indebted to the Khmer. By the time this sculpture was created however, the art of Cambodia had come to reflect Thai artistic trends. Here, the Buddha is seated in the Vajraparyanka lotus posture (Padmasana) resting his arms in the Bhumisparsa mudra, or “gesture of touching the earth.” A symbol of unshakable faith and resolution, this mudra portrays the Buddha taking the earth as his witness. The Buddha is seated upon a high, tiered, triangular lotus throne. Highly ornamented with incised stylised foliage and partially covered in a draped fabric, this type of pedestal is characteristic of Thai Buddhas. Furthermore, the modeling of the Buddha himself is related to the art of Thailand, specifically the Buddha’s tightly curled hair and the flame of enlightenment that rises out of his ushnisa. This precious work, rendered in silver atop an earthen core and featuring an inscription on its back, was used as a means for reflective focus. Today, it stands as a beautiful testament to the tumultuous history of Cambodia and the spiritual beliefs of her people.The inscription on the reverse dates this piece to the Buddhist year 2414, equivalent to 1871. - (FZ.422)   « Less

In Nepalese art, Kubera, the god of wealth and food, is sometimes shown riding on a snow-lion, or in Vaishravan yab-yum position with his consort. Among statues of Kubera  More »

In Nepalese art, Kubera, the god of wealth and food, is sometimes shown riding on a snow-lion, or in Vaishravan yab-yum position with his consort. Among statues of Kubera seated in royal ease, this finely cast bronze statue stands unique, as it incorporates elements of medieval Eastern Indian with the Newari tradition of the Katmandu Buddhist art tradition and design motifs.Nepal is a country at the crossroads between India and Tibet and thus the forms of worship found there contain elements of Indian Vedic and Tantric Hinduism as well as Tibetan Buddhism and Tibetan Bon (animism). In the style typical of Tibetan and Nepalese tantric iconography, they are all wearing elaborate pointed crowns and displaying their open third eyes.Following such tradition, this small figurine of Kubera, featuring an ornate head-dress, fully endorsed with conch shells (a symbol of prosperous voyage), is portrayed seated in lalitasana on a lotus throne, his right leg bent upwards, his right hand holding a conch shell, and his left resting on what could be a Nakula Mongoose (which believed to be the receptacle of all riches).The commanding presence of this statue of Kubera befits his role as the emanation of Vaisravana Dharmarpala, the Lord of Wealth and Guardian Deity of the North. He is the most important deity among the eight generals of Vaisravana. The statue is sealed with a copper base engraved with a double vajra, an indication of a ritual blessing known as "rab gnas", a consecrated process which a high ranking Lama invites the deity to enter into the completed image, and the statue is believed to contain the actual presence of the deity, the dharmakaya, or Truth Body of the Buddha. - (LO.756)   « Less

Moche Gold Hollow-Core Head of a Man - FJ.5049, Origin: North Coast of Peru, Circa: 100 AD to 500 AD, Dimensions: 3.25" (8.3cm) high, Catalogue: V8, Collection:  More »

Moche Gold Hollow-Core Head of a Man - FJ.5049, Origin: North Coast of Peru, Circa: 100 AD to 500 AD, Dimensions: 3.25" (8.3cm) high, Catalogue: V8, Collection: Pre-Columbian, Style: Moche, Medium: Gold.   « Less

Tairona Gold Pectoral of a Shaman - FJ.6205, Origin: Colombia, Circa: 600 AD to 1600 AD, Dimensions: 4.5" (11.4cm) high x 5.25" (13.3cm) wide, Catalogue: V23, Collection:  More »

Tairona Gold Pectoral of a Shaman - FJ.6205, Origin: Colombia, Circa: 600 AD to 1600 AD, Dimensions: 4.5" (11.4cm) high x 5.25" (13.3cm) wide, Catalogue: V23, Collection: Pre-Columbian, Style: Tairona, Medium: Gold.   « Less