PRECOLUMBIAN ART : INCLUDING A SELECTION OF ... - Lempertz

LEMPERTZ
PRE-COLUMBIAN ART :
INCLUDING A SELECTION OF
THE DR. ROLAND HARTMANN
COLLECTION
18 JUNE 2011
COLOGNE
LEMPERTZ AUCTION 984

PRE-COLUMBIAN ART :
INCLUDING A SELECTION OF
THE DR. ROLAND HARTMANN
COLLECTION
18. JUNE 2011
COLOGNE
LEMPERTZ AUCTION 984

PREVIEW VORBESICHTIGUNG
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PRE-COLUMBIAN ART FROM
THE COLLECTION OF
DR. ROLAND HARTMANN

6
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
fi eld of rare books where he concentrated on incunabula
and medieval manuscripts. Dr. Hartmann
purchased his fi 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. Hartmans’s ’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
Bernoulli Collection, Basel, 1949
Literature
Ferdinand Anton, Alt -Peru und seine Kunst,
Leipzig, 1962, pl. 5
Ferdinand Anton, Alt -Peru und seine Kunst,
Leipzig, 1972, pl. 11
€ 1 200 – 2 200

*2
CHAVIN BLACKWARE VESSEL
Ca. 700-400 B. C.
The stylized conch shell with truncated end and
a coiled apex, the body incised with wheelshaped
motifs, with remains of ochre pigment.
Height 22.2 cm
€ 500 – 700
*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
Bernoulli Collection, Basel, 1949
Cf. for the general type, Lapiner, fi g. 89
€ 800 – 1 200
2 3
*4
CHAVIN STONE MACE HEAD
Ca. 700-400 B. C.
Star-shaped with six tapering projections,
in fi ne green stone.
Diameter 12 cm
Literature
Hans-Dietrich Disselhoff , Leben im alten
Peru, Munich, 1966, fi g. 223
€ 450 – 650
4
7

8
*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
Bernoulli Collection, Basel, 1930-1949
Exhibited
Zurich, Alt-Peru aus Schweizer Sammlungen,
Kunsthaus, April 18-June 2, 1957, pl. 1
Literature
Hans-Dietrich Disselhoff , 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
5
6

*6
CHAVIN GREYWARE VESSEL
CUPINISQUE
Ca. 900-600 B. C.
Of distinctive arched form with the rectangular
body and curving stirrup incised with stippled
circles and the wide stirrup spout molded with
reptiles, each with the large open mouth showing
bared teeth and covered with decorative designs.
Height 16.6 cm
Literature
Ferdinand Anton, Alt-Peru und seine Kunst, Leipzig,
1972, pl. 12
€ 2 000 – 4 000
7
*7
VICUS ZOOMORPHIC VESSEL
Ca. A. D. 100-500
The whistling vessel of unusual confi guration, the
openwork square shape with a spout attached
on one side to a strap handle and connected to
a stylized feline with grinning expression, pierced
snout and perked ears, the whole painted in reddish
brown with a white dotted pattern overall.
Height 21 cm
€ 1 500 – 2 500
9

10
*8
VICUS DOUBLE-BODIED VESSEL
Ca. A. D. 100-500
Surmounted a pair of embracing anthropomorphic
fi gures, each with spotted body and tail
extending at the back, and fl 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.
Length 23.5 cm
Literature
Ferdinand Anton, Alt -Peru und seine Kunst, Leipzig,
1972, pl. 24
Such receptacles with two bodies joined by a
tube and a handle-bridge where one of the bodies
is fi gurative and the other a plain bottle were
a common ware in the Vicus ceramic tradition.
These forms are known as silbador (whistling vessels)
because they emit a sound when a liquid is
deposited in the vessel and rocked, or when one
blows on the spout.
€ 1 500 – 2 500
8 9
*9
VICUS DOUBLE-BODIED VESSEL
Ca. A. D. 100-500
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 28.3 cm
€ 1 000 – 1 500

*10
VICUS ZOOMORPHIC VESSEL
Ca. 100-500
The robust coati standing on tubular legs with
striped tapering snout, rounded ears and fur coat
treated as striations, the whole painted in reddish
brown with details in cream and black.
Length 31.5 cm
Cf. for a coati vessel, Vicus, Disselhoff , pl. 27D
€ 1 000 – 1 500
10 11
*11
VICUS FELINE VESSEL
Ca. A. D. 100-500
The spotted jaguar clenching in its jaws a monkey
(?) with incised whiskers and large ears perked, tail
projecting at the back, painted in reddish brown
with decorative details in black resist.
Length 24.5
Provenance
Dr. Ernst Hauswedell Auction, Hamburg,
November 29, 1965, lot 261
€ 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
VICUS FIGURAL VESSEL
Ca. A. D. 100-500
The naked male fi gure seated with hands resting
on the raised knees, head bent downward, with
facial tattoos and slit coff ee bean eyes, bipartite
striated hair and pierced eyes, the rounded
body incised with geometric patterns, the whole
covered in a brown slip.
Height 23 cm
€ 800 – 1 200
*14
VICUS FIGURAL VESSEL
Ca. A. D. 100-500
The kneeling naked fi gure, probably a captive,
holding hands to his rounded chest and leaning
forward, with slit eyes and mouth, decorative
white tattoos on the face, the whole painted
in reddish brown with decorative black resist
patterns.
Height 21 cm
Cf. Vicus, Disselhoff , pl. 39
€ 1 000 – 1 500
13

