{"title":"Terracottas","description":"","products":[{"product_id":"gt1303","title":"A large Hellenistic Terracotta Figure of Aphrodite, ca. 3rd century BCE","description":"\u003cp\u003eA finely modeled Hellenistic terracotta statuette of Aphrodite, the goddess of love and beauty, shown standing gracefully atop an integral plinth base. She is depicted partially nude, with a chiton draped low around her hips, its folds clasped in her left hand. Her right hand rests casually atop a herm (bearded male head set on a pillar), suggesting a dialogue between the erotic and the divine.\u003c\/p\u003e\n\u003cp\u003eAphrodite wears a wreath in her centrally parted hair, which falls in thick tresses down the back of her neck. The form is characteristic of mold-made terracottas from Myrina, a major center of terracotta production in Hellenistic Asia Minor. The signed reverse further supports the attribution to a known workshop tradition.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eThis piece represents the sophisticated synthesis of sculpture, narrative, and sensuality typical of late Hellenistic terracotta production. The integration of Aphrodite with the herm implies both cultic and decorative function, possibly as part of a domestic shrine or votive setting.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong data-end=\"1376\" data-start=\"1361\"\u003eComparanda:\u003c\/strong\u003e\u003cbr data-end=\"1379\" data-start=\"1376\"\u003eCf. L. Burn, R. Higgins, H.B. Walters, D.M. Bailey, \u003cem data-end=\"1479\" data-start=\"1431\"\u003eCatalogue of Terracottas in the British Museum\u003c\/em\u003e, vols. I–IV, London, 1903, nos. 2276 \u0026amp; 2291 (figures with similar iconography including boys or deities leaning against herms).\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight: 12 3\/4 inches (32.3 cm)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eIntact and in good overall condition with minor surface wear consistent with age. Signed on the reverse in Greek script. Large rectangular vent hole at the rear.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e \u003cmeta charset=\"utf-8\"\u003eEx UK private collection, Northern England; assembled in the 1970s.\u003c\/p\u003e","brand":"Royal Athena","offers":[{"title":"Default Title","offer_id":17761738489927,"sku":"GT1303","price":12000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0234\/5339\/products\/GT1303_56e84e54-c2e8-4585-9868-e093f20052d9.jpg?v=1747792394"},{"product_id":"gt1902","title":"A Greek Terracotta Warrior on Horse, Canosa, circa 4th - 3rd Century BCE","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe rider wearing \u003c\/span\u003ea Thracian helmet with cheek pieces, short pleated tunic attached at the shoulder with straps and buskins, and \u003cspan\u003esecured at the waist with a belt, his right arm raised to hold a now-missing weapon, the left by his side.  He sits astride a separately modeled horse, with elaborate disc decorated bridle, the forelegs raised with upright rippling mane and attached flowing tail, \u003c\/span\u003ecreating a wonderful sense of movement.\u003cspan\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Complete \u003c\/span\u003ewith extensive white slip, pink, and blue pigment remaining, overall in very good condition.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height: 10 7\/8 in (27.5 cm), Length: 11 1\/4 inches (28.5 cm)\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Ex collection of Patrick Olivier Picourt, Paris, acquired in the 1980s; Mme. S., Paris.\u003c\/span\u003e\u003c\/p\u003e","brand":"Royal Athena","offers":[{"title":"Default Title","offer_id":30899824853063,"sku":"GT1902","price":14500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0234\/5339\/products\/GT1902_4.jpg?v=1654893580"},{"product_id":"at2001","title":"A Chinese Painted Pottery Court Lady, Tang Dynasty, ca. mid 8th century CE","description":"\u003cp\u003ePerhaps the most engaging and distinctive groups of Tang funerary sculpture is the one representing ladies of the court. This so-called “fat lady” is an exceptional example that reflects the Tang dynasty’s very highest artistic standards.  \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eOne of the most iconic and desired of all Tang ceramic types, she stands gracefully in fashionable demeanor, her left hand holds a rounded mirror, and, with head slightly tilted, she admires her reflection. Her sensitively modeled face has a natural grace and elegance expressed in the delicate features. The exquisite eyes, full cheeks, carefully plucked brows, and gentle smile flawlessly reflect the contemporary ideal of voluptuous beauty.  Her hair is dressed in an elaborate coiffure known as \u003cem\u003eduomaji\u003c\/em\u003e (‘falling horse bun’) or \u003cem\u003ewoduoji\u003c\/em\u003e (‘shirt falling bun’).\u003cbr\u003e\u003cbr\u003eShe is dressed in long-sleeved, flowing robes, all with incised design to emphasize the fluid folds and pleats of her gown, thus providing a sense of grace and dynamism to her voluptuous figure. Her tiny feet, encased within small upturned shoes, peep from the bottom of the gown. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eBackground:\u003c\/strong\u003e The Tang sculptors’ careful attention to fashion and physiognomy details allows us to trace in their works the changing fashions of ladies at court during this period. Models of court ladies made in the early part of the Tang dynasty depict them wearing tight-fitting garments that accentuated their slender forms.\u003c\/p\u003e\n\u003cp\u003eHowever, the reign of Emperor Xuanzong (reigned 712-756) seems to have heralded the growth in popularity of a more generous female form and the adoption of less structured, more flowing robes. This shift in aesthetic tastes is thought to have been influenced by the Emperor's favorite concubine, Yang Guifei (719 - 756), known as one of the four great beauties of ancient China, and whose curvaceous physique was legendary. Yet, excavated figures suggest the fashion was already coming to prominence by the time Yang Guifei won the emperor’s admiration. Dressed in elegant clothes with their hair arranged in elaborate coiffures, and their faces beautified with cosmetics, these aristocratic Tang women figures possess a singular grace and charm. \u003cbr\u003e\u003cbr\u003eAn Oxford Research Laboratory Thermoluminescence test accompanies this piece, which scientifically dates it to the Tang Period (618 - 906 CE). \u003cbr\u003e\u003cbr\u003ecf: Jan Fontein and Tung Wu, \u003cem\u003eUnearthing China’s Past\u003c\/em\u003e (Museum of Fine Arts, Boston, 1973), pp. 174-175, no. 89 (46cm high) and fig. 90. \u003cbr\u003e\u003cbr\u003eDiao Shi Ru Sheng: \u003cem\u003eGugong Cang Sui Tang Taoyong (Carved and Clothed as if Alive: Sui and Tang Dynasty Tomb Figurines in the Collection of the Gugong Museum)\u003c\/em\u003e, Forbidden City press, Beijing, 2006, no. 44, p. 98\u003cbr\u003e\u003cbr\u003eBower, V.,\u003cem\u003e From Court to Caravan: Chinese Tomb Sculptures from the Collection of Anthony M. Solomon,\u003c\/em\u003e Harvard University Art Museums, Cambridge, Mass. 2002, no.33, p.112\u003cbr\u003e\u003cbr\u003eJames C.Y. Watt and Prudence Oliver Harper (ed.), \u003cem\u003eChina: Dawn of a Golden Age,\u003c\/em\u003e 200-750 AD (New York, Metropolitan Museum of Art, 2004), pp. 310-11, nos. 202 A and B.