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PRECOLUMBIAN ART :
INCLUDING A SELECTION OF
THE DR. ROLAND HARTMANN
COLLECTION
18 JUNE 2011
COLOGNE
LEMPERTZ AUCTION 984
PRECOLUMBIAN ART :
INCLUDING A SELECTION OF
THE DR. ROLAND HARTMANN
COLLECTION
18. JUNE 2011
COLOGNE
LEMPERTZ AUCTION 984
PREVIEW VORBESICHTIGUNG
Cologne
Wednesday 15 June - Friday 17 June
10 am 5.30 pm
Saturday 18 June
10 am 1 pm
Brussels (Highlights)
Rue aux Laines 1 Wolstraat
Wednesday 8 June Saturday 11 June
10 am 6 pm
SALE VERSTEIGERUNG
Cologne
Saturday 18 June 2011
2 pm
Neumarkt 3
50667 Cologne (Germany)
Tel +49 221 92 57 29-0
Fax +49 221 92 57 29-6
info@lempertz.com
www.lempertz.com
Dr. Roland Hartmann (1922-2007), a noted antiquarian book dealer in St. Gallen, Switzerland, was
fascinated for decates with the power and beauty
of the ancient civilizations of the New World. He
studied philosophy at the University of Zurich
continuing at the Sorbonne, and focused on the
eld of rare books where he concentrated on incunabula and medieval manuscripts. Dr. Hartmann
purchased his rst Peruvian ceramic in 1957 during
the course of a book auction in Hamburg. This
launched him into in depth studies of the Andean
cultures though he never visited South America.
In 1962 he acquired the vast Peruvian art collection of the renowned modern paintings dealer
Christoph Bernoulli (1897-1981) of Basel. Years
after Dr. Hartmanss collecting years were over, as
a true bibliophile he continued adding to his large
reference library.
*1
EARLY CHAVIN GREYWARE
BOTTLE TEMBLADERA
Ca. 1400-400 B. C.
The body scored overall with raised nubbins,
perhaps imitating the shell of a spiny oyster,
tapering into a polished spout.
Height 22.1 cm
Provenance
1 200 2 200
*2
*4
Ca. 700-400 B. C.
Ca. 700-400 B. C.
Height 22.2 cm
500 700
Diameter 12 cm
Literature
450 650
*3
EARLY CHAVIN GREYWARE BOTTLE
Ca. 1400-400 B. C.
The body scored overall in a rough, organic
manner, the raised projections probably depictions of cherimoyas, an Andean fruit.
Height 18 cm
Provenance
800 1 200
*5
EARLY CHAVIN BLACKWARE VESSEL
TEMBLADERA
Ca. 1400-1000 B. C.
Scored overall with six burnished concentric circle
motifs in relief.
Height 17 cm
Provenance
Hans-Dietrich Disselho, Alt-Amerika: Die Hochkulturen der Neuen Welt, Baden, 1960, pg. 156
Ferdinand Anton, Alt -Peru und seine Kunst, Leipzig,
1962, pl. 2
1 200 1 800
8
*6
*7
Ca. 900-600 B. C.
Ca. A. D. 100-500
Height 16.6 cm
Height 21 cm
Literature
1 500 2 500
2 000 4 000
*8
*9
Ca. A. D. 100-500
Ca. A. D. 100-500
Surmounted a pair of embracing anthropomorphic gures, each with spotted body and tail
extending at the back, and at facial plane with
grinning expression and ears to the sides, the
whole painted in reddish brown with details in
white and geometric patterns in black resist.
With one chamber surmounted by an anthropomorphic creature with spotted feline body and
grinning face with large bat wing ears, the long
tail curling around the spout of the second vessel,
the whole painted in reddish brown with details
in white and geometric patterns in black resist.
Length 23.5 cm
Length 28.3 cm
Literature
1 500 2 500
10
1 000 1 500
10
*10
11
*11
Ca. 100-500
Ca. A. D. 100-500
Length 31.5 cm
Length 24.5
Provenance
1 000 1 500
800 1 200
11
*12
LARGE VICUS FIGURAL VESSEL
Ca. 500-300 B. C.
Representing a seated bound captive with hands
tied at the back, adorned with a crescentic nose ring
and beaded headband, a tress of hair at the back, the whole
painted with black resist patterns.
Height 35 cm
Literature
Ferdinand Anton, Alt -Peru und seine Kunst, Leipzig, 1972, pl. 21
It is known that captives in the ancient Andean cultures were stripped of
garments and war paraphernalia.
2 000 4 000
*13
*14
Ca. A. D. 100-500
Ca. A. D. 100-500
Height 23 cm
Height 21 cm
800 1 200
1 000 1 500
13
15
*15
VICUS EFFIGY VESSEL
Ca. A. D. 100-300
Of a prone female gure, possibly in a birthing
pose, with smiling expression and slit eyes closed,
painted in reddish brown with details in white
and covered in black resist decoration.
Length 28.7 cm
1 000 1 500
*16
VICUS LIMB VESSEL
Ca. A. D. 100-500
In the form of robust lower leg with a at foot,
toes extended, the whole ornamentally painted
with black resist.
Height 23 cm
600 800
14
16
*17
EARLY MOCHICA FIGURAL VESSEL
Ca. 300-100 B. C.
The rounded vessel molded with a prone warrior with legs extending down the back, head turned upward and with a determined
gaze, holding a shield and mace-headed sta in the right hand and
a clutch of spears in the other, painted in reddish brown and cream.
Height 20.5 cm
1 200 1 800
15
*18
MIDDLE MOCHICA
MOLDED VESSEL
Ca. A. D. 200-500
Molded on the rounded body with a
complex mythological frieze including
a procession with the standing
Ai-Apec holding a weapon in his
upraised arm followed by a fox-headed warrior holding spears and with
a raptorial bird as headdress and confronting a warrior throwing a bola with
a serpent head at the end, followed by
two pelican-headed gures anking
an elaborate totora reed boat with
snarling feline heads at the bow and
the stern, one clutching a stingray on
a lasso, the other clutching an animalheaded sta, painted in cream, reddish
brown and orange.
Height 27 cm
Provenance
1 000 2 000
*19
*20
Ca. A. D. 200-500
Height 24 cm
Provenance
Height 18.5 cm
Bernoulli Collection, Basel, 1949
Literature
1 500 2 500
1 500 2 500
17
*21
*22
Ca. A. D. 200-500
Ca. A. D. 200-500
Height 23 cm
Provenance
Height 29 cm
Galerie Fischer, Luzern, November 26, 1959, lot 37
Provenance
1 500 2 500
18
1 000 1 400
*23
MIDDLE MOCHICA PAINTED VESSEL
Ca. A. D. 200-500
Painted in neline style in reddish brown against the cream slip, with
a fast paced race in a desert landscape with four running warriors,
entitled Ritual Runners, the terrain shows sand and cacti, with
scattered beans and faunal motifs, a hummingbird in ight, each
warrior sashed loincloth and semicircular helmet with a jaguar head
nial and a round shield-like projection at the back, each clutching a
small satchel.
Height 28 cm
Provenance
2 000 4 000
*24
MIDDLE MOCHICA PAINTED VESSEL
Ca. A. D. 200-500
In cream and reddish brown with a series of
armed warriors with bodies in the form of spotted
and striped lima beans, each holding circular
shield, spears, and mace heads, adorned with helmets composed of ax heads and tumi blades, with
further beans in the eld and covering the spout.
1 500 2 500
Height 31 cm
Ca. A. D. 200-500
Provenance
*25
MIDDLE MOCHICA PAINTED VESSEL
Height 25 cm
1 000 1 500
*26
EARLY MOCHICA LLAMA VESSEL
Ca. 300-100 B. C.
The prone camelid, resting or overburdened with goods, with alert
expression, perked ears and large rimmed eyes, a braided cord runs
from the left ear down to the haunch, an incised saddle bag holds
large, sealed urns on either side, the body decorated with irregular
swatches of color perhaps to indicate markings identifying the owner of the animal, the folded legs nely incised on the base, painted
in cream and reddish brown.
Height 18 cm
Literature
2 200 3 200
*27
*28
EARLY/MIDDLE MOCHICA
ZOOMORPHIC VESSEL
900 1 200
900 1 200
22
*29
*30
Ca. 300-100 B. C.
Ca. 300-100 B. C.
Height 19.5 cm
Cf. Lapiner, g. 269
Owls are widely associated with death because of
their nocturnal habits and mournful voices.
Height 19.7 cm
Cf. Trujillo, pg. 145, top
1 200 1 800
1 200 1 800
23
31
*31
MIDDLE MOCHICA BLACKWARE
FROG VESSEL
Ca. A. D. 200-500
The powerful, seated amphibian with rotund
body, possibly a Bufo marinus, with the head jutting upward, thick lips pulled back, large bulbous
eyes and aring nostrils, large ears perked.
Height 19 cm
Exhibited
1 000 2 000
24
32
33
*32
*33
Ca. 300-100 B. C.
Ca. A. D. 200-500
Height 20 cm
Cf. Stierlin, pl. 59
Height 25.5 cm
Provenance
Wild felines held a special place in the mythology of ancient America. The felines special night
vision combined with their prowess as hunters
were often likened to the power of the shamans
who would incorporate feline elements into their
costumes or paraphernalia.
1 500 2 500
Cf. Donnan, g. 85
Literature
2 500 4 500
25
*34
MOCHICA FIGURAL VESSEL
Ca. A. D. 200-500
The elaborately dressed dignitary or priest seated on
a throne, staring ahead with a resolute expression,
holding a dipper in the left hand and a aring lime
container in the other, attired in long patterned
tunic, and headband adorned at each side with a
hand with palm open and ngers carefully modeled,
pendant earrings, the whole once richly inlaid with
stone and mother of pearl, covered overall in a grey
slip.
Height 19 cm
Provenance
2 500 4 500
35
MIDDLE MOCHICA FIGURAL VESSEL
Ca. A. D. 200-500
In an unusual conguration with a richly attired
three dimensional gures seated on a platform with
a roll of cloth or a bolster behind him, with carefully
modelled hands resting on his raised knees, his face
with hollowed eyes and parted lips, his face and
covered with elaborate zoomorphic and geometric
tattoos, arched, feathered brows, wearing a tunic,
beaded necklace and headdress ornamented with
serpents and on the reverse with an eagle-headed
warrior wielding weapons, painted in reddish brown
and cream.
Height 19 cm
Provenance
4 000 6 000
27
*36
MIDDLE MOCHICA DIGNITARY
Ca. A. D. 200-500
In a distinctive deep black slip with the seated aged gure grasping
a snarling fox close to his chest with the front paws placed on his
torso, (the animal perhaps symbolic of a power object), with sunken
eyes and furrowed face, the cheeks once inlaid, wearing a long tunic,
headdress with tumi- like anges and large earspools, the whole
once decoratively inlaid.
Height 17.2 cm
Provenance
2 000 4 000
28
*37
MIDDLE MOCHICA PORTRAIT HEAD VESSEL
Ca. A. D. 200-500
The realistically rendered features with thin closed lips and resolute
expression, wearing a patterned headdress secured at the chin,
painted in cream, brown and reddish brown.
Height 25 cm
Provenance
2 000 4 000
29
*38
*39
Literature
1 500 2 500
30
1 000 2 000
*40
MIDDLE MOCHICA FIGURAL VESSEL
Ca. A. D. 200-500
The seated aged dignitary with hands resting on
his crossed knees, with distinctive facial features
with long, hooked nose decorated with dotted
tattoos, rimmed eyes with crows feet at the
temples, tightly wrapped in a cape with a border,
and wearing a stripped turban with chin strap, in
cream and reddish brown.
Height 19.3 cm
Literature
2 000 4 000
*41
MIDDLE MOCHICA VESSEL
Ca. A. D. 200-500
The vessel with modeled seated female gure
surmounted on the round bottle with head tilted
downward and holding her right arm across her
chest and balancing two bowls with corn kernels
(?) on her left arm, a painted cloth before her with
light and dark corn kernels, with a seated female
gure on the right, possibly a servant, and the left
side decorated with ve corn cobs of alternating
colors, painted in cream, brown and reddish
brown.
Height 26 cm
Provenance
2 500 4 500
*42
RARE GALLINAZO MUSICIAN VESSEL; VIRU
Ca. 200 B. C. -A. D. 300
The unusual utists seated on a two-legged bench playing their pan
utes with coee bean eyes and pierced noses and ears, perhaps
once adorned with gold ornaments, wearing belted loincloths,
one with a swirling chignon, the other with a side knot, painted in
reddish brown, ocher and black.
