Artemis Gallery LIVE

Artemis Gallery Live specialises in antiques, ancient and ethnographic art and they only sell authentic examples. All artefacts offered for sale are guaranteed ancient and authentic, and have been legally acquired and are legal to sell. The offer easy registration and accurate auction descriptions with professional photos for their online auctions.

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  • USA
Objects "Artemis Gallery LIVE"

Moche V Fineline Pottery Stirrup Jar, Warriors, Animals

Pre-Columbian, north coast of Peru, Moche V, 600 to 800 CE. A classic Moche form, a stirrup vessel, with a long, thin, cylindrical spout and equally elongated and thin sides of the stirrup handle above an apple-shaped body that sits on a flat base. The spout and handle are painted with a red on beige motif of what looks like the steps of pyramids. The body is painted in the fineline style with a series of seemingly disconnected images - animals, two warriors holding weapons and wearing elaborate headdresses, and cacti-like plants. Scattered around the image are ulluchu fruit, comma shaped and painted to have a grooved texture, which were probably used by the Moche during sacrifices to make it easier to extract blood from human sacrifices. Some of the animals, most of whom appear to be deer, bear wounds, as if they have been hunted, while others roam free. Size: 5.45" W x 11.45" H (13.8 cm x 29.1 cm)Moche V was a time period of social unrest, with radical changes and shifting urban centers, but it is not clear what caused it - some environmental calamity? A plague? Bad leadership, invasion, some other political explanation? The iconography of the vessel perhaps reflects that shift - the human figures are more abstract, with distorted noses and mouths, than they would have been in Phases III and IV. This seems to have been a deliberate choice by the artist, perhaps mirroring the newly chaotic world he or she now inhabited. Provenance: Private Harrisburg, Pennsylvania, USA collection acquired before 1995 All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide to most countries and handle all shipping in-house for your convenience. #124766Read more

  • USAUSA
  • 5d 21h
Low estimate
1 600 GBP

Gorgeous 17th C. Thai Bronze Buddha Head

Southeast Asia, Thailand, Ayutthaya Period, ca. 16th to 17th century CE. A striking cast bronze Buddha head, expertly delineated with a serene facial expression, tightly curled hair nodes rising to a flame ushnisha, heavily laden meditative eyes that are inlaid with iridescent mother of pearl, a noble nose, elongated earlobes, and gently smiling lips - clearly a visage that could inspire hours peaceful meditation. Furthermore the surface boasts traces of gilding and wonderful patina. A rare and sublime piece of history that has survived many centuries! Wood block stand. Size: 1.75" W x 3.25" H (4.4 cm x 8.3 cm); 5.375" H (13.7 cm) on standThe head of the Buddha is perhaps the most significant element of the deity as it represents the immense body of knowledge and wisdom of Buddha along with the tranquil nature that emanates from its expression. A peaceful countenance with a flame Ushnisha symbolizing the wisdom and knowledge acquired after attaining enlightenment, and prominent elongated ears, a physical feature symbolic of the Buddha's time as a prince when he wore elaborate ear ornaments to demonstrate wealth and prosperity. Of course, the prince stopped wearing them when he left the palace to become an ascetic; however, his earlobes remained stretched signifying a renunciation of the material world. Furthermore, the curled, short hair of the Buddha signifies the nobility of Buddha. Beyond the multi-layered meaning embodied in the iconography of this piece, its technique and artistry is exceptional. Provenance: private Hawaii USA collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide to most countries and handle all shipping in-house for your convenience. #124101Read more