14
*15
VICUS EFFIGY VESSEL
Ca. A. D. 100-300
Of a prone female fi 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 fl at foot,
toes extended, the whole ornamentally painted
with black resist.
Height 23 cm
€ 600 – 800
15
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 staff 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 fi gures fl 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
staff , painted in cream, reddish
brown and orange.
Height 27 cm
Provenance
Bernoulli Collection, Basel, 1949
€ 1 000 – 2 000

*19
MOCHICA BLACKWARE VESSEL
Ca. A. D. 200-500
The cylindrical vessel molded with a stepped curl
motif and molded with four tumbo fruits, known
as granadilla, a member of the passion fl ower
family, the distinctive V-shaped stirrup molded on
each side with a three crouching frogs, perhaps
poison dart frogs.
Height 24 cm
Literature
Ferdinand Anton, Alt -Peru und seine Kunst, Leipzig,
1972, pl. 160
Cf. For such fruits, Spirit of Peru, pl. 44
€ 1 500 – 2 500
*20
EARLY/MIDDLE MOCHICA VESSEL
Ca. 100 B. C. -A. D. 500
The expanding round walls incised and painted
with an overall pattern of highly stylized stingray
heads with large circular eyes painted in cream
and reddish brown.
Height 18.5 cm
Provenance
Bernoulli Collection, Basel, 1949
€ 1 500 – 2 500
17

18
*21
MIDDLE MOCHICA VESSEL
Ca. A. D. 200-500
Of unusual form with a horizontal hole running
through the center narrowing into a cylinder imitating
the shape of a staff , the body painted with
a riverine delta in reddish brown and cream with
fi sh, crab, lobster, jellyfi sh and long-necked herons
wading through reeds.
Height 23 cm
Provenance
Bernoulli Collection, 1949
Literature
Chirstopher Donnan and Donna McClelland,
Moche Fineline Painting, 1999, Los Angeles, fi g. 4.55
Cf. Lapiner, pl. 96, for a similar pierced vessel
€ 1 500 – 2 500
*22
MIDDLE MOCHICA PAINTED VESSEL
Ca. A. D. 200-500
In cream and reddish brown with bold swirling
stepped motif on each side with a coiled felineheaded
snake below each handle of the stirrup
spout, six-petal fl owers decorating the spout.
Height 29 cm
Provenance
Galerie Fischer, Luzern, November 26, 1959, lot 37
€ 1 000 – 1 400

*23
MIDDLE MOCHICA PAINTED VESSEL
Ca. A. D. 200-500
Painted in fi 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 fl ight, each
warrior sashed loincloth and semicircular helmet with a jaguar head
fi nial and a round shield-like projection at the back, each clutching a
small satchel.
Height 28 cm
Provenance
Bernoulli Collection, Basel, 1949
Cf. Moche Fineline Painting, fi g. 4.30, for Ritual Runners
The fi gures depicted on this group of vessels have at times been
entitled ‘bean runners’ because of the fl oating beans in the fi eld. It is
theorized that the small bags they carry might have contained beans
and other seeds, perhaps for a planting rite, or even divination.
€ 2 000 – 4 000

20
*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 fi eld and covering the spout.
Height 31 cm
Provenance
Bernoulli Collection, Basel, 1949
Literature
Alan Lapiner, Pre-Columbian Art of South America,
1974, pl. 308
Cf. For a similar bean elements, Spirit of Peru, pl. 81
The topic of the signifi cance of beans on certain
Moche ceramics was studied by Larco Hoyle who
theorized that they maybe a counting device.
Whatever their meaning, beans are a design
element of considerable iconographic importance,
and they were a basic food crop in much of
ancient America and continue to be.
€ 1 500 – 2 500
*25
MIDDLE MOCHICA PAINTED VESSEL
Ca. A. D. 200-500
In cream and reddish brown with two mythical
monsters, each demonic large creature with
arched back and curling tail, talons outstretched,
fangs bared and forked tongue projecting, possibly
incorporating attributes of the Fish Monster, the
scales indicated with elaborate designs including
a conch shell.
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 fi nely incised on the base, painted
in cream and reddish brown.
Height 18 cm
Literature
Istvan Racz, Perun Taide, Helsinki, 1975, pl. 20
Hans-Dietrich Disselhoff , Leben im alten Peru, Munich, 1966, pl. 98
Cf. Lapiner, pl. 271
Llamas were not only among the few domesticated animals in the
Americas but the only pack animals. When loaded they can carry
up to 100 pounds. The amount they carry depends on the length of
the trip. When overloaded, llamas will simply sit and not rise till the
cargo is lightened.
€ 2 200 – 3 200