Height 20.2 cm
Literature
3 000 5 000
*43
EARLY MOCHICA VESSEL
Ca. 300-100 B. C.
The unusual architectural structure depicting a
tall, stepped tower perhaps a pyramid or temple
with a dais covered by a canopy, often denoting
a sacred abode, with a miniature priest wearing a
cone-shaped helmet positioned at the parapet,
the stonework indicated by stripped bands,
painted in orange and reddish brown.
Height 22.2 cm
Provenance
1 500 2 500
34
*44
*45
Ca. 300-100 B. C.
Ca. A. D. 200-500
Molded with the ferocious physiognomy of AiApec, staring under hooded and striped brows,
the lips open to show large canines, jutting
cheekbones, and ears ornamented with earspools,
and the whole painted in cream with decorative
details in reddish brown.
Height 22 cm
Height 25.1 cm
Provenance
1 500 2 500
1 500 2 500
35
*46
MIDDLE MOCHICA PAINTED VESSEL
Ca. A.D. 200-500
Painted in cream and reddish brown on each side with a fox-headed
warriors, with thick centipede tails aring from the back, dressed in armor,
helmet and jewelry, wielding a clutch of spears, shield and spear.
Height 23 cm.
Provenance
1 500 2 500
*47
MIDDLE MOCHICA PAINTED
VESSEL
Ca. A. D. 200-500
Painted in reddish brown and cream with
two richly attired warriors with bound,
naked captives, each running captor
clenching a circular shield and rope to
his prisoner and a long club in the right
hand, wearing a patterned tunic with large
backap with decorative streamers and
crested helmet.
Height 27.2 cm
Provenance
2 000 4 000
*48
LARGE MOCHICA BOWL
Ca. A. D. 200-500
The aring conical vessel or orero with pedestal foot lled with rattles, painted in cream and reddish brown, with an animated shing
scene composed of two tule boats surrounded by anthropomorphic
creatures, each with the prow and stern with a nial in the form of
a ferocious monsters head with teeth bared, each vessel carrying
two energetic shermen, in one a kneeling gure paddles, which
his companion grasping a thick rope with bait as he pulls up an anthropomorphic large bonito, the latter grasping a tumi, the second
group of shermen with one alert gure standing at the stern with
a rope and club, the whole populated with stingrays, ying birds,
various sh and two long beaked striding birds.
Provenance
Diameter 36 cm
4 000 6 000
38
50
*49
MIDDLE MOCHICA VESSEL
Ca. A. D. 200-500
Painted with two running hawk-headed, winged
warriors, each grasping a shield, multiple spears
and mace-headed sta, attired in a patterned
tunic and tall, crested helmet, the spout ornamented overall with hummingbirds, in cream and
reddish brown.
Height 30 cm
Cf. Spirit of the Ancient Peru, pl. 80 for the hawkheaded warriors
1 500 2 500
*50
EARLY MOCHICA COPPER WARRIOR
LOMA NEGRA
Ca. 300-100 B. C.
Standing and holding a circular shield in the left
hand and raising his spear in the other, wearing
loincloth and crescentic helmet faintly embossed
with a bird in ight, with resolute expression, eyes
and pupils inlaid in shell.
Height 18 cm
Cf. Lapiner, pl.381, for the warrior type
49
40
1 000 1 500
*51
HUARMEYMOCHICA TEXTILE FRAGMENT
Ca. A. D. 200-600
Composed of a striding shamanic, frontally-portrayed gure with legs bent
and lips parted with a scroll issuing forth, feline-headed serpents emanating from this top of the head further serpents from the left arm, woven in
camelid wool in dark and claret red, teal blue, tawny brown and white.
26 x 23 cm
1 000 2 000
41
*52
HUARMEY TEXTILE FRAGMENT
HUARMEY TEXTILE
Ca. A. D. 200-600
Ca. A. D. 200-600
Possibly from a tunic woven in camelid ber in deep red, teal blue,
ocher, dark brown and white with a highly abstract central anthropomorphic gure with wide spread, bent legs with body treated in
x-ray style, lled with geometric patterns, hands as serpents heads
and grasping diminutive winged warriors, the elongated horizontal
helmet decorated with similar serpents heads and anked by further
small warriors, and surrounded by a border of stylized avian wings;
damaged.
Ca. 32 x 44 cm
1 200 1 800
42
*53
29 x 28.3 cm
1 200 1 800
53
*54
HUARMEY TEXTILE FRAGMENT
Ca. A. D. 500-700
Probably from a tunic, woven in camelid ber in bright red, ocher,
pink and indigo with three stylized jaguars, each with jaws open and
talons outstretched.
31.4 x 6.1 cm
Cf. Oechsle, pg. 41, top
750 950
54
43
*55
*56
Ca. A. D. 200-500
Ca. A. D. 200-500
Molded on each side with a large, anthropomorphic sh with ferocious expression showing large
teeth and a human arm with clenched sh, the
Demon Fish, the scales indicated with pecked
stripes and aring tail n.
900 1 200
Height 24 cm
Provenance
1 000 1 400
44
*57
EARLY MOCHICA GREYWARE VESSEL
Ca. 300-100 B. C.
Incised on four sides with a complex pattern
of deep incised areas representing four highly
stylized stingrays, the sunken areas probably once
inlaid.
Height 24 cm
1 000 1 400
*58
MIDDLE MOCHICA
GREYWARE LIMB VESSEL
Ca. A. D. 200-500
The naturalistically depicted leg bent sharply
with wide foot extended, the ankle incised with
a zigzag pattern.
Length 20 cm
Such ceramics in the form of human limbs
probably refer to the amputations meted out on
captives.
57
1 200 1 800
58
45
*59
*60
Ca. A. D. 100-300
The cylindrical body decorated in black resist
with two ferocious serpents separated by stylized
stingrays surmounted on the top by a seated
dignitary with a sta in one hand and a beaker in
the other with a diminutive attendant kneeling
in front and presenting a bowl of oerings and
anked by attendants carrying oerings, the whole painted in tan with decorative details in black.
Height 20 cm
Provenance
900 1 200
46
Ca. A .D .100-300
The rotund seated gure with hands placed to his
chest, the planar face with large eyes, long hair
streaming down the back and tattoos on the chin,
wearing a patterned loincloth and earspools with
pendants.
Height 18 cm
Provenance
1 200 1 800
*61
LARGE RECUAY VESSEL
Ca. A. D. 100-300
The pear-shaped jar molded with seated
warrior with hands anking his chest and
legs bent, the small head adorned with
jewelry and a helmet, wearing a tunic decorated with two snarling feline with fangs
bared on the front, reverse and the sleeves,
painted in white, black and deep orange.
Height 29 cm
Provenance
Ferdinand Anton, Alt -Peru und seine Kunst, Leipzig, 1972, pl. 91
2 000 4 000
*62
LAMBAYEQUE HEAD
Ca. A. D. 900-1100
Possibly a nial, with a hollow neck, exhibiting the classic attributes
of the Sican Lord, with a trapezoidal face, large comma-shaped eyes
and lips parted, his cheeks with facial paint, adorned with a crescentic headdress adorned with an inward-curved moon crescent as emblem, painted in brown with decorative details in white and black.
Height 18 cm
Provenance
48
3 000 5 000
63
*63
LAMBAYEQUE BLACKWARE
ZOOMORPHIC VESSEL
Ca. A. D. 900-1100
Naturalistically molded with two conjoined water birds, possibly cormorants, with a smaller bird perched on the back
of one of the pair grasping a sh in its beak, each with long
neck and head tilted downward.
Height 21 cm
Literature
800 1 200
*64
LARGE CHIMU BLACKWARE VESSEL
Ca. A. D. 1000-1250
Of unusual conguration with the pear-shaped body with
the neck molded with the head of a raptorial bird with its
body tightly encircled from top to bottom by two snakes.
Height 37 cm
Cf. Sackler Collections, g. 79 for a similar bird
1 000 1 500
64
65
66
*65
*67
CHIMU GREYWARE
ZOOMORPHIC VESSEL
Ca. A. D. 1000-1400
Ca. A. D. 900-1100
18.1 cm
700 900
*66
LAMBAYEQUE HEAD VESSEL
Height 36 cm
Ca. A. D. 900-1100
Provenance
50
Height 19 cm
800 1 200
3 000 5 000
67
68
*68
CHIMU TEXTILE PANEL
Ca. A. D. 900-1300
With a bold design of two rows of six standing
warriors each with arms raised in alternating
colors, wearing a tall headdress and tunic decorated with a small bird, scattered birds in the eld,
woven in camelid wool in dark blue, ocher, olive
green, claret red, russet brown and white.
67.2 x 53 cm
Cf. Chimu, pl. 250
1 200 1 800
*69
CHANCAY TEXTILE BORDER
Ca. A. D. 1100-1300
The fragment woven in natural cotton and
camelid wool with two warriors with legs bent in
angular fashion and wearing helmets, framed by
a band of zoomorphic motifs with a long fringe
below, in saron yellow, pink, tan and shades of
green.
32 x 28 cm
450 650
52
69
70
*70
SEVEN NAZCACHANCAY
RITUAL HONDA
A.D. 300-1400
Each woven in camelid bers in assorted colors
and congurations, with geometric patterns.
The longest 260 cm
See detail of one
900 1 200
*71
TWO CHANCAY GAUZE TEXTILES
Ca. A. D. 1330-1500
Including one fragment woven with a vertical
pattern of squares enclosing anthropomorphic
gures together with a gauze with lozenges enclosing stylized warriors with hands upraised.
91 x 36 and 60.3 x 53 cm
See illustration of one
500 700
*72
TWO CHANCAY GAUZE FRAGMENTS
Ca. A.D. 1100-1300
71
600 900
72
53
73
*73
*74
CHANCAY SHIRT
CHIMU/CHANCAY
BORDER FRAGMENT
Ca. A. D. 1100-1300
The unku woven in brown cotton and camelid
wool in ocher, tawny brown, pink and shades of
red with six felines in alternating colors, each with
heads turned frontally showing bared teeth, the
bottom border with panels of stripes and stylized
zoomorphic motifs ending in a fringe.
Ca. A. D. 1100-1300
95 x 26 cm
1 000 2 000
400 700
74
54
*75
CHANCAY TEXTILE FRAGMENT
Possibly part of a tunic in slit tapestry weave in
camelid wool in shaded red, brown and cream
with a bold pattern of zigzags with the lower
border with diagonal bands of stylized birds,
alternating in color, and framed by stepped curl
motifs, the wide fringe with zoomorphic gures.
94 x 63 cm
Cf. Chancay, pl. 125
1 600 1 800
*76
CHANCAY TEXTILE FRAGMENT
Ca. A. D. 1100-1300
Woven in camelid wool in tomato red, ocher, tan
and dark brown with ve stepped lozenges, each
enclosing a helmeted warrior with arms upraised
within interlocking stylized bird heads with large
staring eyes.
79 x 25.5 cm
400 600
75
76
55
77
*78
LARGE CHANCAY PAINTED TEXTILE
PANEL, PACHACAMAC
Ca. A. D. 1300-1500
Woven in cotton and painted in grey, salmon,
sepia brown and cream with squares containing
warriors depicted frontally and in prole, alternating with stylized felines and zoomorphic
creatures.
130 x 69.8 cm
77 detail
*77
900 1 200
900 1 200
56
*79
CHANCAY TEXTILE BORDER
Ca. A. D. 1100-1300
Woven in cotton and camelid wool in shaded red,
pastel blue, dark brown, pink, white, brown and
tan with a procession of ve felines with fangs
bared, and long fringe below.
30.2 x 54. 3 cm
500 800
78
79
57
81
*80
CHANCAY TEXTILE EFFIGY OF A WOMAN
CENTRAL COAST
Ca. A. D. 1300-1532
The reed superstructure with an oversized head with facial features
painted in brown, orange and grey with long brown wool as hair,
wearing assorted garments woven in wool and cotton.
Length 46 cm
Cf. Lapiner, pl. 678, for the general type
700 1 000
*81
CHANCAY PAINTED TEXTILE
Ca. A. D. 1300-1500
Woven in cotton and painted in orange, white, teal blue and shades
of brown, with eleven vertical registers of squares enclosing stylized
human heads alternating with zoomorphic motifs including stylized
felines, stingrays and interlocked birds, interspersed with geometric
motifs.
94 x 27 cm
80
58
700 900
82
*82
TWO PARACAS BOWLS
SAN PABLO
Ca. 500-300 B.C.