  • USAUSA
  • 4d 21h
Low estimate
790 GBP

Huge Anatolian Marble "Violin" Idol

Asia Minor, modern-day Turkey, Anatolia, Early Bronze Age, ca. 2700 to 2300 BCE. A superb marble idol known as a "violin" idol for obvious reasons, of the Kasura type, quite similar to contemporary Cycladic idols, its form comprised of a trapezoidal body, long slender neck, and round head devoid of any facial features. The meaning and function of such idols remains an enigma without any written records from this era. Archaeologists have theorized that since fertility was prized by these peoples, the violin idol probably took inspiration, albeit in an abstract manner, from the female anatomy. Comes with custom stand. Size: 3.5" W x 6.125" H (8.9 cm x 15.6 cm); 7.25" H (18.4 cm)Kusura idols come from the village of Kusura in southeastern modern-day Turkey. Votive idols like this one are known in a variety of fascinating forms throughout the pre-literate ancient world. From the truly abstract Kilia-type figures that are barely recognizable as human to the exaggerated feminine shapes of so-called "Venus" figures, people in the past, as today, had a clear desire to portray human forms and did not feel constrained by naturalism. Provenance: private Schroeder collection, Boca Raton, Florida, USA, acquired before 1970 All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide to most countries and handle all shipping in-house for your convenience. #123635Read more

  • USAUSA
  • 4d 21h
Low estimate
7 100 GBP

Framed Mid 18th C. Cuzco School Painting, St. Augustine

Spanish Colonial, Peru, Cuzco School, ca. 1750 CE. A very large, framed, oil-on-canvas painting with liberal gold leaf details depicting St. Augustine of Hippo held up by angels as he swoons while having a vision. Augustine is depicted middle aged and beardless, dressed as a bishop in elaborate gold embroidered garments, and holding a crozier, with his writing table to the right. In the upper right corner are two winged angels and a central nude, cherubic child who stands for Christ, of his vision. On the lower right is a cross-topped pomegranate, the Christian symbol of the Resurrection inspired by the classical association with Proserpine who would return each spring to regenerate the earth. Its many seeds in one fruit made it a symbol of unity of many under one - the Church. Sometimes shown held by the infant Christ, it is also a Resurrection symbol. Note that the red vessel on the table is actually shaped like a pomegranate. Mounted in gold leaf wood frame of elegantly ornate design (frame dates later than the painting). Size: 59.5" L x 40.25" W (151.1 cm x 102.2 cm); 65" L x 47" W (165.1 cm x 119.4 cm) framedThe Vision of St. Augustine (Augustine also known as Bishop of Hippo in North Africa - one of the four Latin Fathers and perhaps the Church's most esteemed and influential theologians) is a popular legend that first emerged in 15th century art and became increasingly popular in the 16th and 17th centuries. The vision narrative tells of Augustine walking along the shore, meditating upon the Trinity, when he came upon a child who had made a hole in the sand. Using a shell, the child was vainly attempting to fill the hole with water. When Augustine stated that this task was futile the child replied, "No more so than for a human intelligence to fathom the mystery you are meditating." The attention to details and the intense drama of the iconography is so impressive. Although the fainting scene is overtly theatrical, there are subtle devices used by the artist as well. Note, for example, how the angel wearing the red robe with lace trimmed sheer white gossamer layers beneath standing on the left looks out beyond the picture plane, as if inviting the viewer to experience the scene. The Cuzco School (Escuela Cuzquena) was a Roman Catholic artistic tradition which originated following the 1534 Spanish Conquest of the Inca Empire and continued during the Colonial Period in the sixteenth, seventeenth, and eighteenth centuries. Though based in Cusco, Peru (the former capital of the Inca Empire), the Cuzco School extended to other cities of the Andes, present day Bolivia, and Ecuador. Today it is regarded as the first artistic center that taught European visual art techniques in the Americas. The primary intention of Cuzco School paintings was to be didactic. Hoping to convert the Incas to Catholicism, the Spanish sent religious artists to Cusco who created a school for the Quechua peoples and mestizos. Interestingly, Cusquena art was created by the indigenous as well as Spanish creoles. In addition to religious subjects, the Cuzco School expressed their cultural pride with paintings of Inca monarchs. Despite the fact that Cuzco School painters had studied prints of Flemish, Byzantine, and Italian Renaissance art, these artists' style and techniques were generally freer than that of their European models. Provenance: ex- private Santa Fe, New Mexico, USA collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide to most countries and handle all shipping in-house for your convenience. #124493Read more