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e  Modeled from reddish colored clay, the left hand professionally reattached with cosmetic overpainting, some minor losses that do not detract, overall intact, and in excellent condition.  An exceptional example that is unusual to find in collections outside of China. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height: 15 1\/8 inches (38.4 cm)\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Private NY collection, acquired from the NYC trade in 2003. Accompanied by Oxford Authentication Ltd Thermoluminescence Test C103p47 consistent with the dating.\u003c\/p\u003e","brand":"iGavel","offers":[{"title":"Default Title","offer_id":32581032804423,"sku":"AT2001","price":25000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0234\/5339\/products\/AT2001_3_2210df13-b8be-453c-98e6-038a5b7403af.jpg?v=1607275460"},{"product_id":"mt1803","title":"A large Amlash terracotta Zoomorphic Quadruped, ca. early 1st millennium BCE","description":"\u003cp\u003eStanding on four legs, with a long low body, stubby tail, tall upright neck, bird-like head with ears on either side behind the round eyes, and a mane running down the back of the head and neck. Decorated with circles engraved on the wide flat chest, as well as two diagonal lines running up the chest to a linear zigzag around the neck.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height: 14 1\/2 inches (36.8 cm), Width: 9 inches (22.8 cm)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e With minor losses to the shoulders, several cracks through the head and neck, and repairs to two legs.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e The Hauge Collection of Ancient Art, assembled between 1962 and 1966. Foreign service brothers, Victor and Osborne Hauge, together with their wives Takako and Gratia, assembled their collection of Persian, Japanese, Chinese, and Southeast Asian works of fine and folk art while stationed overseas with the US government after WWII. In consultation with academics and dealers, the Hauges assembled over two decades of what former Freer Gallery of Art director Harold Stern described in 1957 as \"without doubt one of the finest private collections in the world\". Victor and Takako published Folk Traditions in Japanese Art to coincide with a traveling exhibition held from 1978 at the Cleveland Museum of Art; Japan House Gallery, New York; and Asian Art Museum, San Francisco. Much of their collection was donated to the Freer Gallery of Art and Arthur M. Sackler Gallery at the Smithsonian Institute culminating in an exhibition and published catalogue in 2000. The balance of the collection, including this object, was inherited by descent in 2016.\u003c\/p\u003e","brand":"Hauge Collection","offers":[{"title":"Default Title","offer_id":32688526262343,"sku":"MT1803","price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0234\/5339\/products\/MT1803.jpg?v=1607282493"},{"product_id":"rt2008","title":"An Etruscan Terracotta Votive Head of A Goddess, ca. 4th - 3rd century BCE","description":"This lovely bust, of natural buff terracotta, is an excellent example of the awakening sophistication of Italic artists, who, over the following two centuries, fused native traditions with imported ones and gave birth to the multifaceted art of Late Republican Rome.  Sculpted lifesize, the head of a goddess is characterized by well-detailed features, her face with large, almond-shaped eyes, the full rounded lips with a slight archaic smile, she is wearing a short polos over hair styled in light waves that frame her face.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e: Age cracks professionally conserved with fill and minor cosmetic overpainting, small losses to the slip at the base of the neck, overall intact and in very good condition. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e: Height: 10 inches (25.4 cm)\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e: Private Collection, England, acquired prior to 2000, thereafter from the Collection of Michael Minick, New York.","brand":"Hindman Auctions","offers":[{"title":"Default Title","offer_id":39613675012167,"sku":"RT2008","price":6500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0234\/5339\/products\/RT2008.jpg?v=1698769264"},{"product_id":"rt2203","title":"An Etruscan Terracotta Antefix, ca. 6th century BCE","description":"\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003eIn the form of a half-sized head of a man with black curls along the forehead and fine, pointed features. The delicately outlined almond-shaped eyes with dark pupils, high arched brows, high cheekbones, pointed nose, the full lips set in an archaic smile.\u003cspan class=\"Apple-converted-space\" data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003eDuring the Archaic period, the workshops at Caere (modern Cerveteri) in southern Etruria produced a large number of architectural terracottas (friezes, covering plaques, acroteria, and antefixes) designed to decorate sacred buildings. Etruscan temples were largely built from perishable materials: wood, bricks, or blocks of tuff for the superstructure; stone for the base.\u003cspan class=\"Apple-converted-space\" data-mce-fragment=\"1\"\u003e  \u003c\/span\u003eAntefixes, painted bright and garish colors, were placed at the ends of the roof tiles to decorate the plain structures, covering up the wooden beams and, perhaps more importantly, protecting them from the elements.\u003cspan class=\"Apple-converted-space\" data-mce-fragment=\"1\"\u003e  \u003c\/span\u003eTerracotta was the favored material as it was cheap to make and easily replaceable. Additionally, antefixes were a spiritual prophylactic against the evil eye and other malevolent influences (the Gorgon head motif was particularly popular in order to scare away such spirits).\u003c\/p\u003e\n\u003cp class=\"p2\" data-mce-fragment=\"1\"\u003eCf: David M. Robinson, “Etruscan-Campanian Antefixes and Other Terracottas from Italy at the Johns Hopkins University,” American Journal of Archaeology, Vol. 27, No. 1 (January - March 1923), pp. 3 - 4.