22
*27
EARLY/MIDDLE MOCHICA
ZOOMORPHIC VESSEL
Ca. 100 B. C. 200 A. D.
In the form of a llama’s head with lips parted,
nostrils fl ared and downward hanging ears and
painted in cream and reddish brown.
Height 18.5 cm
Cf. Lapiner, fi g. 273
€ 900 – 1 200
*28
EARLY/MIDDLE MOCHICA VESSEL
Ca. 100 B. C.-A. D. 500
Incised on each side with a highly stylized avian
head with the circumference surrounded by
incised step motifs, the stirrup handle decorated
with miniature long tailed animals, in pale orange
and reddish brown.
Height 20 cm
Provenance
Bernoulli Collection, Basel, 1949
€ 900 – 1 200

*29
EARLY MOCHICA OWL VESSEL
Ca. 300-100 B. C.
The standing avian with wings tightly folded at
the back with sunken eye area and recurved beak,
ears projecting from the top with incised feathers.
Height 19.5 cm
Cf. Lapiner, fi g. 269
Owls are widely associated with death because of
their nocturnal habits and mournful voices.
€ 1 200 – 1 800
*30
EARLY MOCHICA FROG VESSEL
Ca. 300-100 B. C.
The crouching amphibian with feet fi rmly planted,
thin closed mouth, and large bulbous eyes under
heavy lids, painted in egg-cream with decorative
details in reddish brown.
Height 19.7 cm
Cf. Trujillo, pg. 145, top
€ 1 200 – 1 800
23

24
*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 fl aring nostrils, large ears perked.
Height 19 cm
Exhibited
Zurich, Alt-Peru aus Schweizer Sammlungen,
Kunsthaus Zurich, April 18-June 2, 1957, pl. 7
Literature
Istvan Racz, Perun Taide, Helsinki, 1975, pl. 25
€ 1 000 – 2 000
31
32

*32
EARLY MOCHICA FELINE VESSEL
Ca. 300-100 B. C.
The snarling male puma seated with his weight
placed on the fl attened feet, incised tail wrapping
around the right rear leg, large ears perked, fangs
bared and covered overall in lustrous black slip.
Height 20 cm
Cf. Stierlin, pl. 59
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
33
*33
MIDDLE MOCHICA DEER VESSEL
Ca. A. D. 200-500
The realistically rendered Cervidae with lips
closed, globular eyes and large ears swept to the
back, the pelage indicated with striations perhaps
an indication that a fawn is represented, painted
in reddish brown and cream.
Height 25.5 cm
Provenance
Bernoulli Collection, Basel, 1949
Literature
Cologne, Schätze aus Peru von Chavin bis zu den
Inka, Rautenstrauch-Joest-Museum, June 20-
September, 6, 1959, no, 587, not illustrated
Istvan Racz, Perun Taide, Helsinki, 1975, pl. 23
Cf. Donnan, fi g. 85
Deer were not only an important food source but
held a role in many of the Creation myths all over
the Americas.
€ 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 fl aring lime
container in the other, attired in long patterned
tunic, and headband adorned at each side with a
hand with palm open and fi 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
Bernoulli Collection, Basel, 1930-1949
Literature
Istvan Racz, Perun Taide, Helsinki, 1975, pl. 28
Cf. For the headdress motif, Larco Hoyle, pl. 32
€ 2 500 – 4 500
35
MIDDLE MOCHICA FIGURAL VESSEL
Ca. A. D. 200-500
In an unusual confi guration with a richly attired
three dimensional fi 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
Bernoulli Collection, Basel, 1949
Literature
Cologne, Schätze aus Peru von Chavin bis zu den Inka,
Rautenstrauch-Joest-Museum, June 20-September,
6, 1959, pl. 28
Istvan Racz, Perun Taide, Helsinki, 1975, pl. 30
Pottery is Moche’s most abundant art. It was considered
a near sacred substance. Clay was a product
of the earth which was home to the ancestors and
the living roots of crops. The most basic and sacred
elements, water and fi re, went into the manufacture
of terracotta, which held sustenance for people and
gods.
Front cover
€ 4 000 – 6 000

28
*36
MIDDLE MOCHICA DIGNITARY
Ca. A. D. 200-500
In a distinctive deep black slip with the seated aged fi 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 fl anges and large earspools, the whole
once decoratively inlaid.
Height 17.2 cm
Provenance
Bernoulli Collection, Basel, 1930-1949
The black color of the vase is achieved by fi ring the work in a closed
kiln, a technique used and disseminated by the Chavin cultures.
€ 2 000 – 4 000

*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
Bernoulli Collection, Basel, 1949
€ 2 000 – 4 000
29

30
*38
MIDDLE MOCHICA PORTRAIT HEAD
The youthful physiognomy with full cheeks,
downward cast eyes under the slightly furrowed
brow and with a distinctive left cut lip, wearing a
patterned turban with side fl aps, the face decorated
with two rectangles of face paint, and tubular
earspools, painted in cream, brown and reddish
brown.
Height 20 cm
Provenance
Bernoulli Collection, Basel, 1949
Literature
Istvan Racz, Perun Taide, Helsinki, 1975, pl. 37
Cf. Moche Portraits, fi g. 8.20
Accordning to Christopher Donnan this vase
might represent an actual individual identifi ed as
‘cut lip’ (Moche Portraits, pp. 141-159).
€ 1 500 – 2 500
*39
EARLY/MIDDLE MOCHICA PORTRAIT
VESSEL
Ca. 300 B. C.-A. D. 500
The truncated fi gure with a moustachioed
oversized head resting on raised knees, the eyes
and chin decorated with facial paint and the long
hair fl owing down the back, in reddish brown and
cream.
Height 22 cm
Cf. Willey, pl. 388
€ 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 crow’s 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
Cologne, Schätze aus Peru von Chavin bis zu den
Inka, Rautenstrauch-Joest-Museum, June 20-
September, 6, 1959, pl. 29
Alan Lapiner, Pre-Columbian Art of South America,
1974, pl. 338
€ 2 000 – 4 000