  • USAUSA
  • 5d 21h
Low estimate
7 100 GBP

18th C. Russian Icon, Mother of God Life-Giving Source

Eastern Europe, Russia, ca. 1775 CE. A striking depiction of Mary offering the waters of salvation, beautifully executed in egg tempera and gold leaf. At a location now known as Baliki near the Selimbria Gates of Constantinople stands the Sanctuary of the Source. According to tradition, the Mother of God, in a vision, declared that its waters were miraculous, and so, the ailing gathered around the basin. In this traditional composition, the faithful who have flocked to the waters, praise the Virgin as a never-ending source of life and health. The Virgin and Child occupy a large golden goblet, a strong allusion to the eucharistic chalice, its waters flowing into the basin below. The archangels Gabriel and Michael flank the holy pair, floating upon billowing clouds. Partaking of the waters below are the emperor, patriarch, the sick, and the poor. A stupendous example, replete with fine painting technique, a balanced compostion, and rich iconography (see below for further discussion of the scene). Size: 17.625" L x 14.625" W (44.8 cm x 37.1 cm)Before the fountain, a Thessalian is miraculously brought back to life when the waters are poured over his head, and a man is freed from his demons by the waters as well. The figures occupying the borders are most likely bishops, monks, and/or donors. This theme celebrating the fountain of life and the waters of salvation that makes all infirmities disappear and can even overcome death first appeared in Russia in 1654, introduced by the Greeks. Furthermore, Nicephorus Callistus wrote a church service about the Life-Giving Source.Icons (icon means "image" in Greek) are sacred objects within the Eastern Orthodox Christian tradition. Found in homes as well as churches, these painted images depict holy persons and saints as well as illustrate scenes from the Scriptures. Icons are not worshiped, but are instead venerated for their ability to focus the power of an individual's prayer to God. As such they are truly "windows into heaven." Provenance: private Santa Fe, New Mexico USA collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide to most countries and handle all shipping in-house for your convenience. #124418Read more

  • USAUSA
  • 4d 21h
Low estimate
3 600 GBP

Gorgeous Viking 22 Kt Gold Filigree Pendant

Northern Europe, Viking, ca. 9th to 11th century CE. A breathtakingly beautiful high karat (22 kt) gold pendant of a circular, discoid form with a symmetrical composition featuring four filigreed curled motifs with volutes at each terminus, surrounding a raised circular form comprised of granules, with additional granules highlighting and bordering the overall composition, and an integral suspension loop also adorned with spiraling granulated designs. Weight: 8.8 grams Size: 1.375" L x 1.25" W (3.5 cm x 3.2 cm)Filigree and granulation are among the oldest goldsmithing techniques. The techniques involved include twisting silver or in this case gold wires and soldering incredibly tiny beads comprised of the same precious metal onto the surface of the piece of jewelry. This very complicated technique requires painstaking attention to detail that relatively few jewelers have ever mastered. Ancient civilizations such as the Mesopotamians, Greeks, and Etruscans developed the methodology; filigreed and granulated jewelry continued to be popular in the Roman empire, and was also sought after by the Slavs, Anglo-Saxons, and Vikings, remaining popular throughout the Middle Ages. In fact, modern jewelers still utilize these ancient goldsmithing techniques.Interestingly, the overall form of this pendant is akin to that of a bracteate; bracteates were traditionally worn upon the chest and understood to be magical amulets. They were modeled on Roman medallions and sometimes were employed to confirm political alliances. Favorite iconography included horse-like creatures, figures most likely representing Odin, and apotropaic runes. Provenance: private New York, New York USA collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide to most countries and handle all shipping in-house for your convenience. #124282Read more

  • USAUSA
  • 4d 21h
Low estimate
2 400 GBP

Chinese Hongshan Neolithic Jade Goblet

Northeast China, Hongshan culture, Neolithic Period, ca. 3800 to 2700 BCE. An incredible and rare example of a goblet carved from a single piece of jade stone that is a translucent, pale green with small veins of brown hues. The body of the vessel is a long, tapering cylinder with the interior sanded to be very smooth. The exterior has a lightly raised surface with tightly repeated comma curls around all but the rim of the body. The rim has a register of incised "Z" patterns. The foot is perhaps even more remarkable - carved out with drills and other tools, it is hollow, with a flared foot and a bulging upper portion. The skill needed to carve the inside of the foot speaks to the many hours of work that went into creating this beautiful object. Size: 2" W x 4.95" H (5.1 cm x 12.6 cm)Chinese art has incorporated jade since the Neolithic period; quarries for nephrite, the formal name for jade, have been found in modern-day southern Mongolia that date to ca. 4000 BCE. The stone was prized for its hardness, its beautiful coloration, and its durability. By the third millennium BCE, we know that jade had also come to be associated with immortality. Jade was used to make everything from everyday household objects and decoration to the ceremonial suits in which Han dynasty emperors were buried – with the belief that jade would preserve the body and the soul for eternity. Provenance: private Bangkok, Thailand collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide to most countries and handle all shipping in-house for your convenience. #124112Read more