The shallow bowls one with a bipartite decorative scheme with one
half decorated with black resist circles, the other incised with highly
stylized zoomorphic elements highlighted in red and ochre, the
other with the interior with black resist double curl motifs.
Diameters 18 and 19 cm
700 1 000
82
59
*83
*84
Ca. A. D. 300-600
60
Height 15 cm
Height 16 cm
600 800
500 700
*85
*86
Ca. 500-300 B. C.
Ca. 500-300 B. C.
Height 17 cm
Provenance
Dr. Ernst Hauswedell Auction, Hamburg, November 26, 1962, lot 203
Cf. Ceramics of Ancient Peru, g. 47
Height 13.5 cm
Cf. Ceramics of Ancient Peru, g. 47
1 000 2 000
1 000 1 500
61
*87
*88
Ca. 700-400 B. C.
The expanding rounded sides painted with two
ferocious felines, each with bared fangs, patterned
pelage and long sweeping tail, richly resin painted
in red, ochre, olive green and dark brown.
Height 22 cm
Ca. 700-400 B. C.
With inward-curving rounded walls each incised
with a large standing Feline Deity, possibly a
pampas cat, with feet turned outward, holding a
trophy head by the long hair in each hand, with
cat features with teeth bared, incised whiskers
and ears pointed upward, sweeping tresses
emanating from the sides, with remains of ocher
and red pigment.
3 500 4 500
Provenance
4 000 6 000
62
*89
PARACAS PAINTED MUMMY
BUNDLE MASK, ICA VALLEY
Ca. 300-100 B. C.
Woven in plain cotton and painted in orangebrown and olive green with the full gure of the
Oculate Being with a smiling expression with
trophy heads issuing from his arms, sides and ears,
wearing a tunic decorated with a miniature shaman, his head anked by two similar diminutive
gures, long fringe extending at the top.
23 x 24.5 cm (woven section only)
Literature
3 000 5 000
64
*90
PARACAS PAINTED VESSEL
OCUCAJE
Ca. 700-400 B. C.
Molded with a grinning snake with raised ears and nose, lunate eyes
to the sides, with the long tail sweeping around the circumference
of the vessel in a decorative manner, the skin ornamented with concentric incised circles, the spouts molded with stylized birds head, in
ochre, deep red and brown.
Height 13 cm
Literature
Ferdinand Anton, Alt -Peru und seine Kunst, Leipzig, 1962, pl. 6b
Ferdinand Anton, Alt -Peru und seine Kunst, Leipzig, 1972, pl. 34
2 000 4 000
65
*91
EARLY PARACAS CAVERNAS VESSEL
Ca. 1000-600 B.C.
The bean-shaped vessel molded on each end with a stylized demon
feline head with drawn mouth showing toothy grin, upturned snout
and tiny ears raised, lunate eyes under arched brows, the body
incised with decorative patterns, the stirrup spout molded on one
end with a birds head, painted in red and brown.
Length 19 cm
Cf. Lavalle, Paracas, p. 144; Nasca, pl. 2
2 000 4 000
66
*92
FOUR PARACAS EMBROIDERED
BORDER FRAGMENTS
PARACAS NECROPOLIS
Ca. 400-100 B. C.
The mantle fragments densely embroidered in
the linear style, each with the Oculate Being with
wide grin and snakes radiating from the sides with
diminutive similar gures along one side, the last
embroidered in a rich composition with stylized
double-headed birds surrounded by smaller birds
in ocher, dark green, dark brown and blue on a
shaded red ground, all with fringe.
16 x 20 to 24 x 59.3 cm
See illustration of three
2 500 3 500
67
*93
*94
PARACAS/PROTONAZCA
FRAGMENTS
Ca. 500-200 B. C.
The border from a large mantle in stem stitch
in ocher, dark blue, dark green and black on a
shaded red ground with stylized double-headed
birds, some inverted, and anked by grinning
felines and small birds in the eld.
55 x 9 cm
Cf. Sawyer, g. 115
The woven textiles of the Paracas Necropolis
period, with their rows of repetitive images, might
have been a form of visual communication within
the society, perhaps these embroidered images
functioned as ideograms relaying information
about the Paracas world view.
1 500 2 500
68
Ca. 300-100 B. C.
Including a Paracas stem stitch mantle fragment
embroidered in camelid wool in forest green and
black with six seated Supernatural Beings each
with head turned frontally, tails terminating in a
cats face with further heads emerging the top of
the Beings head, together with a Late Paracas/Proto-Nazca border with zoomorphic motifs with a
tab fringe in camelid wool and cotton in red, azur
blue, ocher, brown and olive green, the last border
Proto-Nazca fragment with a series of swimming
sh in alternating colors in a pastel palette.
Lengths 36 x 9, 39 x 4.4 and 28 x 2 cm
See illustration of two
1 000 1 500
96
*97
*95
PARACAS NECK SLIT ? FRAGMENT
Ca. 400-100 B. C.
Ca. 500-300 B. C.
28 x 5 cm
Height 13 cm
Provenance
400 700
400 600
*96
THREE PROTONAZCA FRAGMENTS
*98
Ca. 400-100 B. C.
Ca. 500-300 B. C.
14 to 56 cm
Height 20.5 cm
Provenance
600 900
500 800
97
95
98
69
*99
*100
TWO PROTONAZCA
BORDER FRAGMENTS
Ca. A. D. 300-600
Ca. 400-100 B. C.
Probably borders from mantles woven in camelid
wool in tubular knit stem stitch with highly
stylized anthropomorphic gures and tabs with
geometric motifs as fringe in alternating colors, in
shades of blue and green, pink, red, ocher, white
and dark brown.
15 x 32 cm
750 950
700 1 000
70
*101
NAZCA MANTLE FRAGMENT
SOUTH COAST
Ca. A. D. 300-500
Belonging to a large mantle woven in
camelid wool with rows of abstract and
stylized anthropomorphic faces with
a profusion of heads issuing from the
central face in a repetitive cryptic style in
tomato red, saron yellow, green, shades
of blue, brown and white.
87 x 54 cm
Cf. Nazca, pl. 55
The multitude of faces might represent
an extremely abstract version of the major Nazca deity in his feline incarnation.
1 200 1 500
71
102
*102
PROTONAZCA BORDER FRAGMENT
Ca. 400-100 B. C.
Woven in camelid wool in tubular stem stitch in
shades of blue and red, ocher, white and olive
green with highly stylized gures with tab border
of stylized zoomorphic motifs.
Length approx. 151 cm
See detail
600 900
*103
NAZCA BURIAL SASH
Ca. A. D. 300-600
Woven in camelid wool in ocher, teal blue, dark
green, brown and red with six highly abstract
spiders (?) with curling tentacles with long fringe
on either end.
104 x 13.6 cm
1 000 2 000
103
72
104
*104
NAZCA TEXTILE FRAGMENT
Ca. A. D. 300-600
Possibly from a tunic woven in cotton and
camelid wool with ve registers with anthropomorphic heads with large staring eyes and a pair
of streamers issuing form the head with stylized
birds at the ends, in teal blue, shaded red, white,
ocher, tan and dark brown.
58 x 56. 3 cm
550 750
*105
NAZCA HEADBAND
Ca. A. D. 300-600
Woven with a classic cross within stepped motifs
in a graduated series in vibrant colors in white,
teal blue, ocher, red and dark brown with tassels
on one end.
Length approx. 419 cm
Provenance
600 900
105
73
106
*106
107
*107
*108
NAZCA VESSEL
NAZCA BEAKER
Ca. A. D. 300-600
Ca. A. D. 300-600
Ca. A. D. 300-600
Height 18 cm
Height 20 cm
700 1 000
900 1 200
800 1 200
74
108
Height 18.5 cm
109
*109
TWO NAZCA VESSELS
Ca. A. D. 300-600
The bowl and the squat jar with lug handle painted overall with double swimming dolphins with
the sea indicated with a dotted pattern in tan,
deep red, brown, black and white.
Diameter 15 and height 11.7 cm
Provenance
700 900
*110
TWO NAZCA FIGURAL VESSELS
Ca. A. D. 300-600
The standing female gure well dressed with
a long tunic with striped fringe and tunic with
miniature stylized heads as border, her head
surmounted by a face mask painted in tan, white,
black, grey and orange-brown, the seated male
with large hands to knees painted in tan, white
and shades of brown.
Heights 13 and 11 cm
800 1 200
110
75
*111
NAZCA FIGURAL VESSEL
Ca. A. D. 300-600
Molded in the form of a standing, robust female gure with arms to her torso, distinctive hands graphically portrayed with four ngers and long nails,
her face with almond-shaped eyes and tattoos,
wearing a patterned tunic and jewelry, painted in
shades of brown, tan, dark red and white.
Height 17.5 cm
900 1 200
*112
NAZCA PORTRAIT HEAD
Ca. A. D. 300-600
Of unusual ovoid shape, possibly a female with
wide facial plane, downward cast, lunate eyes
under thin brows, facial paint highlighting the
cheeks, hair parted in a the center and with
stepped bangs and gathered in a closely-tted
patterned turban, painted in tan, orange-brown,
wine red, white and black.
Height 19 cm
1 000 2 000
76
*113
RARE NAZCA VESSEL
Ca. A. D. 300-600
In the form of a striding Demon Feline deity, with robust tubular
legs and talons demarcated, the exterior of the ovoid bowl painted
and molded on one side with the physiognomy of the deity with
bared teeth and small red dots perhaps indicating blood, tongue
projecting adorned with eye mask and curling whiskers, with stylized stingray motifs around the circumference, painted in tan, dark
brown, white, grey and deep red and orange.
Repaired
Length 29.2 cm
The Demon Feline also known as the Anthropomorphic Mythical
Being has its roots in Paracas textile art and persists in the Nazca
style.
1 500 2 500
77
*114
LARGE NAZCA POLYCHROME BOWL
Ca. A. D. 300-600
Painted in tan, brown, white, black, grey and deep red, with two bold
representations of the Anthropomorphic Mythical Being with legs
emerging at the back, grasping a sta, possibly a digging stick, in
both hands, displaying the diagnostic mouth mask, collar, stingray
headband over the long tresses ornamented with roundels, wearing
a loincloth and sweeping cape.
Some scholars interpret the combination of human and animal symbols as part of a broader category of Nazca mythical creatures, symbolic representations of the powerful natural forces that controlled
the world of the Nazca (Proulx 2006:62). Other scholars think the
images represent a costumed human gure, perhaps a shaman or a
ritual performer-someone impersonating a supernatural creature.
Diameter 35 cm
5 500 7 500
*115
NAZCA VESSEL
Ca. A. D. 300-600
Boldly painted in maroon, anthracite,
orange-brown, grey, white, tan and tawny
brown with two emphatic depictions on
each side of the Anthropomorphic Mythical
Being, holding weapons in the right hand
and a trophy head in the other, wearing the
diagnostic elements of the mouth mask,
stingray headband, loincloth, with the entire
body trimmed with trophy heads.
Height 15 cm
Provenance
1 200 2 200
*116
LATE NAZCA FEMALE FIGURINE
Ca. A. D. 300-600
The robust, gurine with legs and arms
outstretched, hair streaming down her shoulders, almond-shaped eyes and small mouth,
her naked body painted with star-shaped
tattoos in tan, dark brown and red.
Height 12 cm
Cf. Nasca, pl. 12
1 100 2 000
79
*117
NAZCA FIGURAL VESSEL
Ca. A. D. 300-600
The round-bodied personage seated with legs raised and holding
a beaker in the left hand, wearing a tunic and headband tied at the
back, painted in tan, brown, white, black, grey and deep red.
Height 24 cm
Cf. An die Mchte der Natur, pl. 4.7
1 500 2 500
*118
NAZCA EFFIGY VESSEL
Ca. A. D. 300-600
The female gure clutching a pair of fruits (?) on a vine, long hair
owing down her shoulders, wearing a tunic with stepped fringe
and striped cape, painted in maroon, dark orange, grey, dark brown
and white.
Height 13 cm
700 900
117
118
80
119
120
*119
121
122
*121
Ca. A. D. 300-600
Ca. A. D. 300-600
Painted in orange, tan, grey, black and cream, the squat expanding
vessel in the form of a gure with each hand holding a seed pod
or a tumbo, the frontal portion painted with insects on a sandy (?)
ground, the molded face emerging from the strap handle, wearing a
striped cape and headdress incorporating a frogs head.
Height 9 cm
600 800
1 200 2 200
*122
NAZCA BOWL
Ca. A. D. 300-600
*120
NAZCA POLYCHROME BEAKER
Ca. A. D. 300-600
Of slightly tapering form with rounded base and molded with a
human face within a complex patterned composition including two
ying gures and octopus tentacles, stylized trophy heads and the
rim also encircled with trophy heads, in cream, tan, grey and shades
of brown.