*41
MIDDLE MOCHICA VESSEL
Ca. A. D. 200-500
The vessel with modeled seated female fi 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
fi gure on the right, possibly a servant, and the left
side decorated with fi ve corn cobs of alternating
colors, painted in cream, brown and reddish
brown.
Height 26 cm
Provenance
Bernoulli Collection, Basel, 1949
Literature
Ferdinand Anton, Alt -Peru und seine Kunst,
Leipzig, 1972, pl. 135
Istvan Racz, Perun Taide, Helsinki, 1975, pl. 31
Alan Lapiner, Pre-Columbian Art of South America,
1974, pl. 299
This scene might depict a display of off erings or
form part of a planting rite.
€ 2 500 – 4 500

*42
RARE GALLINAZO MUSICIAN VESSEL; VIRU
Ca. 200 B. C. -A. D. 300
The unusual fl utists seated on a two-legged bench playing their pan
fl utes with coff ee 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
Cologne, Schaetze aus Peru von Chavin bis zu den Inka,
Rautenstrauch-Joest-Museum, June 20-September, 6, 1959, pl. 27
Ferdinand Anton, Alt -Peru und seine Kunst, Leipzig, 1962, pl. 8
Ferdinand Anton, Alt -Peru und seine Kunst, Leipzig, 1972, pl. 27
€ 3 000 – 5 000

34
*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
Bernoulli Collection, Basel, 1930-1949
Literature
Ferdinand Anton, Alt -Peru und seine Kunst,
Leipzig, 1972, pl. 166
Istvan Racz, Perun Taide, Helsinki, 1975, pl. 93
Cf. for the general type, Spirit of Ancient Peru, pl. 26
€ 1 500 – 2 500

*44
EARLY MOCHICA AI-APEC VESSEL
Ca. 300-100 B. C.
Molded with the ferocious physiognomy of Ai-
Apec, 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
Cf. Stierlin, pl. 47
€ 1 500 – 2 500
*45
MIDDLE MOCHICA VESSEL
Ca. A. D. 200-500
Painted in cream and reddish brown with two
highly stylized faces of Ai-Apec with lunate eyes
and incised protruding fangs, adorned with the
diagnostic double earrings, with ferocious snakes
protruding from each side of the headdress, with
scales indicated by incised circles.
Height 25.1 cm
Provenance
Bernoulli Collection, Basel, 1949
Ai-Apec, one of the major gods of the Mochica
pantheon, is depicted with the common attributes
of an aged physiognomy, swirl ear ornaments,
fanged mouth and dilated pupils which hearken
back to the ferocious deity of Chavin de Huantar.
€ 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 fl aring from the back, dressed in armor,
helmet and jewelry, wielding a clutch of spears, shield and spear.
Height 23 cm.
Provenance
Bernoulli Collection, Basel, acquired 1949
€ 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
backfl ap with decorative streamers and
crested helmet.
Height 27.2 cm
Provenance
Bernoulli Collection, Basel, 1949
Literature
Alan Lapiner, Pre-Columbian Art of South
America, 1974, pl. 313-316
It is not known if these fi neline battle
scenes depicted at times, in vivid detail,
show actual historical battles, reenactments
of ancient history, ceremonial
warfare to take captives, or perhaps a combination
of these. The oft-reapeted motif
of a naked prisoner in Moche ceramics
indicates that the taking of captives, to be
later sacrifi cied was a principal object of
combat whether real or a mythical.
€ 2 000 – 4 000

38
*48
LARGE MOCHICA BOWL
Ca. A. D. 200-500
The fl aring conical vessel or fl orero with pedestal foot fi lled with rattles,
painted in cream and reddish brown, with an animated fi shing
scene composed of two tule boats surrounded by anthropomorphic
creatures, each with the prow and stern with a fi nial in the form of
a ferocious monster’s head with teeth bared, each vessel carrying
two energetic fi shermen, in one a kneeling fi 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 fi shermen with one alert fi gure standing at the stern with
a rope and club, the whole populated with stingrays, fl ying birds,
various fi sh and two long beaked striding birds.
Diameter 36 cm
Provenance
Bernoulli Collection, Basel, 1949
Exhibited
Zurich, Alt-Peru aus Schweizer Sammlungen, Kunsthaus Zurich, April
18-June 2, 1957, pl. 9, no. 202
Literature
Hans-Dietrich Disselhoff , Leben im alten Peru, Munich, 1966, pl. 52
Ferdinand Anton, Alt -Peru und seine Kunst, Leipzig, 1962, pl. 18
Ferdinand Anton, Alt -Peru und seine Kunst, Leipzig, 1972, pl. 143
Cf. Moche Fineline Painting, fi g. 3.45
Such tule boats are still used by fi shermen on the north coast of
Peru. The paddles are a split piece of cane. Early Colonial records cite
larger reed boats in use in lagoons and rivers as depicted on the
fl orero.
€ 4 000 – 6 000