\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p2\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eDimensions:  \u003c\/strong\u003eHeight: 6 3\/4 inches (17.2 cm), Width: 5 1\/2 inches (13.4 cm)\u003c\/p\u003e\n\u003cp class=\"p2\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eCondition:  Pigment\u003c\/strong\u003e losses as shown, especially to the top right side of the head, otherwise intact and in good condition overall.  Custom mounted.\u003c\/p\u003e\n\u003cp class=\"p2\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eProvenance:  \u003c\/strong\u003eHótel Drouot, Paris, 12 October 1991, Lot 143.\u003c\/p\u003e","brand":"Hindman Auctions","offers":[{"title":"Default Title","offer_id":44377393955119,"sku":"RT2203","price":7500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0234\/5339\/files\/RT2203_15.jpg?v=1782331564"},{"product_id":"copy-of-a-chinese-painted-pottery-court-lady-tang-dynasty-br-em-ca-mid-8th-century-ce-em","title":"A large Chinese Painted Pottery Court Lady, Tang Dynasty, \u003cbr\u003e\u003cem\u003eca. mid 8th century CE\u003c\/em\u003e","description":"\u003cp\u003eOne of the most iconic and desired of all Tang ceramic types, a charming terracotta court lady with a \u003cmeta charset=\"utf-8\"\u003esensitively modeled face of pinkish flesh tones, red lips, and black highlighting eyes and brows. She stands on an integral base, dressed in long-sleeved, \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eflowing robes that emphasize the fluid folds and pleats of her gown, thus providing a sense of grace and dynamism to her voluptuous figure.  \u003c\/span\u003eThe robe covers her left foot, but her tiny right foot, \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eencased within a small upturned shoe, \u003c\/span\u003epeeps from the hem of her gown. She holds both her hands in front of her with her right hand lightly fisted. Her hair is dressed into an elaborate \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ecoiffure\u003c\/span\u003e, and tied into a knot at the top. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eBackground:\u003c\/strong\u003e The Tang sculptors’ careful attention to fashion and physiognomy details allows us to trace in their works the changing fashions of ladies at court during this period. Models of court ladies made in the early part of the Tang dynasty depict them wearing tight-fitting garments that accentuated their slender forms.  \u003c\/p\u003e\n\u003cp\u003eHowever, the reign of Emperor Xuanzong (reigned 712-756) seems to have heralded the growth in popularity of a more generous female form and the adoption of less structured, more flowing robes. This shift in aesthetic tastes is thought to have been influenced by the Emperor's favorite concubine, Yang Guifei (719 - 756), known as one of the four great beauties of ancient China, and whose curvaceous physique was legendary. Yet, excavated figures suggest the fashion was already coming to prominence by the time Yang Guifei won the emperor’s admiration. Dressed in elegant clothes with their hair arranged in elaborate coiffures, and their faces beautified with cosmetics, these aristocratic Tang women figures possess a singular grace and charm. \u003cbr\u003e\u003cbr\u003ecf: Jan Fontein and Tung Wu, \u003cem\u003eUnearthing China’s Past\u003c\/em\u003e (Museum of Fine Arts, Boston, 1973), pp. 174-175, no. 89 (46cm high) and fig. 90. \u003cbr\u003e\u003cbr\u003eDiao Shi Ru Sheng: \u003cem\u003eGugong Cang Sui Tang Taoyong (Carved and Clothed as if Alive: Sui and Tang Dynasty Tomb Figurines in the Collection of the Gugong Museum)\u003c\/em\u003e, Forbidden City press, Beijing, 2006, no. 44, p. 98\u003cbr\u003e\u003cbr\u003eBower, V.,\u003cem\u003e From Court to Caravan: Chinese Tomb Sculptures from the Collection of Anthony M. Solomon,\u003c\/em\u003e Harvard University Art Museums, Cambridge, Mass. 2002, no.33, p.112\u003cbr\u003e\u003cbr\u003eJames C.Y. Watt and Prudence Oliver Harper (ed.), \u003cem\u003eChina: Dawn of a Golden Age,\u003c\/em\u003e 200-750 AD (New York, Metropolitan Museum of Art, 2004), pp. 310-11, nos. 202 A and B.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eZhou, Xun and Gao, Chunming, 5000 Years of Chinese Costumes, Hong Kong, 1984, pl. 178, p. 99\u003c\/p\u003e\n\u003cp\u003eDiao Shi Ru Sheng: Gugong Cang Sui Tang Taoyong (Carved and Clothed as if Alive: Sui and Tang Dynasty Tomb Figurines in the Collection of the Gugong Museum), Forbidden City press, Beijing, 2006, no. 41, p. 95\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e  Modeled from reddish-colored clay, with excellent remaining white pigment, delicate red, pink, and black highlights, with possible light cosmetic touchup. Left hand missing, else complete and in very good condition overall. Just charming! \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e \u003cmeta charset=\"utf-8\"\u003eHeight: 18 1\/2 inches (47 cm)\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e  \u003cspan data-mce-fragment=\"1\"\u003e Private collection of Dr. Edmund Bourke, Yonkers, NY, acquired from Fernando Flores \u0026amp; Iva Antiques, NYC around 2010, item # CH89B.\u003c\/span\u003e\u003c\/p\u003e","brand":"Arte Primitivo","offers":[{"title":"Default Title","offer_id":44814670692655,"sku":"AT2201","price":7500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0234\/5339\/products\/AT2201_8.jpg?v=1680572611"},{"product_id":"pt2201","title":"A Colima Seated Shaman Figure, ca. 100 BCE - 250 CE","description":"\u003cp class=\"p1\"\u003eCovered in a two-toned red-brown slip, a seated male shaman figure resting both hands on his splayed legs, his head facing forward with incised almond-shaped eyes, a long nose, slashed mouth,\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eand incised ear holes, wearing an incised headband with chin strap, wrapped around a central shaman’s horn, and incised loincloth.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe horn suggests figures such as these may be shaman figures communicating between the living and the dead, although they may also be the tips of conch shells worn to signify rulership.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eMany such figures were placed in tombs as guardians and those with aggressive postures were protectors against unwanted visitors.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCf: Mary Ellen Miller, The Art of Mesoamerica: From Olmec to Aztec, Fourth Edition London: Thames and Hudson (2006)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eDimensions:  \u003c\/strong\u003eHeight: 13 1\/2 inches (34.29 cm), Width: 8 inches (20.32 cm)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eCondition:  \u003c\/strong\u003eScattered mineral deposits on the surface. Intact and in excellent condition.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eProvenance:  \u003c\/strong\u003eM. Kalman private collection, Los Angeles, California, acquired in the early 1980s, thereafter private New England collection.