Painted in cream, tan, wine red, grey and shades of brown, the
aring walls with an anthropomorphic gure, clearly a supernatural
fertility deity, with feet emerging on the reverse, the face distinguished by the large, staring eyes and dotted complexion, ears made
of squash, wearing a shell collar with pendants of chili peppers and
lucuma, encircled with vine growing fruits or pepinos.
Height 15 cm
Provenance
Ferdinand Anton, Alt -Peru und seine Kunst, Leipzig, 1962, pl. 88a
Ferdinand Anton, Alt -Peru und seine Kunst, Leipzig, 1972, pl. 90
Height 16 cm
600 800
1 200 1 500
81
123
124
*123
NAZCA POLYCHROME VESSEL
Ca. A.D. 300-600
Painted with two ying Demon Felines each
with mouth mask, tongue projecting, octopus
headdress with tentacles surrounding the face,
wearing a loincloth with a belt of stylized trophy
heads, in grey, maroon, orange-brown, black and
white.
Height 16 cm
Provenance
700 900
*124
NAZCA POLYCHROME VESSEL
Ca. A. D. 300-600
Painted maroon, grey, white, dark and orangebrown, with the head of a supernatural creature
on each side with arms extended, streamers
emerging from the top of the head, below the
mouth red dots perhaps an allusion to blood,
separated by a profusion of stylized octopuses.
Height 14 cm
125
82
700 900
*125
NAZCA EFFIGY VESSEL
Ca. A. D. 300-600
Painted in deep red, brown, tan, grey, white and
black, in the form of a massive male gure grasping a ying supernatural gure with mouth ajar
and showing teeth, wearing an elaborate patterned tunic, with stylized octopus heads and snakes
encircling the reverse, sporting a moustache and
long tresses.
Literature
1 500 2 500
*126
126
*127
Ca. A. D. 300-600
Height 20 cm
Painted with two sweeping gures of the Anthropomorphic Mythical Deity and staring resolutely,
holding weapons attired in a patterned tunic
and cape with a border of trophy heads, in white,
black, grey, wine red, tawny brown and tan.
Diameter 27 cm
1 500 2 500
2 000 4 000
127
83
*128
NAZCA POLYCHROME DRUM
Ca. A. D. 300-600
Painted in white, tan, grey and shades
of brown with an impressive Anthropomorphic Mythical Deity holding a sta
wearing a tunic and openwork serpentine cape with serrated border enclosing
a series of trophy heads, a sinuous snake
darting below.
Height 26 cm
Cf. An die Mchte der Natur, pl. 2.13; for a
Paracas drum, Nasca, pl. 29
Ceramic drums with central, bulging
sounding chambers were manufactured
already in the Paracas period. Among
the most elaborately nished are those
of Nazca style. They were surfaced with
the many rich colors commonly used on
Nazca ceramic vessels. A favored form
was one in which a fat-bodied gure in
this case the Anthropomorphic Mythical
Deity whose body is worked into the
shape of the instrument, with its imposing face spreading out while the legs
sweep around the circumference. Skin
would have been stretched over the wide
mouth of the drum.
1 800 2 800
*129
TWO NAZCA PAINTED BOWLS
Ca. A. D. 300-600
Each in shades of brown, grey, tan, white,
deep red and black, with the Anthropomorphic Mythical Being profusely covered in trophy heads, on one wrapping
around the entirety of the vessel.
Heights 8 and 9 cm
Provenance
500 800
129
129
130
*130
*131
Heights 10 and 8 cm
Provenance
Heights 5 and 7 cm
Provenance
600 900
500 700
131
130
131
85
132
133
*132
*133
*134
NAZCA VESSEL
NAZCA VESSEL
Ca. A. D. 300-600
Ca. A. D. 300-600
Diameter 18 cm
Diameter 17.5 cm
800 1 200
Provenance
Height 12 cm
Literature
1 000 1 500
Ferdinand Anton and Frederick Dockstader, Das Alte Amerika, Baden, 1967,
pg. 184
500 800
86
*135
TIAHUANACO EFFIGY FRAGMENT
Ca. A. D. 600-1000
Molded with the features of moustachioed gure
with stern expression, downward turned lips
and staring, rimmed eyes and prominent nose,
painted in reddish brown and black.
Height 9 cm
Cf. Peru, pl. 135
700 900
134
*136
HUARITIAHUANACO
ZOOMORPHIC VESSEL
Ca. A. D. 600-1000
In the form of a seated camelid with upturned
nose, elongated eyes with vertical pupils and ears
perked, painted with seedpods with sprouting
fronds overall, the cylindrical spout with a chevron
band, in tan, wine red, grey, white and brown.
Height 15 cm
Provenance
900 1 200
135
136
87
*137
RARE COASTAL TIAHUANACO DRUM
Ca. A. D. 600-1000
The drum-shaped cylindrical base surmounted
by two confronted, standing anthropomorphic
gures, in a tight embrace, with short tails curling
at the back, the tubular bodies painted with
concentric lozenges, their heads thrown back and
showing toothy grins, with upright ears, the whole
painted in reddish brown and black.
Height 44 cm
Provenance
2 000 4 000
*138
*139
*140
TIAHUANACO POLYCHROME
BEAKER
Ca. A D. 800-1000
Ca. A. D. 800-1000
Painted in shades of brown, tan, grey,
black, white and deep red with two
running mythological creatures, each
with hands clenched, upturned snout and
bared fangs.
Height 15.5 cm
Cf. Anton, 1962, pl. 106
There is no single homogeneous Huari
style in pottery. Instead Huari ceramics are
found in a wide range of local styles often
executed in a polychrome slip which has
its origins in that of the Nazca potters.
1 000 1 400
Ca. A. D. 800-1000
With aring cylindrical sides painted with
two striding anthropomorphic, winged
felines, each with head ung back sharply
and grasping a sta, the fur decoratively
treated, in reddish brown, tan, deep red,
grey, white and black.
HUARI BOTTLE
The vessel painted with three roundels
each enclosing a ferocious monster head,
the strap handle with trophy heads, in
black, deep red, tan, white, grey and black.
Height 16.5 cm
1 000 2 000
Height 11.5 cm
Provenance
1 000 1 400
89
*141
HUARITIAHUANACO LLAMA VESSEL
Ca. A. D. 600-1000
The realistically rendered, seated llama with head turned and gazing
with an alert expression with ears perked, rear legs bent, and a spout
merging from the back with a chevron patterned lip, painted in
reddish brown, white, grey and black.
Height 11.5 cm
Literature
1 200 1 500
*142
HUARI TUNIC, SOUTH COAST
Ca. A. D. 600-800
The cushma woven in interlocked tapestry weave in cotton and
camelid wool with eight continuous bands of alternating squares
in the diagonal double motif, each composed of a stepped scroll in
one half (perhaps a depiction of a stylized birds wing), the other a
highly stylized prole face with vertically divided eye with tear track,
solid brown ground in between, with similarly woven bands as side
seams, in straw yellow, olive green, pink, claret red, tawny and dark
brown and white.
95 x 100 cm
Provenance
10 000 15 000
91
*143
TWO PERUVIAN TEXTILE
FRAGMENTS
Ca. A. D. 200-1000
one a nely woven Huari fragment probably from a tunic in camelid wool with
the remnants of a striding gure, a smaller
gure below in shaded green and pink,
ocher, white, dark brown and magenta
red, together with a Huarmey (?) fragment
woven with two confronted warriors with
feline-headed serpents issuing from their
headdresses in pastel blue, shaded red,
brown, tan and white.
55 x 19 and 14 x 19 cm
Provenance
500 800
*144
EARLY HUARI
ZOOMORPHIC VESSEL
NIEVERIA STYLE
Ca. A. D. 800-1000
The standing round-bellied bird with a crest
of feathers on its chest, possibly a tinamou,
with pierced beak and wings outstretched,
the plumage vividly painted with a spotted
pattern in grey, black, white, wine red and
orange-brown; one foot lacking.
Height 15 cm
Cf. Lapiner, pl. 535
1 500 2 500
*145
THREE TIAHUANACO
TRIPOD BOWLS
Ca. A. D. 800-1000
Each painted in white on the orange-brown
ground, two with spotted serpents, the
other with decorative patterns.
Diameter each 15 cm
Provenance
700 1 000
92
*146
HUARITIHUANACO WOOD
MUMMY MASK
Ca. A. D. 600-1000
Of deep section, distinguished by the jutting jaw and compressed lips, large recessed
eyes inlaid in clam and mussel shell (one
eye lacking) and surrounded by hair lashes,
the whole painted in carmine red with
remains of blue feathers on the cheek.
Height 36 cm
Provenance
2 000 4 000
145
93
*147
HUARITIAHUANACO WOOD
MUMMY MASK
Ca. A. D. 600-1000
With concave back and of deep section, the
smooth wide face with a complacent expression
the thin lips pursed, aquiline nose with slight
furrows, the large eyes inlaid with mussel shell
pupils (one lacking), with traces of textile ber and
blue feathers.
Height 39.4 cm
Provenance
Zurich, Alt-Peru aus Schweizer Sammlungen, Kunsthaus Zurich, April 18-June 2, 1957, pl. 25
Cf. Anton, 1962, pl. 106
3 000 5 000
94
148
149
*148
*149
INCA DOUBLEBODIED
VESSEL
Ca. A. D. 1470-1532
Ca. A. D. 800-1100
Including a bowl and two miniature vessels, one drum-shaped and one a jar, each
painted with geometric patterns in cream,
grey, black and brown.
Height 15 cm
Ca. A. D. 1470-1532
Each in the form of a long-necked bottle,
the rounded sides molded on each side
with a ferocious feline with tail upturned,
further painted with a procession of birds,
each with head turned sharply, surmounted on one bottle with a seated monkey,
in tan, deep red and shades of brown.
Cf. Lapiner, pl. 694
*150
Provenance
350 550
700 900
1 000 1 400
150
95
*151
PAIR OF INCA BOWLS
Ca. A. D. 1470-1532
The shallow oerings dishes modeled as stylized
birds with head jutting on one end and the tail
feathers at the other, painted in the bowl in
cream, dark brown and dark red with seed motifs.
Diameter each 15.5 cm
Provenance
300 500
*152
COLONIAL WOOD
CEREMONIAL KERO
Ca. A. D. 1470-1560
Of aring form painted in ocher, green, red and
white with four large spotted felines with talons
outstretched and fangs bared, in alternating
colors, with a diminutive striding, utist attired in
traditional Inca costume, ancient repair..
Height 17 cm
1 000 2 000
96
*153
COLONIAL WOOD CEREMONIAL
KERO HIGHLANDS
16th Century
The drinking vessel carved in chachacoma or
lambran wood (alder tree) with a snarling feline
with square-shaped muzzle, lips pulled back to
show teeth, close set eyes, at ears to the sides,
ornately painted in resinous pigments in redorange, white, ocher, olive green and brown with
two registers with processions of richly attired
Inca gures attired in capes and holding stas
along with two European dignitaries, with faunal
motifs in the eld.
Height 15 cm
Cf. Arts de lAmerique, pl. 137
Keros, which often came in pairs, were used to
consume chica, maize beer. These ritual drinking
vessels during the Inca period were thought
to have been utilized to consolidate relations
between local communities and the Inca state.
According to Spanish chroniclers, in ritual drinking
events of Inca and non-Inca elite, a pair of keros
would be exchanged during the toasts.
1 200 1 800
*154
TWO INCA BAGS
153
Ca. A. D. 1470-1532
Each pouch woven in camelid wool in a striped
pattern in olive green, rose, orange, pink and
shades of brown and red, one with tassels at the
ends.
32 x 38 and 31.2 x 27 cm
See illustration of one
600 800
*155
TWENTY INCA COCA POUCHES
Ca. A. D. 1470-1532
Each woven in camelid wool in white, red, olive
green, dark blue and black with geometric and
gural motifs, the satchels attached together in
two rows; some still containing organic remains.
10 x 11 to 6 x 5 cm
700 900
154
97
156
*156
*157
Ca. A. D. 1100-1300
Length 58 cm
Lengths 2.5 to 30 cm
*158
Ca. A. D.1100-1300
5 500 7 500
Length 56 cm
1 500 2 500
1 000 1 500
98
158
157
*159
CHIMU GOLD ROUNDEL
Ca. A. D. 1100-1300
Possibly the frontal of an earspool, repousse with concentric bands
of curled motifs, miniature stylized birds and and openwork square
enclosing a long beaked bird in ight.