40
49
*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 staff , 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 fl ight, with resolute expression, eyes
and pupils inlaid in shell.
Height 18 cm
Cf. Lapiner, pl.381, for the warrior type
€ 1 000 – 1 500
50

*51
HUARMEY-MOCHICA TEXTILE FRAGMENT
Ca. A. D. 200-600
Composed of a striding shamanic, frontally-portrayed fi 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

42
*52
HUARMEY TEXTILE FRAGMENT
Ca. A. D. 200-600
Possibly from a tunic woven in camelid fi ber in deep red, teal blue,
ocher, dark brown and white with a highly abstract central anthropomorphic
fi gure with wide spread, bent legs with body treated in
x-ray style, fi lled with geometric patterns, hands as serpents heads
and grasping diminutive winged warriors, the elongated horizontal
helmet decorated with similar serpents’ heads and fl anked by further
small warriors, and surrounded by a border of stylized avian wings;
damaged.
Ca. 32 x 44 cm
€ 1 200 – 1 800
*53
HUARMEY TEXTILE
Ca. A. D. 200-600
Possibly part of a tunic, woven in camelid fi ber in slit tapestry with
four anthropomorphic fi gures, each holding a staff with a zoomorphic
head, serpent and animal heads issuing from the top of the
head and back, the whole surrounded by stepped motifs on all four
sides in shades of red, ocher, live green, blue, dark brown and white.
29 x 28.3 cm
€ 1 200 – 1 800

*54
HUARMEY TEXTILE FRAGMENT
Ca. A. D. 500-700
Probably from a tunic, woven in camelid fi 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
53
54
43

44
*55
MOCHICA BLACKWARE VESSEL
Ca. A. D. 200-500
The rounded sides softly incised with a frieze
of diamonds, each containing a highly stylized
stingray, framed by stepped motifs.
Height 19.1 cm
€ 900 – 1 200
*56
MOCHICA BLACKWARE VESSEL
Ca. A. D. 200-500
Molded on each side with a large, anthropomorphic
fi sh with ferocious expression showing large
teeth and a human arm with clenched fi sh, the
Demon Fish, the scales indicated with pecked
stripes and fl aring tail fi n.
Height 24 cm
Provenance
Carmen D. Oechsle Collection, Zurich
Literature
Cologne, Schätze aus Peru von Chavin bis zu den
Inka, Rautenstrauch-Joest-Museum, June 20-
September, 6, 1959, pl. 23
Cf. Moche Fineline Painting, pg. 66i, for the
Demon Fish
€ 1 000 – 1 400

*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.
€ 1 200 – 1 800
58
57
45

46
*59
RECUAY FIGURAL VESSEL
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 staff in one hand and a beaker in
the other with a diminutive attendant kneeling
in front and presenting a bowl of off erings and
fl anked by attendants carrying off erings, the whole
painted in tan with decorative details in black.
Height 20 cm
Provenance
Dr. Ernst Hauswedell Auction, Hamburg, 1964,
lot 522
Cf. Anton, 1972, pl. 87
€ 900 – 1 200
*60
RARE RECUAY BLACKWARE
FIGURAL VESSEL
Ca. A .D .100-300
The rotund seated fi 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
Bernoulli Collection, Basel, 1949
Cf. Eisleb, pl. 151
€ 1 200 – 1 800

*61
LARGE RECUAY VESSEL
Ca. A. D. 100-300
The pear-shaped jar molded with seated
warrior with hands fl 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
Dr. Ernst Hauswedell Auction, Hamburg, 1964, lot 527
Literature
Ferdinand Anton, Alt -Peru und seine Kunst, Leipzig, 1972, pl. 91
€ 2 000 – 4 000

48
*62
LAMBAYEQUE HEAD
Ca. A. D. 900-1100
Possibly a fi 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
Hotel Drouot, December 7, 1959, lot 31
Cf. Das Inca Reich, fi g. 40; Sackler, fi g. 69
There is oral history, from Spanish chronicler Miguel Cabello de
Valboa in 1586 that the Lambayeque valley was invaded long ago
by a warrior named Naymlap or Yamlap, possibly identifi ed and generically
portrayed as the Lord of Sican, who came on a fl eet of balsa
wood rafts with his wife Ceterni and lots of other folk, including servants
and 40 offi cials. He set up his capital with a palace called Chot
and apparently founded a dynasty. Yamlap it seems had a harem
and diff erent offi cials in charge of such duties as the litter and throne
bearing, the road system, facial painting, weavings, and musicians for
the shell trumpets. Another offi cial had Spondylus shells crushed into
dust for him to walk on.
€ 3 000 – 5 000

*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 fi sh in its beak, each with long
neck and head tilted downward.
Height 21 cm
Literature
Istvan Racz, Perun Taide, Helsinki, 1975, pl. 25
€ 800 – 1 200
*64
LARGE CHIMU BLACKWARE VESSEL
Ca. A. D. 1000-1250
Of unusual confi guration 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, fi g. 79 for a similar bird
€ 1 000 – 1 500
63
64