  • USAUSA
  • 4d 21h
Low estimate
2 400 GBP

19th C. Tibetan Silk Thangka - White Tara Bodhisattva

Central Asia, Tibet, ca. 19th century CE. Created using the painstaking Dazi-stitch technique, this stunning silk tapestry depicts the White Tara Bodhisattva. Known as Sititara or the 'mother of liberation,' the White Tara is the spiritual embodiment of kindness, compassion, and purity. Here, she is displayed serenely seated upon a lotus base in the lotus position, beneath a parasol, and surrounded by a shimmering nimbus, lovely peonies, and a cerulean sky backdrop. Below her hovering visage is a majestic landscape graced with rocky outcroppings, flowing grassy hills, distant mountain peaks, and a myriad of flora and fauna. Beautiful polychrome clouds float below the Tara, and their vibrant palette blends effortlessly into the salmon and citrine hues of her streaming sash. The beautiful color gradations are one of the most important characteristics of Dazi-Stitch thangkas, and this tapestry is a prime example of such. Tibetan script can be seen in the lower left-hand corner and translates to "White Tara." Size: 28" W x 36.5" H (71.1 cm x 92.7 cm) with the border; Size: 25" W x 33.75" H (63.5 cm x 85.7 cm) without the border.The Dazi (Forbidden stitch or Blind stitch) refers to the knotted stitches used in conjunction with satin stitches that were reserved for the most exquisite, finely crafted silk costumes, robes, and rank badges. One romantic legend offers that the alternative term Blind stitch arose because embroidering with this stitch gave young girls eye strain due to its fineness and intricacy. Whether called the Dazi stitch, Forbidden stitch, or Blind stitch, these all involve making small knots on the fabric surface by wrapping a heavy embroidery thread, typically silk floss, around a needle and then stitching it down. Embroiderers have done this with varying numbers of wrappings and a wide range of complexity. According to expert Wang Yarong, more than twenty varieties of knot stitch have been found in an Eastern Han Dynasty tomb at Nuoyinwula, Outer Mongolia, and even earlier examples on a pair of silk shoes were discovered in a tomb of the Warring States period in the Linzi, Shandong Province.For further information see: Meulenbeld, Ben. Buddhist Symbolism in Tibetan Thangkas: The Story of Siddhartha and Other Buddhas Interpreted in Modern Nepalese Painting. Havelte, Holland: Binkey Kok Publications, 2004. Print. Provenance: private Bricker Collection, USA All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide to most countries and handle all shipping in-house for your convenience. #124145Read more

  • USAUSA
  • 4d 21h
Low estimate
6 300 GBP

Central European Early Iron Age Long Bronze Lance Head

Central Europe (Germany, Austria), Hallstatt Culture or slightly earlier, ca. 10th to 7th centuries BCE. Cast from a thick sheet of bronze, with a pronounced mid-rib and a heavy, burred octagonal shaft, this is an imposing and large lance or spear head. Two holes for attachment are on the socket, where the bronze weapon would have been joined to a heavy wooden handle. Comes with custom stand. Size: 2.45" W x 13.25" H (6.2 cm x 33.7 cm); height on stand: 15.05" (38.2 cm)The Hallstatt culture developed from the earlier Urnfield culture, and would progress into the later La Tene culture, which is often called Celtic. However, these names and classifications have been imposed upon ancient peoples by archaeologists and historians (Hallstatt, for example, takes its name from the type site, which is located in Austria southeast of Salzburg). 2900 years ago, these people lived in small groups, probably loosely confederated for trading purposes but engaging in frequent warfare. Elites controlled powerful hillforts and revered the horse, traveling by and perhaps warring with chariots. They were buried with weaponry like this. Provenance: ex-private German collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide to most countries and handle all shipping in-house for your convenience. #123456Read more