Diameter 7.5 cm
Cf. Gallo, XLVII top
1 000 1 500
*160
CHIMU GOLD, TURQUOISE,
SHELL AND STONE NECKLACE
Ca. A. D. 1100-1300
Composed of a strand of thirty-two gold embossed, hemispherical
beads interspersed with shell spacers and smaller gold and turquoise beads centering a green stone pendant carved as a stylized
head.
Length overall 74 cm
1 000 1 400
*161
CHIMU GOLD AND
TURQUOISE NECKLACE
Ca. A. D. 1100-1300
Composed of a strand of turquoise spacers of
various sizes interspersed with twelve globular
gold beads alternating with ve gold tubular
beads repousse with squat, standing warriors in
graduated sizes, each with hands clasped at the
chest and wearing domed helmets.
Length overall 28 cm
161
1 200 1 800
160
99
*162
*163
Ca. A. D. 300-600
Ca. A. D. 1000-1500
The turban ornament aring into a fan shape embossed with four roundels and bands
of graduated beadwork; with ancient repair.
Length 32.9 cm
Provenance
Widths 1 to 5 cm
1 500 2 500
1 200 1 800
162
164
*164
QUIMBAYA GOLD PECTORAL
Ca. A. D. 1000-1500
Of ovoid shape surrounded with repousse
border and embossed with two central
bosses further enclosed within concentric
circles; pierced twice for suspension.
Width 14.8 cm
1 500 2 500
163
100
*165
MUISCA GOLD TUNJO
Ca. A.D. 1300-1500
The cast oering of triangular shape the
upper portion with two rows of openwork
lozenges trimmed with braidwork, surmounted on the top by two confronted birds,
each with false ligree wings outstretched,
adorned with dangles.
Length 15.5 cm
1 000 1 500
*166
MUISCA GOLD FIGURAL PENDANT
Ca. A. D. 1300-1500
The tunjo of a cacique, ruler, standing on tiny feet with expanding
torso, carrying a diminutive gure at his waist, and holding a birdheaded sta, adorned with jewelry and openwork crescentic helmet
ornamented with dangles.
Height 16.2 cm
The isolated Chibcha (Muisca) are known for their distinctive votive
oerings or tunjos. The attened compositions were cast in ow
molds, layering wax sheets to which threads were applied to form
the gural and decorative details.
These gures were usually found buried in groups in remote shrines
or sanctuaries such as caves, lakes or other areas of natural beauty.
The various details on the tunjo gures are considered multi-symbolic images closely related to overall Muisca religious and social
concepts.
3 000 5 000
101
*167
GROUP OF TWENTYFIVE BOOKS
Berner Kunstmuseum, Kunst der Inca, April 28-July 29, 1956; Kunsthaus
Zurich, Alt-Peru aus Schweizer Sammlungen, April 18-June 19, 1957;
Disselho, H. D., Leben im alten Peru, 1981; Anton, Ferdinand, Alt-Peru
und seine Kunst, 1962; Anton, Ferdinand, Alt-Peru und seine Kunst, 1972;
Museum Rietberg Zurich, Nasca, 1999; Ed. Minelli, Laura, Die Ahnvlker
der Inka und das Inka-Reich, 1994; Racz, Istvan, Perun Taide, 1975; Museum of Primitive Art, New York, Ancient Peruvian Textiles of the Textile
Museum of Washington D.C., 1965; Disselho, H.D., Alltag im alten Peru,
1966; Musee de LHomme Paris, Ancien Perou: Vie, Pouvoir et Mort, May
1987-January 1988; Museum zu Allerheiligen Schahausen Sammlung
Ebnther, Idole Masken Menschen, Dez 6, 1992-May 31, 1993; Roudillon
Auction catalogue Paris, Textiles et Techniques Perou Preincaique;
Lapiner, A., Art of Ancient Peru, 1968; American Museum of Natural
History, New York, Art and Life in Old Peru, 1962; Archaeology, Vol. 15,
Nr. 3, Sept. 1962; Hotel Drout Paris, Antiquites Precolombiennes, March
25, 1960; Andre Emmerich, New York, Art of Ancient Peru, Dez. 7, 1968Jan. 9, 1969; Richard Gray Gallery, Chicago, Pre-Columbian Art, March
30-May 8, 1971 (two copies); Gallo, M. M., Gold in Peru, 1959; Stierlin,
H., LArt Inca, 1983; Museum Rietberg Zurich, American Indian Art, 1971;
Bushnell, G., Peru, 1957; Ubbelohde-Doering, H., Kunst im Reiche der
Inka, 1952; Lapiner, A., Pre-Columbian Art of South America, 1976
1 000 2 000
*168
GROUP OF TWENTYTHREE BOOKS
Mortimer, G., Peru: History of Coca, 1901; Schmidt, M., Kunst und Kultur
von Peru, 1929; Seler, E., Gesammelte Abhandlungen zur Amerikanischen
Sprach- und Alterumskunde; Vol. 4, 1961; Rowe, J., An Introduction to the
Archaeology of Cuzco, Papers of the Peadody Museum, Harvard, Vol. 27,
1944; Baessler, A., Peruanische Mumien, 1906; Baessler, A., Altperuanische
Metallgerte, 1906; American Museum of Natural History, New York,
Gold of El Dorado, 1979; Amano, Y., Huacos Precolombinos del Peru, 1961;
Robert Woods Bliss Collection: Pre-Columbian Art, 1959; Robert Woods
Bliss Collection: Altamerikanische Kunst, Basel, Ed. 50, 1957; DHarcourt,
R., Textiles Anciens du Perou, 1934; Hotel Drouot, Paris, Art Precolombien;
April 7-8, 1927; Fuhrmann, E., Reich der Inka, 1922; Cherblanc, E., Memoire sur lInvention du Tissu, 1935; Montell, G., Dress and Ornaments in
Ancient Peru, 1929; Galerie Koller Zurich, 12 copies of Precolombian sales,
1964-1992; Fuhrmann, E., Peru II., 1923; Doering, H., Altperuanische Gefmalereien, 1926; Uhle, M., Nazca Pottery of Ancient Peru, 1914; Collier,
D., Cultural Chronology and Change as reected in the Ceramics of the Viru
Valley, Peru, 1955; Willey, G., Das alte Amerika, Propylen Kunstgeschichte, Vol. 18, 1974, Kaumann Doig, F., Manual del Arqueologo Peruanista,
1961; Espejo Nunez, J., Bibliograa de Arqueologia Peruana, 1956-61
1 000 1 500
*169
GROUP OF TWENTYSEVEN BOOKS
Pub. Newsweek, Tokyo, Museums of the Andes, 1981; Lavalle, D./
Lumbreras, L.G., Les Andes de la Prehistoire aux Incas, 1985; Willey, G.R.,
Prehistoric Settlement patterns in the Viru Valley, Peru, 1953; Museu
Barbier-Mueller, Barcelona, Precolombian Art, 1999; Disselho, H.-D.,
Gott muss Peruaner sein, 1956; Guidoni, E./Magni, R., Monumente Groer
Kulturen: Inka, 1972; Rautenstrauch-Joest Museum, Kln, Exotische Kunst,
1967; Bennett, W.C., Ancient Arts of the Andes, 1954; Ubbelohde-Doering, Heinrich, Kulturen Alt-Perus, 1966, Ubbelohde-Doering, H., Auf den
Knigsstraen der Inka, 1941; Trimborn, H., Grosse Kulturen der Frhzeit:
Das Alte Amerika, 1959; Knstlerhaus, Wien, Gold und Macht: Spanien in
der Neuen Welt, 1986; Cartwright Brundage, B., Empire of the Inca, 1963;
102
Lehmann, H., Les Ceramiques Precolombiennes, 1959; Villa Hgel e.V., Peru
durch die Jahrtausende, Feb. 29- June 30, 1984; Arts of the Four Quarters,
Alan C. Lapiner Gallery, Art of Ancient Peru, 1968, (two copies); Andre
Emmerich Gallery, Sun Gods and Saints, Dec. 6-31, 1969 (two copies);
Prescott, W., Die Eroberung von Peru, 1937; Kaumann Doig, F., La Cultura
Chavin, 1963; Galerie Marcel Evrard, Arts du Perou, 1956; Ebnther, M.,
Arbeit, Kampf und Spiel, 1980; Museum zu Allerheiligen, Schahausen,
Sammlung Ebnther, Faszination Archologie, 1994; Kutscher, G., Chimu.
Eine altindianische Hochkultur, 1950; Hhere Fachschule fr das Graphische Gewerbe, Stuttgart, Orbis Opera, 1966; Museum Rietberg, Zurich,
Sican-Ein Frstengrab in Alt-Peru, Nov. 3, 1997-March 9, 1997; Disselho,
H.D., Das Imperium der Inka, 1972; Kosok, P., Life, Land and Water in Ancient Peru, 1965
1 000 2 000
*170
GROUP OF TWENTYEIGHT BOOKS
Assereto, A.P., La Cultura Nazca, 1962; Lothrop, S.K., Essays in Pre-Columbian Art and Archaeology, 1961; Neudecker, A., Archologische Forschungen
im Nazca-Gebiet, Peru, 1979; Heim, A., Wunderland Peru, 1957; Hotel
Drouot, Collection de Madame X..., July 2, 1958; Anton, F., Peru, 1958
(two copies); Ubbelohde-Doering, H., Altmexikanische und Peruanische
Malerei, 1959; Danzel, T. W., Mexiko und das Reich der Inka, Einmalige
Ausgabe; DHarcourt, R., La Medecine dans lancient Perou, 1939; Kelemen,
P., Medieval American Art, Vol I and II, 1943; Waisbrand, S./Bruggmann, M.,
Les Incas, 1980, Arts of the Four Quarters, Alan C. Lapiner Gallery, Ancient
Sculpture of Ecuador, 1966; Levillier, J., Paracas, s.A.; Coleccion Wassermann-San Blas, Ceramicas del Antiguo Peru, Ed. 622, 1938; Field Museum
of Natural History, 4 volumes, 1926-1937; Baessler-Archiv, Beitrge zur
Vlkerkunde, Vol. 1, 1910; Doering, H., Kunstgeschichte des alten Peru,
1924; Hoyle, R. L., Group of four booklets, 1948; Group of nine Museum Exhibition Catalogues, Villa Hgel, Petit Palais, Istituto Italo-Latino
Americano, Rome, Landesmuseum Mnster, American Museum of Natural
History, Linden-Museum, Stiftung St. Galler Museen, Vlkerkunde-Museum
Berlin, Voelkerkundliche Sammlungen Stadt Mannheim, 1955-92; Group of
four magazines, National Geographic, GEO, Fanal, Du, 1958-1989; Group
of nine Gallery and Auction house exhibition catalogues, Parke-Bernet,
Galerie Wolfgang Ketterer, Hotel Drouot, Galerie Motte, Christies, Arts Of
The Four Quarters/ Alan C. Lapiner Gallery, Andre Emmerich Gallery, New
York and Basel, Stolper Galleries, 1960-1978; Reichlen, H., Les Momies, s. A.,
DHarcourt, R. and M., Les Tissus Indiens du Vieux Perou, 1924; Tello, J., Chavin, Santa o Huaylas Yunga y Sub-Chimu, 1956; Carrion Cachot, R., El Culto
al Agua en el Antiguo Peru, 1955; Group of four academic publications:
University of Pennsylvania, University of California, Society for American
Archaeology (two copies), 1948-1965; Cucos, S., Ceramica Neolitica, 1973;
Uhle, M., Die alten Kulturen Perus, 1935; Rozas, E.A., Cuzco, 1962
1 000 2 000
*171
LA CERAMIQUE ANCIENNE DU PEROU
DHarcourt, R. and M., La Ceramique Ancienne du Perou, 1924
150 250
*172
PERUANISCHE ALTERTHMER
Knigliche Museen Berlin/Museum fr Vlkerkunde, Peruanische Alterthmer, insbesondere altperuanische Gefsse und Gefsse der Chibcha
und der Tolima- und Cauca-Stmme, Goldschmuck etc., 1893
200 400
*173
*176
300 500
*174
GROUP OF FIFTEEN BOOKS
Sawyer, A., Ancient Peruvian Ceramics, 1966; Kutscher, G., Nordperuanische Keramik, 1954; Kutscher, G., Werke Prkolumbischer Kunst, 1970;
Tello, J.C., Chavin, 1960; Belli, L., La Civilzacion Nazca, 1960; Hork-Heimer,
H., La Cultura Mochica, 1961; Brizzi, B., Il Museo Pigorini, 1976; Basler, A./
Brummer, E., LArt Precolombien, 1947; Anton, F./Dockstader F.J., Das Alte
Amerika, 1967; Group of eleven Gallery and Auction House Exhibition
catalogues, Sammlung Andre Emmerich, New York and Basel, Cornett de
Saint-Cyr, Hotel Drouot (three copies), Galerie Motte, Galerie Le CorneurRoudillon (three copies), Salle des ventes Rosset, 1932-1979; Group of
two magazines, Antike Welt, Fanal, 1964-1978; Group of ve Museum
Exhibition Catalogues, Museum fr Vlkerkunde Freiburg i.B., Museum
fr Vlkerkunde Basel, VII Bienal de Sao Paulo, Chicago Natural History
Museum, Robert Woods Bliss Collection, Washington, 1954-1963; Group of
six Museum Exhibition Catalogues, Musee Rodin, Museum fr Vlkerkunde Berlin, Staatliches Museum fr Vlkerkunde Mnchen, Worchester Art
Museum, Schloss Celle, Museo Rafael Larco Herrera, 1955-78, Group of 14
academic booklets, 1936-81; Group of nine academic publications, Verhandlungen des VVVVIII. Internationalen Amerikanistenkongresses, Vol. I-IV,
Atti XL Congresso Internationale Degli Americanisti, Actes du XLIIe Congres
International des Americanistes, Scientic Review, Museum Basel
Villaret, B., Arts anciens du Perou, 1978; Hoyle, R.L., Peru, 1966; Dockstader,
F.J., DIe Kunder der Indianer in Sdamerika, 1967; DHarcourt, R., Arts
de LAmerique, 1948; Bennett, W./Bird, J., Andean Culture History, 1960;
Eisleb, D., Altperuanische Kulturen, Vol. I-IV, 1975; Rautenstrauch-JoestMuseum Kln, Schtze aus Peru, June 20-Sept. 6, 1959; Group of three
museum exhibition catalogues, Staatliches Museum fr Vlkerkunde
Mnchen (two copies), bersee-Museum Bremen, 1973; Galerie Alt-Amerika Stuttgart, Faszination Alt-Amerika, 2002, Group of twelve auctionhouse and exhibition catalogues, Galerie Fischer Luzern, Hauswedell
Hamburg, Galerie Koller Zrich, Sammlung Carmen Oechsle, 1962-1996;
Museum zu Allerheiligen Schahausen Sammlung Ebnther, Vom Toten
Meer zum Stillen Ozean, 1999; Seifert, G., Frauen des alten Amerika, 2001;
Schindler, H., Die Kunstsammlung Norbert Mayrock aus Alt-Peru, 2000
800 1 200
*177
GROUP OF THIRTEEN BOOKS
*175
800 1 200
800 1 200
1 000 2 000
*178
GROUP OF THREE BOOKS
Lavalle de; J.A./Lang, W., Coleccion Arte y Tesoros del Peru: Chavin. Huari.