50
*65
CHIMU GREYWARE
ZOOMORPHIC VESSEL
Ca. A. D. 1000-1400
The monkey treated in an abstract fashion with
legs modeled as tubular supports, the concave
face with jutting chin, long tail curved at the back.
18.1 cm
€ 700 – 900
*66
LAMBAYEQUE HEAD VESSEL
Ca. A. D. 900-1100
The pedestal foot molded with stepped lozenges
fl aring into an elaborately tattooed head with
almond-shaped eyes and pursed lips, wearing a
patterned cap, a handle emerging from the back,
painted overall in brown with decorative details
in black.
Height 19 cm
€ 800 – 1 200
65 66
*67
RARE EARLY PACHACAMAC
ORANGEWARE VESSEL
Ca. A. D. 900-1100
the unusually large vessel of expanding spherical
shape, with the neck modeled with the head of a
dignitary with almond-shaped eyes and thin lips,
the rounded walls molded on both sides with
a complex, animated scene with a central deity
wearing a double-headed snake headdress and
grasping a naked, recumbent female goddess,
head turned frontally with nine snakes issuing
from the below its body, with scampering spider
monkeys and reptiles in the fi eld, a further snakes
proliferating, one bearing fruits (?), surrounded by
a stepped pattern.
Height 36 cm
Provenance
Bernoulli Collection, Basel, 1949
Literature
Rebeca Carrion Cachot, El Culto del Agua,
Peru, 1955, p. 59
Ferdinand Anton, Alt -Peru und seine Kunst,
Leipzig, 1972, pl. 250
Istvan Racz, Perun Taide, Helsinki, 1975, pl. 61
€ 3 000 – 5 000

52
*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 fi 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 saff ron yellow, pink, tan and shades of
green.
32 x 28 cm
€ 450 – 650
68
69

*70
SEVEN NAZCA-CHANCAY
RITUAL HONDA
A.D. 300-1400
Each woven in camelid fi bers in assorted colors
and confi gurations, 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
fi 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
Including a rare black gauze including diagonal
bands of stylized avians together with a natural
cotton gauze with a pattern of stylized avians and
feline heads.
74 x 67 cm and 96 x 48 cm
See detail of one
€ 600 – 900
70
72
71
53

54
*73
CHANCAY SHIRT
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.
95 x 26 cm
€ 1 000 – 2 000
73
74
*74
CHIMU/CHANCAY
BORDER FRAGMENT
Ca. A. D. 1100-1300
Woven in camelid wool in brown, ocher, white
and shaded red with a row of stylized feathers
with scroll motifs above.
86 x 29.2 cm
Cf. Oechsle, pg. 42 top
€ 400 – 700

*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 fi 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 fi 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
76
75
55

56
*77
LARGE CHANCAY GAUZE TEXTILE
Ca. A. D. 1100-1400
The large rectangular panel woven in natural
cotton gauze with a pattern of stylized cat heads,
the slit tapestry borders woven with a band of
stylized cat heads.
197 x 102
These ‘lace’ textiles characteristic of the Chancay
weaving tradition were woven on a backstrap
loom and are made of over twisted yarn.
€ 900 – 1 200
77 detail
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 profi le, alternating
with stylized felines and zoomorphic
creatures.
130 x 69.8 cm
Chancay textiles are noted for their varied use of
color and alternating design motifs to enliven the
repeated components
€ 900 – 1 200
*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 fi ve felines with fangs
bared, and long fringe below.
30.2 x 54. 3 cm
€ 500 – 800

78
79
57

58
80
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
€ 700 – 900

*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
82
59

60
*83
PARACAS BLACKWARE VESSEL
SAN PABLO
Ca. 900-600 B.C.
The gently lobed body molded with two water
birds in fl ight with incised wings outstretched, the
strap handle incised with a lozenge pattern.
Height 15 cm
€ 600 – 800
*84
NAZCA STIRRUP SPOUT VESSEL
Ca. A. D. 300-600
Painted in a striking white with eleven trophy
heads (?) encircled with petal-shaped motifs,
sometimes known as ‘Surrounded Heads’, in dark
brown.
Height 16 cm
€ 500 – 700

*85
MIDDLE PARACAS VESSEL
SAN PABLO
Ca. 500-300 B. C.
The stirrup spout vessel molded on one end of
the handle with a bird’s head, incised on one
side with a large stylized demon feline head with
ears perked, open mouth showing row of teeth,
upturned and pierced snout, highlighted by red
pigment.
Height 17 cm
Provenance
Dr. Ernst Hauswedell Auction, Hamburg, November
26, 1962, lot 203
Cf. Ceramics of Ancient Peru, fi g. 47
€ 1 000 – 1 500
*86
MIDDLE PARACAS VESSEL
SAN PABLO
Ca. 500-300 B. C.
The stirrup spout vessel molded on one end of
the strap handle with a bird’s head, incised on one
side with a large stylized demon feline head with
large mouth open showing a toothy grin, lunate
eyes under arched brows, the pelage indicated
with incised stripes and circles, highlighted by red
pigment.
Height 13.5 cm
Cf. Ceramics of Ancient Peru, fi g. 47
€ 1 000 – 2 000
61