  • USAUSA
  • 4d 21h
Low estimate
2 000 GBP

Superb Colima Redware Acrobat Vessel

Pre-Columbian, West Mexico, Colima culture, ca. 300 BCE to 300 CE. A fabulous burnished redware vessel depicting a male acrobat arching in a backbend position, his arms and legs forming the legs of the piece, a flared rim emerging from his abdominal area, his head, wearing a helmet-like covering, and genitalia delineated at either end. The piece boasts a substantial scale and nice burnishing. Given the contortionist's spectacular physical abilities, and his tranquil expression conveyed by closed coffee bean shaped eyes, he may represent a shaman undergoing a transformation. Size: 10.75" L x 7.375" W x 6.875" H (27.3 cm x 18.7 cm x 17.5 cm)Similar examples may be found in the most respected museum collections such as the Los Angeles County Museum of Art (LACMA) - accession number M.86.296.119 and the American Museum of Natural HistoryCf. Kan, Meighan, & Nicholson, Sculpture of Ancient West Mexico, Nayarit, Jalisco, Colima, The Catalogue of the Proctor Stafford Collection, Los Angeles County Museum of Art, page 134, Fig. 116. Provenance: private Santa Fe, New Mexico USA collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide to most countries and handle all shipping in-house for your convenience. #124264Read more

  • USAUSA
  • 5d 21h
Low estimate
2 000 GBP

19th C. Spanish Colonial Wood Santo - St. Elizabeth

New World, Spanish Colonial, Mexico, ca. 19th century CE. A striking and beautifully painted and carved wood depiction of St. Elizabeth of Hungary, a rare subject for a santo. She stands atop a very small pedestal, wearing robes of cream and gold with pink interiors. In her hands is a basket filled with food. She has curly brown hair and a sweet, downcast face, with a glass blue eyes and a gentle smile. Size: 3.5" L x 5.5" W x 12.25" H (8.9 cm x 14 cm x 31.1 cm)A princess of Hungary, Elizabeth, after being widowed at twenty, used her dowry to build a hospital where she herself worked to serve the sick. She died at age twenty four and was quickly canonized; she is renowned for her charity. As a result, she is often portrayed, as she is here, holding a basket of food.Santos played an important role in bringing the Catholic Church to the New World with the Spanish colonists. These religious figures were hand-carved and often furnished with crowns, jewels, and other accessories, usually funded by religious devotees, and were used as icons to explain the major figures - Mary, Christ, and the saints - to new, indigenous converts. Likewise, they served as a connection to the Old World for Spanish colonists far from home. They became a folk art tradition in the Spanish New World, from modern day Guatemala to as far north as New Mexico and Colorado. Many of them were lovingly cared for over the years, with repairs and paint added as they aged, and played an active part for a long time in the religious life of their communities. Provenance: Ex-Francis & Lilly Robicsek Collection, Charlotte, NC All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide to most countries and handle all shipping in-house for your convenience. #120422Read more