Moche, 3 vol., 1981, 1984, 1985
400 700
*179
GROUP OF TWO BOOKS
Tello, J.C., Paracas, Vol. 1, 1959; Amano, Y., Textiles of the Andes. Catalog
of Amano Collection, 1979
200 400
*180
GROUP OF FIVE BOOKS
Lavalle de, J.A./ Lang, W., Coleccion Arte y Tesoros del Peru: Chancay.
Nazca. Paracas. Arte Precolombino: Pintura, 4 vol., 1982, 1983, 1986;
Lavalle de J.A./Gonzalez Garcia, J.A., Coleccion Arte Textil del Peru, 1989
600 900
103
181
CHAVIN EFFIGY VESSEL
Ca. 700-400 B.C.
Height 24,3 cm
The unusual composition with the cylindrical vessel surmounted by
a stylized prone gure with bent legs extended at the back in a carefree manner, squat body with bipartite pigment and scored overall,
arms bent and folded at the chest, the face with tripartite pigmentation, with applied eyes and thin closed mouth, the whole painted in
shades of orange and cream with areas highly burnished.
Provenance
6 000 9 000
105
182
EARLY CHAVIN
BLACKWARE VESSEL,
TEMBLADERA
Ca. 1400-1000 B.C.
Height 21,6 cm
Finely scored overall with six burnished,
concentric circles motifs in relief.
Provenance
3 500 5 500
183
SALINAR ZOOMORPHIC
VESSEL
Ca. 500-300 B.C.
Height 14,1 cm
The parrot standing with incised wings
held closely to the sides of the body and
folded on the tail, with prominent beak
and zigzag patterns as the facial plumage,
painted in cream and light brown.
Provenance
2 000 3 000
184
EARLY MOCHICA FROG VESSEL
Ca. 300-100 B.C.
Height 17,1 cm
The rotund seated amphibian, possibly a Bufo marinus, with head jutting upward, side glands swelling
and lips tightly closed, supra orbital ridge highlighted
by scrolling brows, limbs held close to the sides, with
incised ngers painted in reddish brown and cream
and covered overall with a spotted pattern.
Provenance
183
3 000 5 000
184
107
185
LATE NAZCA EFFIGY VESSEL
Ca. A.D. 300-600
Height 17,2 cm
Painted in reddish brown, dark brown,
tan and cream, in the form of a standing
female with rounded body with long arms
held straight to the sides, almond-shaped
eyes under arched, thin brows, reddened
cheeks, with a fringe of long hair surrounding her face, wearing an elaborately patterned tunic, with stylized octopus heads
along the skirt and a chevron patterned
headband.
Provenance
3 500 5 500
*186
TIAHUANACO EFFIGY VESSEL,
HIGHLANDS
Ca. A. D. 400-700
The naturalistically rendered standing
llama, with cloven hooves planted rmly, a
swelling robust body and elongated neck,
lips parted, pierced nostrils ared and
ears backward swept and pierced, a spout
aring from the back, painted in a creamy
slip with details in reddish brown.
Height 16 cm
Provenance
Ed. Lois Katz, Art of the Andes: Pre-Columbian Sculptured and Painted Ceramics from
the Arthur M. Sackler Collections, Washington D. C., 1983, pl. 147
Cf. Junius Bird, E. Benson and W. Conklin,
Museum of the Andes, New York, 1981, pg.
85; Revista de Arqueologia Boliviana, no. 4,
La Paz, g.26
Another modeled llama is in the Museo
National de Antropologia y Arqueologia in
Lima, Sackler Collections, pg. 112, g. 8
Llamas, originally and essentially Highland
animals, were bred on the north coast of
Peru. Unlike most other animals in Andean
art, which are often anthropomorphized
and sometimes mixed with other animals
traits, llamas are depicted quite realistically.
6 000 8 000
187
187
188
Ca. A. D.500-1000
The regal bird with rounded aring tail and tapering wings curving
sharply downward, the stylized legs projecting out at the sides and
terminating in crested birds heads, with rounded chest anked by
braidwork, and tall neck, the head with large, globular eyes trimmed
with herringbone bands and a spiral crest atop; a suspension loop
on the reverse.
Width 8.9 cm
Provenance
2 500 4 500
6 000 9 000
189
TAIRONA GOLD NOSE ORNAMENT
Ca. A. D. 1000-1500
Composed of hollow semi circular nose ring, the outer perimeter
applied with two rows of openwork and with tapering terminals
surrounded by braidwork.
Width 6.5 cm
Provenance
188
900 1 200
110
190
190
TOLIMA GOLD NOSE ORNAMENT
Ca. A. D. 500-1000(check)
Cast with semi-circular nose ring with tapering ends, with openwork
crosshatched side anges terminating in tight spirals; a modern gold
brooch clasp on the reverse.
Length 6 cm
Cf. For the openwork iconography, El Dorado Colombian Gold, Exhibition Catalogue, Australia, February 25-October 1, 1978, pl. 239-240
192
1 200 1 800
*191
192
Ca. A. D. 500-1000
Each of semi-circular form with three openwork zizag registers
separated by narrow bands, surmounted by a long-billed bird on
each end.
Ca. A. D. 800-1200
Diameter each 5 cm
Cast with a highly stylized raptorial bird with splayed tail, raised
chest, upturned snout and twp ferocious mythical animal heads
issuing from the ears; a suspension hole on the reverse.
Height 5.5 cm
Provenance
800 1 200
Belgian Collection
2 000 2 500
189
191
111
193
VERAGUAS GOLD EAGLE PENDANT
Ca. A. D. 800-1500
Cast with broad aring tail, wings arched and embossed with roundels, feet projecting from the chest, wearing banded necklaces and
spiral earrings, large ears pointed to the side, a suspension loop on
the reverse.
Provenance
Width 9.2 cm
5 000 7 000
112
194
RARE CALIMA EMERALD PENDANT
Ca. A. D. 200-400
The miniature version of an anthropomorphic
gure of a double-spouted alcarraza; drilled with
a suspension hole.
Height 1.6 cm
Cf. Colombia Before Columbus, g. 39, for an identical terracotta version.
2 000 3 000
195
CARCHI FIGURAL GROUP
Ca. A. D. 500-1500
The male seated on a bench and balancing a child
on his right knee, with a wad of coca bulging from
his left cheek, painted in reddish brown; together
with a Nicoya seated gurine, a Carchi female in a
birthing pose, and the fragment of Nicoya vessel.
(4)
Heights 19.5 to 7.6 cm
See illustration of the Coca Chewer
1 000 1 500
113
196
COSTA RICAN STONE EFFIGY METATE
GUANACASTENICOYA
Ca. A. D. 300-700
Finely carved with prominent head of a raptorial bird with open,
recurved beak, eyes treated as concentric circles, the openwork neck
with bold guilloche and lozenge patterns the rectangular, slightly
concave platform one end carved with a border of guilloche motifs,
the three openwork legs highlighted by further decorative patterning; in grey volcanic stone,
Length 86 cm
Provenance
12 000 18 000
197
COSTA RICAN STONE DOUBLE FIGURE
ATLANTIC WATERSHED REGION
Ca. A. D. 800-1200
The addorsed seated male gures, each holding a pipe, possibly
containing a hallucinogenic substance in a shamanic ritual, with
closely-set eyes and large ears to the sides; in grey volcanic stone.
Length 21 cm
Provenance
2 200 2 600
198
COCLE POLYCHROME PEDESTAL PLATE
Ca. A. D. 1000-1300
Supported on a aring foot and the interior painted in deep orange,
cream, dark brown and plum with a stylized saurian with mouth ajar,
serrated crest on the head and claws bared.
Height 15 cm
1 500 1 800
115
199
LARGE CHUPICUARO
FEMALE FIGURE
LATE PRECLASSIC
Ca. 500-100 B. C.
Standing on large feet with hands held
to the chest, with squared shoulders and
demarcated rib cage, the head distinguished by raised cheekbones, upward slanted
eyes under V-shaped brows and lips parted,
painted in tan and reddish brown.
Height 39 cm
Provenance
7 000 9 000
200
MEZCALA STONE FIGURE, TYPE M22
LATE PRECLASSIC
Ca. 300-100 B. C.
Standing with on short legs, with arms carved in
relief with forearms folded on the elongated torso,
ngers faintly incised, the tapering head with jutting jaw and grooves indicating eyes and mouth,
cheek furrows; in speckled pale green andesite.
Height 19.8 cm
4 000 8 000
201
OLMEC JADE SPOON
MIDDLE PRECLASSIC
Ca. 900-600 B. C.
With two palette-like gently concave depressions,
one nely incised with two, four-pointed Flaming
Brows, in dark green stone, with faint remains of
cinnabar.
Width 9 cm
Provenance
2 000 4 000
117
203
202
202
202
203
203
203
202
202
203
204
FOUR PRECLASSIC
FEMALE FIGURINES
FOUR PRECLASSIC
FEMALE FIGURINES
LATE PRECLASSIC
MIDDLE PRECLASSIC
LATE PRECLASSIC
Ca. 300-100 B. C.
Ca. 1150-550 B. C.
Ca. 300-100 B. C.
Each holding their infant, one a Tlatilco seated gure with remains of red
pigment, the other a standing Michoacan
gure with remains of red pigment, and
two seated Chupicuaro gurines.
Heights 6 to 11 cm
Heights 4 8 to 11.5 cm
Heights 10 to 11. 5 cm
Provenance
Provenance
Provenance
900 1 200
900 1 200
1 200 1 800
204
204
205
204
205
118
205
TWO COLIMA PRECLASSIC
FEMALE FIGURES
LATE PRECLASSIC
Ca. 300-100 B. C.