\u003c\/p\u003e","brand":"Arte Primitivo","offers":[{"title":"Default Title","offer_id":44910348566831,"sku":"PT2201","price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0234\/5339\/files\/Colima.png?v=1774056471"},{"product_id":"at2203","title":"A Tang Sancai Glazed Figure, Tang Dynasty, ca. 650 - 950 CE","description":"\u003cp\u003eA male molded pottery standing figure with fine facial features, holding his hands to his chest, with an insertion hole at the top which would have held a staff or flag. Wearing robes and a hat, his body is covered with green, brown, and ochre-colored sancai glaze. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eMedium:\u003c\/b\u003e Terracotta \u003cbr\u003e\u003cbr\u003e\u003cb\u003eDimensions:\u003c\/b\u003e Height: 7 1\/2 inches (19 cm) \u003cbr\u003e\u003cbr\u003e\u003cb\u003eCondition:\u003c\/b\u003e Overall intact and in good condition, with minor chips to the base and a tiny chip to the nose that does not detract. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eProvenance:\u003c\/b\u003e Collection of Dr. Edmund Bourke, Yonkers, NY., acquired from Fernando Flores \u0026amp; Iva Antiques, NYC around 2010. \u003c\/p\u003e","brand":"Arte Primitivo","offers":[{"title":"Default Title","offer_id":50191985574191,"sku":"AT2203","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0234\/5339\/files\/c2a0f7df5ded0ce3019f72fb2ec940da.jpg?v=1719717319"},{"product_id":"pt2310","title":"A Veracruz Terracotta Dignitary Head, Early Classic Period, ca. 250 - 550 CE","description":"\u003cp\u003eThis Veracruz dignitary believed to be a priest, is portrayed with a large head and chest made from buff-colored clay. He wears a wide-banded headdress secured with a chinstrap, his ears are adorned with sizable ear spools and a necklace featuring a prominent central pendant is around his neck. His exquisitely crafted face boasts classic Veracruz characteristics, including almond-shaped eyes, elegantly sloping brows, a distinguished long nose, and a slightly parted mouth. A sizable firing hole at the back suggests that this sculpture was originally a standalone statue rather than part of a larger relief. \u003c\/p\u003e\n\u003cp\u003eDuring the middle centuries of the first millennium, the artistically gifted Veracruzanos located on the Gulf Coast of Mexico created particularly inventive ceramic sculpture in varying styles. This piece is a beautiful example of the elegant high-end sculpture of the Veracruz elite. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eMedium:\u003c\/b\u003e Terracotta \u003cbr\u003e\u003cbr\u003e\u003cb\u003eDimensions:\u003c\/b\u003e Height: 10 1\/4 inches (26 cm), Width: 6 1\/4 inches (16 cm) \u003cbr\u003e\u003cbr\u003e\u003cb\u003eCondition:\u003c\/b\u003e Originally from a larger statue, the head presents beautifully and is in very good condition overall. It is presented on a museum-quality custom mount. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eProvenance:\u003c\/b\u003e Private collection of a Connecticut attorney, acquired from Parke Bernet, NYC., April 13th, 1973, lot 28, and authenticated by Michael Coe, January 24th, 1974.\u003c\/p\u003e","brand":"Arte Primitivo","offers":[{"title":"Default Title","offer_id":50328008065327,"sku":"PT2310","price":6995.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0234\/5339\/files\/PT2310.jpg?v=1722561531"},{"product_id":"pp2403","title":"A good Colima Redware seated Dog, ca. 250 BCE - 100 CE","description":"\u003cp\u003eA good pottery effigy of a seated dog, with defined musculature, pump belly, upcurled tail, and a good burnished surface combining shades of orange and red. The dog's head is held high, the sculpted ears pointed and alert, the eyes and mouth incised, and the snout naturalistically modeled. There is a wide tapered spout at the top of the head.\u003c\/p\u003e\n\u003cp\u003eThe impression conveyed by the dog is that in life, it probably was loved and cared for as a pet; perhaps the effigy, in turn, served as a comforting companion for the soul of the deceased. To the ancient peoples of Mesoamerica, dogs symbolized death and the journey to the afterlife. From seventy-five to ninety percent of the shaft-and-chamber tombs in Colima contain ceramic dogs. The preHispanic belief in Xolotl, the dog of the netherworld, may explain the ritual interment of ceramic or actual dogs. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eMedium:\u003c\/b\u003e Terracotta \u003cbr\u003e\u003cbr\u003e\u003cb\u003eDimensions:\u003c\/b\u003e Height: 11 1\/8 inches (28.3 cm), Length: 14 inches (35.5 cm) \u003cbr\u003e\u003cbr\u003e\u003cb\u003eCondition:\u003c\/b\u003e A 1” spout rim chip, some restoration to both ears, left front leg cleanly reattached, head reattached, and body repaired from a few large original pieces with restoration over the break lines. Overall scattered mineral deposits, in good condition overall. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eProvenance:\u003c\/b\u003e George and Julianne Alderman, Baltimore, MD, private collection acquired mid 1960s to mid 1990s.\u003c\/p\u003e","brand":"Arte Primitivo","offers":[{"title":"Default Title","offer_id":50687619629359,"sku":"PP2403","price":2950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0234\/5339\/files\/e464228aff78f3d1f160a447421f6ae1.jpg?v=1731290809"},{"product_id":"pp2321","title":"An exhibited Chimu-Inca Double Bird Effigy Vessel, Late Intermediate Period - Late Horizon, ca. 1100 - 1500 CE","description":"\u003cp data-start=\"373\" data-end=\"976\"\u003eA striking blackware stirrup-spout vessel featuring the conjoined effigies of two long-billed water birds, likely shorebirds or cormorants, rendered in a dynamic and naturalistic pose. One bird is shown preening the neck of the other, while the second turns its head back across its body. Both figures are sculpted with tight wings, bulbous eyes, and prominent beaks, each anchoring one end of the stirrup spout that rises centrally. The vessel rests on a flared foot and exhibits the characteristic lustrous surface typical of Chimú ceramics, achieved through post-firing burnishing.\u003c\/p\u003e\n\u003cp data-start=\"978\" data-end=\"1302\"\u003eThis type of vessel not only served as a utilitarian or ceremonial container but also reflected the Chimú-Inca emphasis on marine and avian life, symbolically tied to coastal ecology and religious cosmology. The conjoined birds suggest themes of duality, harmony, and interrelation—recurring motifs in Andean visual culture.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eExhibited\u003c\/strong\u003e: \u003cem\u003eAncient Forms For The Modern Eye\u003c\/em\u003e, Colnaghi Gallery, NYC, April 17th - July 20, 2018. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eMedium:\u003c\/b\u003e Clay \u003cbr\u003e\u003cbr\u003e\u003cb\u003eDimensions:\u003c\/b\u003e 8 1\/2 x 5 3\/4 x 5 3\/8 inches (21.6 x 14.6 x 13.7 cm) \u003cbr\u003e\u003cbr\u003e\u003cb\u003eCondition:\u003c\/b\u003e \u003cmeta charset=\"utf-8\"\u003eSpout reattached at the stirrup junction; otherwise intact and in excellent condition, with well-preserved surfaces and minor mineral deposits.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"box-sizing: border-box; margin: 0px; padding: 0px;\"\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Private East Coast collection, acquired April 6, 1989, from Fine Arts of Ancient Lands, NYC.\u003c\/span\u003e Ex. Rafael Gutierrez was acquired in the 1970s.\u003c\/p\u003e","brand":"Arte Primitivo","offers":[{"title":"Default Title","offer_id":50839535550767,"sku":"PP2321","price":4950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0234\/5339\/files\/2f7dd90eabb85f22f6b17b962ccfa738.jpg?v=1735353115"},{"product_id":"pp2409","title":"A Large Casas Grandes Owl Vessel, Post Classic Period, ca. 1250  - 1450 CE","description":"\u003cp\u003eThis striking vessel, possibly an olla, displays a captivating owl head emerging from the rim. Its charming appearance is highlighted by its small circular eyes, hooked beak, and pointed ears, forming a round face outlined in dark brown. The vessel broadens from a wide opening to a flared shoulder, before narrowing again to a softly-rounded base. The intricate patterns of black and red lines, geometric shapes, and steps add a touch of elegance to this beautifully crafted piece.\u003c\/p\u003e\n\u003cp\u003eCasas Grandes, also known as Paquimé, was situated north of the traditional hub of the Mesoamerican world and south of the Pueblo cultures of the Southwest. Flourishing between 1130 and 1450 CE, the iconographic style of Casas Grande art reflects influences from both Mesoamerica and the Southwest. Casas Grandes was a well-planned urban center that became prosperous through trade in precious commodities such as shells, copper, turquoise, and tropical bird feathers. The city's craftsmen, skilled in working with these materials, further enhanced its wealth by producing finished products for export. Among these were ceramic vessels featuring bright polychrome surfaces. The vessels, primarily globular jars, were highly valued and extensively traded. In their production, certain standardized systems of shape and decoration were adhered to, which included restrained color schemes—primarily blue\/black and brown\/red—geometric patterns, and a notable use of human and animal imagery, such as this example.\u003c\/p\u003e\n\u003cp\u003eFor a parallel example, see: Smithsonian National Museum of the American Indian, catalogue number: 11\/9883.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions:  \u003c\/strong\u003eHeight: 8 1\/2 inches (21.59 cm), Width: 8 inches (20.32 cm)\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:  \u003c\/strong\u003eShort collar rim partially restored and head reattached, bowl is repaired from approximately twenty original pieces with restoration over the break lines and some resurfacing on the exterior, with touch up to the painted decoration.\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance:  \u003c\/strong\u003eEstate of Peter H. Tillou (1935 - 2021), CT, acquired in the 1990s, then passed to family by descent. Appraised by Marianne Huber (art appraiser\/consultant, formerly of Huber Primitive Art and later of New World Art Services) in 2014, collection # 010. Tillou was a renowned international arts and antiques dealer with galleries in Buffalo, New York; Litchfield, Connecticut; Sun Valley, Idaho; London, England; and New York City during his career, which spanned over 65 years. \u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Arte Primitivo","offers":[{"title":"Default Title","offer_id":51158151594287,"sku":"PP2409","price":1750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0234\/5339\/files\/PP2409.jpg?v=1743534806"},{"product_id":"mt2101","title":"A rare Sumerian Cuneiform Sealed Envelope with Internal Tablet, Gutian dynasty, ca. 2199 - 2119 BCE","description":"\u003cp\u003eThis rare Mesopotamian clay envelope still contains its original tablet, making it an unusual discovery. In antiquity, these envelopes were broken open to access the inner document, and the fragments discarded. The tablet-envelope pairs served a protective function whereby the text was inscribed in duplicate, once on the interior tablet and again on the envelope itself. The outer inscription could be referenced as needed, but in cases of dispute, the sealed tablet inside was considered binding.\u003c\/p\u003e\n\u003cp\u003eIn this example, however, the original cuneiform writing cannot be identified because the entire body is concealed by a cylinder seal impression that has been rolled across all six sides of the envelope. The impression depicts a standing figure in front of an enthroned king, and the reverse and one side preserve a three-line inscription that forms part of the seal itself that reads:\u003c\/p\u003e\n\u003cp\u003e“Sealed by Gu₂-TAR-la₂, PA NI NI, \/x-x\/ [x].” \u003c\/p\u003e\n\u003cp\u003eThe element –arla is typical of Gutian names and helps place the piece within the Gutian dynasty (ca. 2199–2119 BCE), which ended with the rise of Ur-Nammu, the founder of the Third Dynasty of Ur.\u003c\/p\u003e\n\u003cp\u003eThe second line may read AB-BA?-[x], though the reading is uncertain, and the third line contains only partial traces: \/x-x\/ [x]. The accompanying phrase \"PA NI NI\" has been proposed to read \u003cem\u003eugula i₃-li₂\u003c\/em\u003e (“overseer: Ili”), but this interpretation is problematic. \u003cem\u003eIli\u003c\/em\u003e is not attested as a complete personal name in this context, and the signs do not appear to form a standard title. As such, the phrase remains ambiguous and may represent a different construction or a scribal abbreviation. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eMedium:\u003c\/b\u003e Clay \u003cbr\u003e\u003cbr\u003e\u003cb\u003eDimensions:\u003c\/b\u003e 1 3\/4 x 1 3\/4 inches (4.4 cm) \u003cbr\u003e\u003cbr\u003e\u003cb\u003eCondition:\u003c\/b\u003e The envelope is intact and in excellent condition overall. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eProvenance:\u003c\/b\u003e Frishman Galleries, Tel Aviv, acquired 1970s, thereafter private NYC collection, acquired by descent.\u003c\/p\u003e","brand":"Richard Banks","offers":[{"title":"Default Title","offer_id":51738061766959,"sku":"MT2101","price":5200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0234\/5339\/files\/MT2101.jpg?v=1754335475"},{"product_id":"pt2408","title":"Colima Redware Seated Hunchback Figure, Protoclassic to Early Classic Period, ca. 100 BCE – 250 CE","description":"\u003cp\u003eThis finely modeled redware figure depicts a seated hunchback with arms resting on bent knees, rendered in a characteristic two-tone slip with traces of black mineral deposits from long burial. The facial features are sensitively formed, showing heavy-lidded eyes, a broad nose, and a slightly parted mouth, conveying a contemplative or trance-like expression. The figure wears a pendant necklace and has pierced ears, likely once adorned with ear ornaments. A short collar-shaped spout rises from the crown of the head, suggesting that the figure may have served a ritual or effigy vessel function.