  • USAUSA
  • 5d 21h
Low estimate
1 600 GBP

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Monumental Tolima Pottery Effigy Funerary Urn w/ Lid
Pre-Columbian, Colombia, Magdalena R. basin, Tolima, ca. 800 to 1500 CE. Painstakingly handbuilt via the coiling technique, a colossal human effigy lidded ceramic burial urn created to hold skeletal remains of a cherished ancestor, the vessel walls decorated with a visage comprised of coffee-bean eyes, a naturalistic nose donning a nosering, a petite slightly open mouth - the entire face outlined via a long applied coil. The rest presents an undecorated surface save the large coil impressed with triangular motifs on the rim. Woven ring shown at base used for stability during photography not included. Size: 15.5" W x 24.5" H (39.4 cm x 62.2 cm)In the valley of the River Magdalena, ancient rituals related to the preparation of the body of the deceased for its journey to the afterlife involved the practice of secondary burials in urns like this example. According to the curatorial department of the Museo del Oro Banco de la Republica, "There are two different stages in the secondary burial funerary custom: first of all a primary burial takes place, where the corpse is buried for a certain period of time established in the ritual, and then after this, it is exhumed for burial once more in an urn, possibly amidst a great collective ceremony. Urns have been found in well tombs with side chamber, with certain local and regional variations. The chambers contain between three and seventy urns, each holding charred bone remains, large fractured bones, and fragments of skull. Each is accompanied by pots, bowls and goblets, most of which were made exclusively for the dead person, for they show no signs of having been used. Spindle whorls, rollers and axes have also been found." Examples from the Tolima culture are exceedingly rare. Provenance: Ex- J. Smith collection, Atlanta, GA All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #120649 Artemis Gallery LIVE
Byzantine Follis John I, Portrait of Christ
Reign of John I, 969 - 976 AD. Class A1 bronze follis. Christ facing with book of Gospels, +EMMANOVHA IX-XC. rev: IhSUS XRISTUS bASILEU bASILE in four lines. 29 mm, 9.94 g. ref: DOC A2.41; SB 1818. One of the very first coins that featured a portrait of Christ! Provenance: Ex-Private Nevada Collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #112614 Artemis Gallery LIVE
19th C. French Etchings Pair - Voy en Amerique
Western Europe, France, ca. 1840 CE. A handsome pair of etchings depicting South American types, by Choubard (French, 1810-1830) after Jean Marie Raphael Leopold Massard (French, 1812-1889), both with hand coloring, published in "Voyage en Amerique": Paris, France: Basil Hall, 1840 The first depicting a standing female dressed in a regional costume and veil is entitled, "Lima. Peruvienne en Costume de Ville" (Lima. Peruvian Woman in Village Costume). The second showing a male figure with standing in profile and donning a wide-brimmed hat, long braids, and a colorful regional costume is entitled "Santiago - Metis" (Santiago - Mestizaje or Person of Mixed Race). "Voy en Amerique" is printed beneath the titles. Size: images and borders measure 5.5" W x 8.5" H (14 cm x 21.6 cm); pages measure 6.875" W x 10.625" H (17.5 cm x 27 cm) Provenance: Ex-private Gantt collection, Colorado. Belong to current owners great grandfather. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #115610 Artemis Gallery LIVE
Matched Pair 19th C. Russian Icons in Silver Oklad
Russia, 19th century CE. A beautiful matched pair of icons, done in the style known variously as oklad, riza (in Russian, "robe"), and revetment, with silvered metal covering protecting each icon. Both have repousse work and have been cut away in places to reveal the icons underneath. One is an adult Christ with a book, the other is the Virgin and Child. As is the style with oklad from this time period, their halos have been enhanced by the silver protection; additional painted details in bright blue, eggshell blue, white, and pale yellow give life to the silvered surfaces. The oklad was designed to protect icons from the damaging effect of sitting behind candles on altars for long periods of time; they also look lovely when lit, sparkling and bringing life to the paintings. Both are backed with soft red velvet. Size of each: 0.75" L x 5.8" W x 7" H (1.9 cm x 14.7 cm x 17.8 cm) Provenance: Ex-Private LA County collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #117252 Artemis Gallery LIVE
Japanese Ivory Netsuke – Worried Man
Far East, Japan, Meiji period to early 20th century CE. Superb African ivory netsuke (weight at the end of an Inro) in the form of a seated man who has distinctly simian features, obviously worried about something important. His left hand is raised to his bald head, worry lines on his face, nicely detailed reverse side. Size: 1.25" W x 1" H (3.2 cm x 2.5 cm).African Ivory. Bidders should be aware of the changing laws regarding commercialization of ivory and other product containing endangered species both on the Federal and State levels. This lot will be accompanied by a signed affidavit from the client that this object was in the United States prior to January 18, 1990, and is to the best of their knowledge and ability made prior to February 26, 1976 in accordance with Federal law. Ivory cannot be shipped out of the United States or to New York or New Jersey, and will not be shipped to California after June 30, 2016. Provenance: From the Paul and Louise Bernheimer collection of Japanese Edo and Meiji Period Netsukes, Cambridge, MA and Laguna Woods, Ca. Acquired before 1980 and all made at least 75 years before the 1970 ivory ban. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #111689 Artemis Gallery LIVE
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