Each recumbent, one with her child crawling on her belly and the in the throes of
giving birth.
Lengths 16 and 12.2 cm
Provenance
900 1 200
207
208
TWO COLIMA PRECLASSIC FEMALE FIGURINES
206
THREE WEST MEXICAN
PRECLASSIC
FEMALE FIGURINES
LATE PRECLASSIC
Ca. 300-100 B. C.
Including one pregnant gure with remains of ochre pigment, and
a standing gure holding her child to her right shoulder, wearing
jewelry and a wraparound skirt.
LATE PRECLASSIC
Ca. 300-100 B. C.
Jean Roudillon Auction, Paris, 1970s, lot 90, for the rst
900 1 200
Heights 13.5 to 15 cm
Provenance
1 000 2 000
207
TWO PANUCO FEMALE
FIGURINES
Ca. A. D. 250-450
The corpulent seated gure solely adorned
in jewelry and feathered headdress, the
standing gurine with outstretched hands
and hair treated as a layered chignon; each
with remains of black chapapote.
Heights 16.5 and 10 cm
Provenance
500 700
208
119
209
COLIMA SEATED FIGURE
PROTOCLASSIC
Ca. 100 B. C.-A. D. 250
The hunchback lifting a shallow bowl to his lips, ears pierced and
wearing a closely-tted cap with raised ridges, painted in brown and
reddish-brown.
29.2 cm
Provenance
5 500 7 500
210
COLIMA SEATED FIGURE
PROTOCLASSIC
Ca. 100 B.C.-A. D. 250
With tall tapering torso and both arms upraised,
one hand portrayed in a rudimentary fashion, the
head turned sharply toward the left with determined expression, wearing shell pectoral and an
incised waist band, crested helmet and a spout
projecting from the back of the head, painted in
brown and reddish brown.
Height 42 cm
Provenance
7 000 10 000
211
CHINESCO FEMALE FIGURE, TYPE C
PROTOCLASSIC
Ca. 100 B. C.-A. D. 250
The pregnant female with legs outspread and toe demarcated,
holding her left hand to her distended belly and balancing a bowl
on her right shoulder, the heart-shaped face with slit eyes and lips
parted, ears and nose pierced, wearing a close-tted red cap, and
the body painted in a creamy slip with ne crosshatch black designs
covering her whole torso, possibly tattoos.
Height 30 cm
Provenance
4 000 6 000
122
212
MICHOACANCOLIMA
MALE FIGURE
PROTOCLASSIC
Ca. 100 B. C. -A. D. 250
Seated with legs outspread and leaning forward,
with a resolute expression with wide facial plane,
lips parted and long aquiline nose, with decorative tattoos surrounding the mouth and the
left eye, shoulders with cicatrice marks, wearing
a tunic, trunks, and jewelry, painted in reddish
brown, ocher and black.
Height 50.7 cm
15 000 25 000
213
NAYARIT PREGNANT FIGURE
SAN SEBASTIAN STYLE
PROTOCLASSIC, Ca. 100 B. C.-A. D. 250
Crouching on her knees in a birthing position with feet arched at the back as a support,
hands placed to the sides of her distended
belly, the infants head issuing forth, wearing
multiple earrings, necklace and nose ring,
raised cicatrice marks on her shoulders,
and painted overall in reddish brown with
decorative tattoos in black resist.
Height 49.5 cm
Provenance
7 000 9 000
214
JALISCO COUPLE, AMECA GRAY
PROTOCLASSIC
Ca. 100 B. C.-A. D. 250
The conjoined seated couple in a whimsical pose with the male
placing his hands on the head of his consort, the female leaning
forward balancing her weight on her arched feet, her hands pressing
on his knees, the male wearing a banded headdress and the female
a skirt.
Length 22 cm
Provenance
9 000 11 000
125
215
JALISCO MOTHER AND CHILD
EL ARENAL
PROTOCLASSIC, Ca. 100 B. C.-A. D. 250
Legs crossed and carefully cradling her nursing
infant to her left breast, with high cheekbones, heavy-lidded eyes and lips parted as if in
speech, wearing a skirt, jewelry and closelytted cap, painted in deep reddish brown with
decorative details in black and white.
Height 19.4 cm
Provenance
4 000 6 000
216
126
216
217
PROTOCLASSIC
3 000 5 000
7 000 9 000
127
218
VERACRUZ STANDING FIGURE
OF A DEITY
LATE CLASSIC
Ca. A. D. 550-950
Possibly a representation of a late Mayan
Earth goddess, such as the Goddess O
who might have evolved into the Aztec
Tlazolteotl, an Earth Mother goddess of
human fertility and of sexuality as well as
ritual cleansing, the youthful face with lips
parted as if in speech, holding the remains
of a sta (?) in the outstretched hand
and a shield decorated with a monsters
mask with a goggle eye surrounded with
feathers and jade ornaments, wearing a
patterned loincloth and belt with a shell,
a thick collar and elaborate headdress
incorporating a monsters head, rosette
and feathers.
Height 60 cm
Provenance
2 500 4 500
218
219
TEOTIHUACAN GREYWARE TECOMATE
EARLY CLASSIC
Ca. A. D. 150-250
Of unusual form and size, the hemispherical body standing on three
small feet, covered in an overall grey-black slip with a deep punctate
surface.
Literature
Diameter 22.2 cm
Provenance
1 500 2 500
220
220
VERACRUZ STONE YOKE
LATE CLASSIC
Ca. A. D. 550-950
With a faint scalloped depression on one side and two further faint
depressions at the ends; in highly polish mottled rich grey-green
stone.
Length 38.1 cm
Provenance
8 000 12 000
219
129
221
MAYAN DIGNITARY, JAINA
LATE CLASSIC,
Ca. A. D. 550-950
With feet rmly planted and arms crossed,
gazing ahead with downward cast eyes, high
nose bridge, attired in a long ex, beaded
necklace and tall headdress with medallion and
feather crest over the stepped coiure, with
faint remains of blue pigment.
Height 18.1 cm
Provenance
7 500 9 500
*222
MAYAN PAINTED VESSEL
LATE CLASSIC, Ca. A. D. 550-950
Painted in codex style with a boldly depicted, seated gure on each
side, perhaps versions of Hunahpu and Xbalanque, each deeply bent
over the crossed legs and reaching the left hand out, wearing heavy
pendant with long counterweight beads trailing down the back,
long earplugs, thick waist band and voluminous turban tipped by
feathers at the back, one gure with mirror markings on the arms
and extended nose bridge, top and bottom rim painted in orange.
Height 15.3 cm
Provenance
5 500 7 500
131
LATE CLASSIC
Ca. A. D. 550-950
Height 16.5 cm
Provenance
*223
MAYAN POLYCHROME CYLINDER VASE
132
7 500 9 500
224
MAYAN MOLD MADE BALLPLAYER, JAINA
LATE CLASSIC
Ca. A. D. 550-950
Attired in the traditional wide ball yoke ornamented with a
monsters head and jewelry, with details highlighted in white
pigment.
Height 14.3 cm
Provenance
2 500 3 500
225
MAYAN JADE PENDANT
LATE CLASSIC
Ca. A. D. 550-950
The dignitarys face carved with subtle features, small, closed mouth
and downward cast eyes, rounded cheeks and striated hair; in pale
to bright green stone, pierced for suspension.
Height 4.2 cm
Provenance
1 500 2 500
226
MAYAN POLYCHROME PLATE
LATE CLASSIC
Ca. A. D. 550-950
Standing on tiny tripod supports painted in dark orange and black
on a pale orange ground with a dignitary seated on a raised dais
gesturing with his right hand toward a bundle of oerings, the aring sides further painted with two stylized long-necked cormorants
separated by a panel by stylized feathers.
Diameter 26.3 cm
Acquired in the 1970s in Holland
950 1 150
133
BIBLIOGRAPHY
ERHALTUNGSZUSTAND CONDITION
Ins Gewicht fallende Schden werden vermerkt.
Farbabbildungen knnen vom Original abweichen.
Damage of any consequence is noted. It is possible that colour
illustrations deviate from the original.
PROVENIENZ PROVENANCE
Soweit die Provenienzangaben nicht ausdrcklich dokumentiert
sind, beruhen sie auf Angaben der Einlieferer.
Die Einlieferer aller zur Versteigerung kommenden Objekte
haben schriftlich besttigt, dass die Einfuhr der Objekte nach
Deutschland vor dem 18.5.2007, beziehungsweise in die Schweiz
vor dem 1.6.2005 erfolgte.
Any given provenance details are based upon documentation or
have been provided by the consignor.
The consignors of all the works oered for sale have conrmed,
in writing, that the import into Germany took place before
18.5.2007 or into Switzerland before 1.6.2005.
KATALOGBEARBEITER SPECIALIST
Fatma Wille
KATALOGREDAKTION EDITORS
Mag. Alice Jay von Seldeneck
Helen Dahlhuisen
Tel. ++49 89 98 10 77 67
Whrend der Besichtigungszeiten stehen die Katalogbearbeiter zur Beratung gerne zur Verfgung.
Hotel
We recommend the following excellent hotels.
Please request the special rate arranged for by
mentioning Lempertz.
Hotel Excelsior Ernst, Tel. +49 221 2701
(10 minutes walk to Lempertz, next to the cathedral)
Hotel am Wasserturm, Tel. +49 221 200 80
(5 minutes walk to Lempertz)
Lageplan und Anfahrtsskizze
Zu Lempertz nden Sie unter www.lempertz.de,
gehen Sie auf Kontakt und dann auf Adresse;
wir empfehlen das Aral Parkhaus, Ccilien Str. 44
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1. Das Kunsthaus Lempertz (im Nachfolgenden Lempertz) versteigert
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Ausfuhrlieferungen in Drittlnder (d.h. auerhalb der EU) und - bei Angabe der
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wird ihnen die MwSt. erstattet, sobald Lempertz der Ausfuhr- und Abnehmernachweis vorliegen. Whrend oder unmittelbar nach der Auktion ausgestellte
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Flligkeit bei Eingang binnen 10 Tagen nach Rechnungsdatum noch nicht als
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der sumige Kufer fr einen Mindererls gegenber der vorangegangenen
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Versicherungs- und Lagerkosten p.a. berechnet.
CONDITIONS OF SALE
1. The art auction house, Kunsthaus Lempertz (henceforth referred to
as Lempertz), conducts public auctions in terms of 383 paragraph
3 sentence 1 of the Civil Code as commissioning agent on behalf of
the accounts of submitters, who remain anonymous. With regard to its
auctioneering terms and conditions drawn up in other languages, the
German version remains the ocial one.
2. The auctioneer reserves the right to divide or combine any catalogue lots or,
if it has special reason to do so, to oer any lot for sale in an order dierent from
that given in the catalogue or to withdraw any lot from the sale.
3. All lots put up for sale may be viewed and inspected prior to the auction. The catalogue specications and related specications appearing
on the internet, which have both been compiled in good conscience, do
not form part of the contractually agreed to conditions. These specications have been derived from the status of the information available at the
time of compiling the catalogue. They do not serve as a guarantee in legal
terms and their purpose is purely in the information they provide. The same
applies to any reports on an items condition or any other information,
either in oral or written form. Certicates or certications from artists, their
estates or experts relevant to each case only form a contractual part of the
agreement if they are specically mentioned in the catalogue text. The state of
the item is generally not mentioned in the catalogue. Likewise missing specications do not constitute an agreement on quality. All items are used goods.
4. In the event of variances from the catalogue descriptions, which result in
negation or substantial diminution of value or suitability, and which are reported with due justication within one year after handover, Lempertz nevertheless undertakes to pursue its rights against the seller through the courts; in
the event of a successful claim against the seller, Lempertz will reimburse the
buyer only the total purchase price paid. German is the ocial language for
the catalogue text. Over and above this, Lempertz undertakes to reimburse its
commission within a given period of two years after the date of the sale if the
object in question proves not to be authentic. Liability of Lempertz for faults or
defects is otherwise excluded.
5. Claims for compensation as the result of a fault or defect in the object auctioned or damage to it or its loss, regardless of the legal grounds, or as the
result of variances from the catalogue description or statements made elsewhere are excluded unless Lempertz acted with wilful intent or gross negligence; in other regards, point 4 applies.
6. Submission of bids. Bids in attendance: The oor bidder receives a
bidding number on presentation of a photo ID. Lempertz reserves the
right to grant entry to the auction. If the bidder is not known to Lempertz,
registration must take place 24 hours before the auction is due to begin
in writing on presentation of a current bank reference. Bids in absentia: Bids can also be submitted either in writing, telephonically or via the
internet. The placing of bids in absentia must reach Lempertz 24 hours before the auction to ensure the proper processing thereof. The item must
be mentioned in the bid placed, together with ticket number and item
description. In the event of ambiguities, the listed ticket number becomes applicable. The placement of a bid must be signed by the applicant.