\u003c\/p\u003e\n\u003cp\u003eFigures of hunchbacks appear frequently in West Mexican shaft tomb cultures, especially within the Colim\u003cimg\u003e\u003cimg\u003e\u003cimg\u003ea corpus, where they are thought to represent individuals with spiritual or shamanic significance. Their physical deformity was often viewed as a mark of divine favor, and hunchbacks are sometimes shown as musicians, dancers, or intermediaries between worlds. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eMedium:\u003c\/b\u003e Terracotta \u003cbr\u003e\u003cbr\u003e\u003cb\u003eDimensions:\u003c\/b\u003e Height: 10 1\/2 inches (26.67 cm), Width: 7 inches (17.78) \u003cbr\u003e\u003cbr\u003e\u003cb\u003eCondition:\u003c\/b\u003e Intact and in very good condition overall, with small chip to the back of the right ear and scattered mineral deposits. A fine, well-preserved example with strong surface color. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eProvenance:\u003c\/b\u003e Private collection of Ronald and Maralyn Biderman, Toronto, acquired from The Lands Beyond, New York, mid-1980s, with a copy of original receipt included, thence by descent.\u003c\/p\u003e","brand":"Arte Primitivo","offers":[{"title":"Default Title","offer_id":51942346719535,"sku":"PT2408","price":1750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0234\/5339\/files\/bbe6e23a50e323a35024c9b39c581cf2.jpg?v=1760844994"},{"product_id":"pp2416","title":"Moche stirrup-spout figural bottle depicting a woman, ca. 300 - 500 CE","description":"\u003cp\u003eA finely modeled terracotta stirrup-spout bottle in the form of a seated woman, her arms clasped around a bent knee and her gaze directed downward in quiet introspection. The rounded forms of the body are rendered with characteristic Moche naturalism, and the facial features, prominent cheekbones, deep-set eyes, and pursed lips, convey a striking sense of individuality. Painted white circular elements adorn her garment, suggesting a patterned textile or ceremonial attire. The stirrup handle rises smoothly from the back to a tall cylindrical spout, its elegant curvature exemplifying the technical precision of Moche ceramic workshops. The surface retains a soft polish with scattered mineral accretions and areas of lighter encrustation, lending the piece a rich, ancient patina.\u003c\/p\u003e\n\u003cp\u003eMoche ceramics typically combine mold-made elements with hand modeling, followed by slipping, burnishing, and painting in iron- and kaolin-rich pigments that fire to warm reds, creams, and whites. \u003cmeta charset=\"utf-8\"\u003eThe present vessel’s balanced proportions reflect the Moche’s sophisticated portrait tradition, in which individuals, often elites or ceremonial figures, were immortalized in clay. Female representations, though less common, reveal the important social and ritual roles women held in Moche culture. The present example’s serene poise and refined modeling suggest a commemorative or ritual purpose, perhaps serving as a vessel for offerings in a funerary or temple context.   \u003cbr\u003e\u003cbr\u003e\u003cb\u003eMedium:\u003c\/b\u003e Terracotta with polychrome pigment \u003cbr\u003e\u003cbr\u003e\u003cb\u003eDimensions:\u003c\/b\u003e Height: 7 1\/4 inches (18.4 cm), Width: 4 3\/4 inches (12 cm) \u003cbr\u003e\u003cbr\u003e\u003cb\u003eCondition:\u003c\/b\u003e Intact. Overall surface shows strong, scattered mineral deposits consistent with prolonged burial or interment. Minor surface loss beneath the spout and slight abrasion\/wear to painted areas. A lovely example. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eProvenance:\u003c\/b\u003e Jack Bregman private collection, New York City, acquired in the 1960s while serving in the Peace Corps. By descent to the current owner. Collection # 187.\u003c\/p\u003e","brand":"Arte Primitivo","offers":[{"title":"Default Title","offer_id":51989123334447,"sku":"PP2416","price":2750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0234\/5339\/files\/PP2416_2.jpg?v=1762318165"},{"product_id":"at2501","title":"A Chinese Terracotta Head of a Horse, Han Dynasty, ca. 25 - 220 CE","description":"\u003cp\u003eA finely crafted terracotta head of a horse from the Han Dynasty is notable for its elegant, elongated features and vibrant pigments. Made of low-fired clay, the head is painted with Chinese red pigment, symbolizing good fortune, while traces of white pigment highlight the teeth. Yellow traces of a bridle adorn the face, enhancing the realism of the depiction. The horse's open mouth and flaring nostrils lend it a lifelike appearance, capturing the animal's grace and strength.\u003c\/p\u003e\n\u003cp\u003eIn ancient Chinese culture, horses were highly esteemed, second only to dragons in importance. Possessing horses symbolized high status, especially in the afterlife. This piece likely originated as part of a larger equine figure, intended for placement in a tomb during funeral rites. It served both as a symbol of status and as an aid to the spirit's passage to the afterlife, making it a captivating example of Han Dynasty artistry.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMedium:\u003c\/b\u003e Terracotta \u003cbr\u003e\u003cbr\u003e\u003cb\u003eDimensions:\u003c\/b\u003e Height: 8 1\/2 inches (22 cm) Width: 8 1\/2 inches (22 cm) \u003cbr\u003e\u003cbr\u003e\u003cb\u003eCondition:\u003c\/b\u003e The head, detached from the original body, is complete with minor restoration and extensive red pigment remaining (some patchiness from loss to the left side), and white pigment highlighting the teeth. Some scattered earthen deposits. Overall, it is in very good condition, a lovely example. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eProvenance:\u003c\/b\u003e Private Australian collection, acquired from Warwick Oakman, Tasmania, in 2004.\u003c\/p\u003e","brand":"Colville Auctions, Hobart Australia","offers":[{"title":"Default Title","offer_id":52085748793647,"sku":"AT2501","price":5000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0234\/5339\/files\/horse-2.jpg?v=1774056735"},{"product_id":"pp2502","title":"A Published Moche Prisoner Effigy Vessel, ca. 500 - 800 CE","description":"\u003cp\u003eA powerful salmon-orange ceramic vessel modeled as a bound captive, shown seated with arms secured behind the back and a thick rope twisted tightly around the neck and chest. The figure wears a tall, slightly flared headdress painted in cream-white pigment, the same color used to highlight the eyes and the braided rope that cuts diagonally across the torso. Incised, linear decoration denotes the shirt and surface textile patterning, while the compact body posture reinforces the tension and vulnerability of his condition. The facial features are sensitively rendered, with careful attention given to the cheek line, nose, and almond-shaped eyes, producing a strikingly human presence.