62
*87
PARACAS PAINTED VESSEL
OCUCAJE
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
Cf. Lavalle, Paracas, pg. 145
€ 3 500 – 4 500
*88
LARGE PARACAS VESSEL, OCUCAJE
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.
Height 40 cm
Provenance
Jean Roudillon, Paris, 1963
Cf. Nazca, pl. 31
Paracas ceramics were fi red in a ‘smudging’ atmosphere
creating a dark grey-to-black surface.
€ 4 000 – 6 000

64
*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 fi 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 fl anked by two similar diminutive
fi gures, long fringe extending at the top.
23 x 24.5 cm (woven section only)
Literature
Alan Lapiner, Pre-Columbian Art of South America,
New York, 1976, pl. 170
The Oculate Being, named for his large eyes, probably
acted as a protective spirit for the deceased.
€ 3 000 – 5 000

*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 bird’s 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

66
*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 bird’s head, painted in red and brown.
Length 19 cm
Cf. Lavalle, Paracas, p. 144; Nasca, pl. 2
€ 2 000 – 4 000

*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 fi 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

68
*93
LARGE PARACAS EMBROIDERED
FRINGE PANEL
PARACAS NECROPOLIS STYLE,
MIDDLE/LATE PARACAS
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 fl anked by grinning
felines and small birds in the fi eld.
55 x 9 cm
Cf. Sawyer, fi 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
*94
PARACAS/PROTO-NAZCA
FRAGMENTS
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
cat’s 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
fi 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

*95
PARACAS NECK SLIT (?) FRAGMENT
Ca. 400-100 B. C.
Woven in camelid wool with a striding Supernatural Being with
streamers emanating from the head and a snake issuing from the
back, with a fringe of three tassels each embroidered with a miniature
version of the Supernatural Being.
28 x 5 cm
€ 400 – 700
*96
THREE PROTO-NAZCA FRAGMENTS
Ca. 400-100 B. C.
The crossknit fragments from borders of mantles woven in camelid
fi ber in vibrant shades of blue, green, red, purple, brown and white,
with stylized avians with beaks open.
14 to 56 cm
See illustration of one
€ 600 – 900
96
*97
PARACAS VESSEL OCUCAJE
Ca. 500-300 B. C.
The bottle with the neck encircled by an
incised collar, painted overall in black with
details in resin pigment in cream and red.
Height 13 cm
Provenance
Bernoulli Collection, Basel, 1951
€ 400 – 600
*98
PARACAS VESSEL OCUCAJE
Ca. 500-300 B. C.
Similarly decorated as lot 97
Height 20.5 cm
Provenance
Bernoulli Collection, Basel, 1951
€ 500 – 800
97 98
95
69

70
*99
TWO PROTO-NAZCA
BORDER FRAGMENTS
Ca. 400-100 B. C.
Probably borders from mantles woven in camelid
wool in tubular knit stem stitch with highly
stylized anthropomorphic fi gures and tabs with
geometric motifs as fringe in alternating colors, in
shades of blue and green, pink, red, ocher, white
and dark brown.
Lengths 195 x 128 cm
See illustration of one
€ 700 – 1 000
*100
RARE NAZCA TEXTILE FRAGMENT
Ca. A. D. 300-600
The double-faced textile with colors alternating
on each side, with three stylized shamanic fi gures,
each fl anked by a smaller anthropomorphic
fi gure, holding a stylized fi sh within a basket (?),
monkeys and birds in the fi eld, the priest fi gure
attired in a patterned tunic and turban, woven in
camelid wool in shaded olive green and pink.
15 x 32 cm
€ 750 – 950

*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, saff ron 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

72
103
102
*102
PROTO-NAZCA 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 fi 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

*104
NAZCA TEXTILE FRAGMENT
Ca. A. D. 300-600
Possibly from a tunic woven in cotton and
camelid wool with fi 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
Galerie Fischer, Luzern, June 12, 1956, lot 233
€ 600 – 900
104
105
73

74
*106
NAZCA VESSEL
Ca. A. D. 300-600
The cylindrical sides painted with the
Demon Feline holding weapons and a
small trophy head, his wide face with
mouth mask and stingray headband, the
sweeping cape with a series of heads, the
border trimmer in spears in alternating
colors, painted in white, grey, maroon and
shades of brown.
Height 18 cm
€ 700 – 1 000
106 107 108
*107
NAZCA POLYCHROME VESSEL
Ca. A. D. 300-600
Painted in tan, maroon, grey, white and
black with an expansive Anthropomorphic
Mythical Being, head turned to the
side, grasping a trophy head and an axe,
in both hands, attired in a tunic trimmed
with further trophy heads, a mouth mask
and a stingray headband with snake-like
streamers.
Height 20 cm
A major theme of Nazca ceramic art
features complex fi gures with feline
faces, human trophy heads and weapons,
probably alludes to combats, the faking of
heads, and the use of blood off erings to
earth, sky and water.
€ 800 – 1 200
*108
NAZCA BEAKER
Ca. A. D. 300-600
Painted in cream, plum, grey, tawny
brown and black, with an imposing
representation of the Anthropomorphic
Mythical Deity, outstretched and grasping
a staff , his cape trimmed with stylized
birds alternating with vegetal (?) motifs.
Height 18.5 cm
Cf. An die Mächte der Natur, pl. 1.8
€ 900 – 1 200