The regulations regarding revocations and the right to return the goods in
the case of long distance agreements ( 312b d of the Civil Code) do not
apply. Telephonic bids: Establishing and maintaining a connection cannot
be vouched for. In submitting a bid placement, the bidder declares that
he agrees to the recording of the bidding process. Bids via the internet:
They will only be accepted by Lempertz if the bidder registered himself
on the internet website beforehand. Lempertz will treat such bids in the same
way as bids in writing.
7. Carrying out the auction. The hammer will come down when no
higher bids are submitted after three calls for a bid. In extenuating circumstances, the auctioneer reserves the right to bring down the hammer or he
can refuse to accept a bid. If several individuals make the same bid at the
same time, and after the third call, no higher bid ensues, then the ticket
becomes the deciding factor. The auctioneer can retract his acceptance
of the bid and auction the item once more if a higher bid that was submitted on time, was erroneously overlooked and immediately queried by the
bidder, or if any doubts regarding its acceptance arise ( 2 point 4 VerstVO). Bids are only played to an absolute maximum by Lempertz if this is
deemed necessary to outbid another bid. The auctioneer can bid on behalf of
the submitter up to the agreed limit, without revealing this and irrespective
of whether other bids are submitted. Even if bids have been placed and the
hammer has not come down, the auctioneer is only liable to the bidder in the
event of premeditation or gross negligence.
8. Once a lot has been knocked down, the successful bidder is obliged
to buy it. If a bid is accepted conditionally, the bidder is bound by his bid until
four weeks after the auction unless he immediately withdraws from the conditionally accepted bid. From the fall of the hammer, possession and risk pass
directly to the buyer, while ownership passes to the buyer only after full payment has been received.
9. A premium of 21 % calculated on the hammer price plus 19 % value added tax calculated on the surcharge only is levied (margin
scheme). On lots which are characterized by an *, the buyer shall pay a premium of 21 % on the hammer price; onto this (hammer price and premium)
the statutory VAT of 7 % for paintings, original prints, sculptures and collection pieces and 19 % for decorative art and photography will be added. (Regelbesteuerung = regular scheme). Invoices may be issued for buyers who
are entitled to a Pre-Tax Deduction for art and decorative art for all lots
according to the existing Regelbesteuerung (normal regime). These
buyers must identify themselves when receiving their bidding paddle.
Exports to third (i.e. non-EU) countries will be exempt from VAT, and so
will be exports made by companies from other EU member states if
they state their VAT identication number.
10. Successful bidders attending the auction in person shall forthwith
upon the purchase pay to Lempertz the nal price (hammer price plus
premium and VAT) in Euro. Payments by foreign buyers who have bid in
writing or by proxy shall also be due forthwith upon the purchase, but
will not be deemed to have been delayed if received within ten days of the
invoice date. Bank transfers are to be exclusively in Euros. Cheques are not accepted.
11. In the case of payment default, Lempertz will charge interest on the outstanding amount at a rate of 1 % of the gross price per month or part month.
If the buyer defaults in payment, Lempertz may at its discretion insist on performance of the purchase contract or, after allowing a period of grace, claim
damages for non-performance. In the latter case, Lempertz may determine
the amount of the damages by putting the lot or lots up for auction again, in
which case the defaulting buyer will bear the amount of any reduction in the
proceeds compared with the earlier auction, plus the cost of resale, including
the premium.
12. Buyers must take charge of their purchases immediately after the auction.
Once a lot has been sold, the auctioneer is liable only for wilful intent or gross
negligence. Lots will not, however, be surrendered to buyers until full payment
has been received. Without exception, shipment will be at the expense and
risk of the buyer. Purchases which are not collected within four weeks after the
auction may be stored and insured by Lempertz on behalf of the buyer and
at its expense in the premises of a freight agent. If Lempertz stores such items
itself, it will charge 1 % of the hammer price for insurance and storage costs.
13. As far as this can be agreed, the place of performance and jurisdiction is
Cologne. German law applies; the provisions of the United Nations Convention on Contracts for the International Sale of Goods, CISG are not applicable.
Should any provision herein be wholly or partially ineective, this will not aect
the validity of the remaining provisions.
Henrik Hanstein, sworn public auctioneer.
Takuro Ito, auctioneer.
reprendre lobjet adjug et le remettre en vente si une enchre suprieure place temps lui a chapp par erreur et que lenchrisseur a fait une rclamation immdiate ou que des doutes existent au sujet de ladjudication ( 2, alina
4 du rglement allemand sur les ventes aux enchres). Des enchres ne seront
places par Lempertz que dans la mesure ncessaire pour dpasser une autre
enchre. Le commissaire-priseur ne peut enchrir pour le dpositaire que dans
la limite convenue, sans acher cette limite et indpendamment du placement ou non dautres enchres. Si, malgr le placement denchres, aucune
adjudication na lieu, le commissaire-priseur ne pourra tre tenu responsable
quen cas de faute intentionnelle ou de ngligence grave.
8. Ladjudication engage lenchrisseur. Dans la mesure o une adjudication sous rserve a t prononce, lenchrisseur est li son enchre
jusqu quatre semaines aprs la n de la vente aux enchres, sil ne se
dsiste pas immdiatement aprs la n de la vente.
9. Dans le cadre de la vente aux enchres un agio de 21 % sajout au
prix dadjudication, ainsi quune TvA de 19 % calcule sur le agio (taxation direntielle). Pour les position de catalogue caractrise par *,
un agio de 21% est prlev sur le prix dadjudication; ce prix factur net
(prix dadjudication + agio) est major de la T.V.A. lgale de 7% pour les tableaux, graphiques originaux, sculptures et pices de collection, et de
19 % pour les arts dcoratifs appliqus (imposition rgulire). Sont exemptes
de la T.V.A., les livraisons dexportation dans des pays tiers (en dehors de lUE)
et en indiquant le numro de T.V.A. intracommunautaire aussi destination dentreprises dans dautres pays membres de lUE. Si les participants une
vente aux enchres emmnent eux-mmes les objets achets aux enchres
dans des pays tiers, la T.V.A: leur est rembourse ds que Lempertz se trouve
en possession du certicat dexportation et dacheteur. Les factures tablies
pendant ou directement aprs la vente aux enchres doeuvres dart doivent
faire lobjet dune vrication, sous rserve derreur.
10. Les adjudicataires participant personnellement la vente aux enchres
sont tenus de payer le prix nal (prix dadjudication plus agio + T.V.A.) directement aprs ladjudication Lempertz. Le paiement par des adjudicateurs externes, qui ont enchri par crit ou ont t reprsents, est, nonobstant son
exigibilit immdiate, considr comme ntant pas en retard sa rception
dans les 10 jours suivant la date de la facture. Les virements bancaires se font
uniquement en euro. Nous nacceptons pas les chques. Tout demande de
rcriture dune facture un autre nom de client que celui de lenchrisseur
doit se faire directement aprs la n de la vente aux enchres. Lempertz eectue la ralisation de cette nouvelle facture.
11. Pour tout retard de paiement, des intrts hauteur de 1 % du prix brut
seront calculs chaque moins nouvellement entam. En cas de retard de paiement, Lempertz peut son choix exiger lexcution du contrat dachat ou,
aprs xation dun dlai, exiger des dommages-intrts pour non excution.
Les dommages-intrts pourront dans ce cas aussi tre calculs de la sorte que
la chose soit vendue une nouvelle fois aux enchres et que lacheteur dfaillant
rponde du revenu moindre par rapport la vente aux enchres prcdentes
et des frais pour une vente aux enchres rpte, y compris lagio.
12. Les adjudicataires sont obligs de recevoir leur acquisition directement
aprs la vente aux enchres. Le commissaire-priseur nest responsable des
objets vendus quen cas de prmditation ou de ngligence grossire. Les
objets achets aux enchres ne seront toutefois livrs quaprs rception du
paiement intgral. Lexpdition a lieu exclusivement aux frais et aux risques de
ladjudicataire. Lempertz a le droit de mettre des objets non enlevs en entrept et de les assurer au nom et pour le compte de ladjudicataire chez un
commissionnaire de transport quatre semaines aprs la vente aux enchres.
En cas de mise en entrept par Lempertz mme, 1% du prix dadjudication sera
factur par an pour les frais dassurance et dentreposage.
13. Le lieu dexcution et le domicile de comptence - sil peut tre convenu
- est Cologne. Le droit allemand est applicable. Les prescriptions du CISG ne
sont pas applicables. Au cas o lune des clauses serait entirement ou partiellement inecace, la validit des dispositions restantes en demeure inaecte.
Henrik Hanstein, commissaire-priseur dsign et asserment.
(Membre de la Chambre Royale Belgo-Luxembourgeoise de
commissaires-priseurs)
Takuro Ito, commissaire-priseur.
FILIALEN
BRANCHES
REPRSENTANTEN
REPRESENTATIVES
Berlin
Karl-Sax Feddersen
Christine Grlipp M.A.
Irmgard Canty M.A.
Poststrae 22 (Ecke Mhlendamm)
D-10178 Berlin
Tel 030/27 87 60 80
Fax 030/27 87 60 86
berlin@lempertz.com
Frankfurt/Main
Dr. Petra von Trott zu Solz
Tel 069/15 05 48 01
Fax 069/15 05 48 03
trott@lempertz.com
Brssel
Christine de Schaetzen
Dr. Hlne Mund
Victor Teodorescu M.A.
Lempertz AG
Wolstraat 1, rue aux Laines
B1000 Bruxelles/Brussel
Tel 0032/2/5 14 05 86
Fax 0032/2/5 11 48 24
brussel@lempertz.com
Schweiz
Nicola Grn zu Stolberg
Tel 0041/44/4 22 19 11
Fax 0041/44/4 22 19 10
stolberg@lempertz.com
Mag. Alice Jay von Seldeneck
Tel 0041/78/8 81 88 39
New York
Drs. Dieuwke Eijer
Tel 001/917/4 46 75 20
eijer@lempertz.com
So Paulo
Martin Wurzmann
Tel 0055/11/38 16 58 92
Fax 0055/11/38 14 49 86
Mnchen
Emmarentia Bahlmann
Helen Dalhuisen M.A.
Hans-Christian von Wartenberg M.A.
St.-Anna-Platz 3
D-80538 Mnchen
Tel 089/98 10 77 67
Fax 089/21 01 96 95
muenchen@lempertz.com
BESITZERVERZEICHNIS
(1) 216; (2) 197-198; (3) 192, 226; (4) 181-185; (5) 194-195; (6) 221,
224; (7) 196, 200; (8) 201, 218-219, 225; (9) 1-180; (10) 186, 222-223;
(11) 187-191, 193, 202-208, 211, 213-214; (12) 209-210, 212,
220; (13) 217; (14) 199, 215
Neumarkt 3
50667 Kln (Germany)
Tel. +49/221/9257290
Fax +49/221/9257296
info@lempertz.com
Pre-Columbian Art
Prkolumbische Kunst
The above listed bids will be utilized to the extent necessary to overbid other bids. The bids
are binding, the listed catalogue numbers are valid. The commission and value added tax
(VAT) are not included. The bidder accepts the conditions of sale. Written bids should be
received by at latest the day before the auction.
Die Gebote werden nur soweit in Anspruch genommen, als andere Gebote berboten
werden mssen. Die Auftrge sind bindend, es gelten die eingetragenen Katalognummern.
Das Aufgeld und die Mehrwertsteuer sind nicht enthalten.
Der Auftraggeber erkennt die Versteigerungsbedingungen an. Schriftliche Gebote sollen
einen Tag vor der Auktion vorliegen.
Name Name
Adresse Adress
Telefon Telephone
Fax
Evtl. Referenzen und Identikation bei Neukunden References and identication may be required for new clients
Datum Date
Unterschrift Signature
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LEMPERTZ
A SI A N A RT
incl. part II of a coll. of modern Chinese painting, a coll. of Maoist propaganda posters
and a coll. of Chinese porcelain from the early Qing period
Catalogue upon request and online
L UBA , S TOOL
WITH
LEMPERTZ
A U C T I O N T R I B A L A RT
11 June 2011
in Brussels
Rue aux Laines 1, Wolstraat Bruxelles 1000, Brussel Tel. +32/2/514 05 86 Fax +32/2/511 48 24
brussel@lempertz.com www.lempertz.com