\u003c\/p\u003e\n\u003cp\u003eThis effigy belongs to the Moche tradition of portraying prisoners, warriors, and high-status captives—subjects deeply tied to ritual combat and the ceremonial extraction of blood used to nourish gods and maintain cosmic order. Vessels of this type likely functioned in funerary or ritual contexts, perhaps as symbolic offerings reflecting warfare, sacrifice, and elite authority. The restrained pose, bound limbs, and wide-eyed gaze evoke both submission and the ritual importance of captive bodies within Moche ideology.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e: This compelling effigy captures a moment suspended between power and surrender. The Moche ruled Peru’s north coast through warfare, ceremony, and spectacle, and captives like this one stood at the center of those rituals. Bound and wide-eyed, he becomes more than a portrait of defeat: he is a conduit between the earthly and divine. The braided rope and painted headdress mark him as someone of consequence, a worthy offering whose fate would nourish the gods and legitimize the authority of those who conquered him. To hold this vessel is to hold a fragment of that drama—an object shaped with intention, steeped in the belief that life, death, and rulership were inseparable. It is a rare and personal reminder of the human cost behind one of the ancient Andes’ most sophisticated civilizations. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eMedium:\u003c\/b\u003e Clay \u003cbr\u003e\u003cbr\u003e\u003cb\u003eDimensions:\u003c\/b\u003e Height: 10 1\/4 inches (26 cm), Width: 5 1\/2 inches (14 cm) \u003cbr\u003e\u003cbr\u003e\u003cb\u003eCondition:\u003c\/b\u003e A 1 3\/4 inch professionally restored rim chip, with a shallow additional rim chip and a stable hairline below the right elbow. Otherwise intact and in very good condition overall, with original pigments preserved and surface deposits consistent with age. A large and impressive example. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eProvenance:\u003c\/b\u003e Collection of Walter J. Bray, Mantoloking, New Jersey, acquired 1960s and retained by the family by descent; Ex Fernandez-Leventhal Gallery, New York; Ex Harmer Rooke Galleries, New York, auction XXV, lot 72 (October 1986), accompanied by a copy of the auction listing.\u003c\/p\u003e","brand":"Arte Primitivo","offers":[{"title":"Default Title","offer_id":52091496137007,"sku":"PP2502","price":3950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0234\/5339\/files\/PP2502_6.jpg?v=1781135299"},{"product_id":"pt2501","title":"A Chupicuaro Terracotta Pretty Lady, ca. 400 - 100 BCE","description":"\u003cp\u003eThis charming ceramic figure depicts a high-status woman from the Chupicuaro region of Mexico, commonly known as a \"Pretty Lady.\" She stands with outstretched arms, her form both stylized and expressive. She is wearing a headdress decorated with two strands of beads, round earrings or ear spools, a necklace, with large central pendant, and waist belt, emphasizing her ceremonial significance. All these features are highlighted with red and white pigment.\u003c\/p\u003e\n\u003cp\u003eThis type of figure is associated with burial practices in West Mexico and is believed to have served as a guardian, companion, or symbol of idealized beauty and status. The meticulous attention to her adornments, particularly the earrings, necklace, and headdress, suggests the importance of costume and identity in the afterlife. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eMedium:\u003c\/b\u003e Terracotta \u003cbr\u003e\u003cbr\u003e\u003cb\u003eDimensions:\u003c\/b\u003e Height: 3.5 inches (8.89 cm) \u003cbr\u003e\u003cbr\u003e\u003cb\u003eCondition:\u003c\/b\u003e The figure is intact and in excellent condition overall. It is presented on a museum-quality custom mount. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eProvenance:\u003c\/b\u003e Private Nevada collection, ex. Dr. David Harner collection, Arkansas, 1950s - 1960s. Collection number: CH 196\u003c\/p\u003e","brand":"Arte Primitivo, New York","offers":[{"title":"Default Title","offer_id":54275724116271,"sku":"PT2501","price":950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0234\/5339\/files\/73b6ad9280ffc9698d62693c01dd3db3.jpg?v=1771714657"},{"product_id":"mt2509","title":"A large Phoenician terracotta standing youth, Neo Assyrian Period, ca. 6th century BCE","description":"\u003cp\u003eThis impressive terracotta figure shows a standing male youth rendered in the tall, slender style characteristic of Phoenician sculpture of the late Iron Age. The figure stands frontally with one foot advanced, the right hand raised in a gesture of greeting, blessing, or prayer, while the left arm bends at the elbow to hold what was likely a staff or ritual object. Technical analysis indicates that the figure was crafted in separate sections, with each component assembled before firing, a typical method for creating large, hollow terracotta sculptures during this period. The calm facial features, long neck, and simplified treatment of the body reflect the Assyrian influence that shaped Phoenician artistic production during the 7th–6th centuries BCE, alongside Egyptian sculptural traditions conveyed through Levantine workshops.\u003c\/p\u003e\n\u003cp\u003eThe lower body is clothed in a sheath-like garment that accentuates the figure's height and presence rather than naturalistic movement. The scale of this figure is notable, as most Phoenician terracotta votives are considerably smaller. Examples of this size were likely produced for architectural or cultic settings, possibly serving as temple figures, niche sculptures, or important devotional commissions. The raised hand, together with the long Near Eastern tradition of showing worshippers standing, suggests that this figure served as a votary or divine attendant within a ritual environment.\u003c\/p\u003e\n\u003cp\u003eResearch now suggests that rather than being cargo lost at sea, these figurines were deliberately deposited into the Mediterranean over many centuries as votive offerings intended to appease the gods and seek divine favor. Some scholars have further proposed that such offerings may have served as symbolic substitutes for the then-common practice of child sacrifice. While this interpretation remains the subject of ongoing academic discussion, it illustrates the broader ritual significance beyond purely decorative or utilitarian roles.\u003c\/p\u003e\n\u003cp\u003eViewed from this perspective, the figure emerges as both a striking example of Phoenician terracotta artistry and a testament to the profound devotional practices shaped by the maritime environment. Its imposing scale, expressive gesture, and remarkable survival underscore the symbolic power these works held for the communities that commissioned and revered them. Today, the sculpture continues to exude presence, serving as a vivid link to the ritual life of the eastern Mediterranean and the lasting interplay between seafaring culture, religious belief, and artistic expression. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePlease note\u003c\/strong\u003e that due to the size of this figure, additional shipping charges will apply. Please contact us for a quote.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMedium:\u003c\/b\u003e Terracotta \u003cbr\u003e\u003cbr\u003e\u003cb\u003eDimensions:\u003c\/b\u003e Height: 41 inches (104.13 cm) \u003cbr\u003e\u003cbr\u003e\u003cb\u003eCondition:\u003c\/b\u003e Reassembled, with traces of barnacles from sea submersion. The right arm rejoined and head repaired, otherwise complete and in very good condition overall.  Presented on a custom mount. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eProvenance:\u003c\/b\u003e Part of a group of Phoenician terracottas discovered underwater in the 1950s, ex Marwan Shehab collection, Beirut, acquired from Asfar \u0026amp; Sarkis, Beirut, in 1964, thereafter in a private Virginia collection, acquired from Royal Athena Galleries in 2012.\u003c\/p\u003e","brand":"Peter Borromeo Estate","offers":[{"title":"Default Title","offer_id":54393356058927,"sku":"MT2509","price":25000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0234\/5339\/files\/MT2509_11.jpg?v=1772233428"},{"product_id":"gt2504","title":"A Cypriot Terracotta Archaic Male Figure, Archaic Period, ca. 5th century BCE","description":"\u003cp\u003eA finely modeled terracotta figure depicting a standing male draped in a long mantle that falls in soft vertical folds to the feet. The figure stands in a relaxed frontal pose with one arm drawn across the chest, possibly in a gesture associated with speech or address, suggesting an orator or worshipper. The head is rendered with characteristic Archaic features including large almond-shaped eyes, stylized hair, and an elongated face.\u003c\/p\u003e\n\u003cp\u003eFigures of this type were produced throughout the Greek world during the Archaic period as votive offerings and funerary dedications. The restrained modeling and simplified drapery reflect the early development of monumental figural style that would later culminate in the sculptural traditions of Classical Greece. Particularly appealing is the figure’s expressive face and elegant, columnar silhouette. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eMedium:\u003c\/b\u003e Teracotta \u003cbr\u003e\u003cbr\u003e\u003cb\u003eDimensions:\u003c\/b\u003e Height: 8 inches (20.32 cm) \u003cbr\u003e\u003cbr\u003e\u003cb\u003eCondition:\u003c\/b\u003e Rejoined and complete, in good condition overall, with traces of original white slip remaining. Presents well. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eProvenance:\u003c\/b\u003e Thilo and lzora Steinschulte private collection, VA, acquired in 1970 from Susette Khayat Ancient Arts Gallery, New York, #1662, then by descent. Accompanied by a copy of the original collector's paperwork and paperwork from Susette Khayat.\u003c\/p\u003e","brand":"Nora Bernhardt","offers":[{"title":"Default Title","offer_id":57967419064623,"sku":"GT2504","price":2950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0234\/5339\/files\/2a233449a9745ef149e6d4c16b73e207.jpg?v=1779379980"},{"product_id":"gp2612","title":"Apulian Red Figure Owl Skyphos, Apulia, South Italy, ca. 4th century BCE","description":"\u003cp\u003eThis elegant Apulian red-figure skyphos is decorated with a pair of owls standing between stylized olive branches, a motif that evokes one of the most enduring symbols of the ancient Greek world. Rendered in the distinctive South Italian red-figure tradition, the birds are shown frontally with large, watchful eyes and delicately detailed plumage, framed by vertical sprays of olive leaves. The restrained composition reflects the influence of Classical Attic pottery while demonstrating the refined aesthetic of Apulian workshops during the fourth century BCE.\u003c\/p\u003e\n\u003cp\u003eThe owl was the sacred bird of Athena, goddess of wisdom, warfare, and civic order, and became synonymous with knowledge, vigilance, and protection. Its image famously adorned the celebrated silver tetradrachms of Athens, where the owl served as an emblem of the city's prosperity and intellectual achievement. The accompanying olive branches further reinforce this association, alluding to Athena's sacred olive tree, the divine gift bestowed upon the city of Athens according to Greek mythology.\u003c\/p\u003e\n\u003cp\u003eSkyphoi were among the most common drinking vessels of the ancient Greek symposium. Their deep bowls and broad horizontal handles made them particularly practical for the consumption of wine, while painted decoration transformed these everyday objects into works of art. Although inspired by Attic prototypes, South Italian workshops developed their own distinctive styles, producing vessels that were widely appreciated throughout Magna Graecia.\u003c\/p\u003e\n\u003cp\u003eThis example is notable for its balanced proportions, lustrous black glaze, and attractive decorative program centered on the iconic owl of Athena. The simple yet expressive design exemplifies the elegance achieved by Apulian vase painters in adapting familiar Greek iconography to local artistic traditions. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eMedium:\u003c\/b\u003e Ceramic \u003cbr\u003e\u003cbr\u003e\u003cb\u003eDimensions:\u003c\/b\u003e Height: 2.75 inches (7 cm) \u003cbr\u003e\u003cbr\u003e\u003cb\u003eCondition:\u003c\/b\u003e Complete and professionally rejoined from several pieces with minor fills to small losses. The restoration has been expertly executed and does not detract from the overall presentation. A lovely example. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eProvenance:\u003c\/b\u003e Private collection, Sarasota, Florida; acquired from Harlan J. Berk, Sale 204, July 2018, Lot 442.\u003c\/p\u003e","brand":"Amero Auctions","offers":[{"title":"Default Title","offer_id":58128704274735,"sku":"GP2612","price":3950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0234\/5339\/files\/d2a8081f1f87f823901d387a8928378d.jpg?v=1783089267"}],"url":"https:\/\/sandsoftimedc.com\/en-cn\/collections\/terracottas.oembed?page=2","provider":"Sands of Time Gallery","version":"1.0","type":"link"}