*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
Bernoulli Collection, Basel, 1946
€ 700 – 900
*110
TWO NAZCA FIGURAL VESSELS
Ca. A. D. 300-600
The standing female fi 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
109
110
75

76
*111
NAZCA FIGURAL VESSEL
Ca. A. D. 300-600
Molded in the form of a standing, robust female fi -
gure with arms to her torso, distinctive hands graphically
portrayed with four fi 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-fi tted
patterned turban, painted in tan, orange-brown,
wine red, white and black.
Height 19 cm
€ 1 000 – 2 000

*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 staff , 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.
Diameter 35 cm
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 fi gure, perhaps a shaman or a
ritual performer-someone impersonating a supernatural creature.
€ 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
Bernoulli Collection, Basel, 1940
Cf. Nasca, pl. 224
€ 1 200 – 2 200
*116
LATE NAZCA FEMALE FIGURINE
Ca. A. D. 300-600
The robust, fi 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

80
117
*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 Mächte der Natur, pl. 4.7
€ 1 500 – 2 500
*118
NAZCA EFFIGY VESSEL
Ca. A. D. 300-600
The female fi gure clutching a pair of fruits (?) on a vine, long hair
fl 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
118 119

*119
NAZCA POLYCHROME VESSEL
Ca. A. D. 300-600
Painted in orange, tan, grey, black and cream, the squat expanding
vessel in the form of a fi 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 frog’s head.
Height 9 cm
€ 1 200 – 2 200
*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
fl ying fi gures and octopus tentacles, stylized trophy heads and the
rim also encircled with trophy heads, in cream, tan, grey and shades
of brown.
Height 16 cm
€ 600 – 800
120 121 122
*121
NAZCA PORTRAIT VESSEL
Ca. A. D. 300-600
With rounded base, modeled with a smiling face, eyes surrounded
with face paint, sporting a moustache and goatee, wearing earspools
and a striped turban, and painted in white, black and reddish
brown.
Height 13 cm
€ 600 – 800
*122
NAZCA BOWL
Ca. A. D. 300-600
Painted in cream, tan, wine red, grey and shades of brown, the
fl aring walls with an anthropomorphic fi 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
Bernoulli Collection, Basel, 1946
Literature
Ferdinand Anton, Alt -Peru und seine Kunst, Leipzig, 1962, pl. 88a
Ferdinand Anton, Alt -Peru und seine Kunst, Leipzig, 1972, pl. 90
Cf. Nasca, pl. 195
€ 1 200 – 1 500
81

82
123 124
125
*123
NAZCA POLYCHROME VESSEL
Ca. A.D. 300-600
Painted with two fl 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
Bernoulli Collection, Basel, 1940
€ 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
€ 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 fi gure grasping
a fl ying supernatural fi 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
Istvan Racz, Perun Taide, Helsinki, 1975, pl. 57
Cf. for a similar composition, Nasca, pl. 125
€ 1 500 – 2 500
*126
LARGE NAZCA PORTRAIT HEAD
Ca. A. D. 300-600
Of a deceased, bearded dignitary or a possibly a
trophy head, with broad facial place, eyes cast upward
and surrounded with facial paint, lips pulled
downward, wearing a tall, striped turban, painted
in tan, brown, black and deep red.
Height 20 cm
Cf. Villaret, pg. 100
The long Andean tradition of trophy-head taking
as a specialized religious activity becomes a wellestablished
rite in the South Coast of ancient Peru,
especially in the Early and Middle Nazca periods.
€ 1 500 – 2 500
127
*127
NAZCA POLYCHROME BOWL
Ca. A. D. 300-600
Painted with two sweeping fi 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
In contrast to Moche ceramics, which emphasize
the modeled form and use a reduced pigment
palette, Nazca ceramics display a wider, more vivid
range of colors and a fl atter conception of form.
€ 2 000 – 4 000
126
83

128
*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 staff
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 Mächte 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 fi 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 fi 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
Bernoulli Collection, Basel, 1946
Literature
For the second, Ferdinand Anton,
Alt -Peru und seine Kunst, Leipzig, 1962,
pl. 98
Ferdinand Anton, Alt -Peru und seine Kunst,
Leipzig, 1972, pl. 72
€ 500 – 800

*130
TWO NAZCA POLYCHROME BOWLS
Ca. A.D. 300-600
Each painted in tan, white, grey, maroon, orange and shades of
brown, covered over the entirety of the receptacles, one with two
supernatural heads with hands to the sides, and the base decorated
with swimming fi sh, the waisted bowl with the Anthropomorphic
Mythical Deity grasping a stylized fi gure and with a serpent as
tongue issuing forth small frogs.
Heights 5 and 7 cm
Provenance
Bernoulli Collection, Basel, 1946
€ 500 – 700
131
129
130
129
*131
TWO NAZCA POLYCHROME BOWLS
One a waisted cup painted with the fl ying Anthropomorphic
Mythical Being holding a trophy head and his spears, his cape
trimmed with spears and another trophy head at the end, in shades
of brown, tan, maroon, grey and white, the other painted with a
frieze of splayed frogs in shades of brown, tan, white and grey-plum.
Heights 10 and 8 cm
Provenance
Bernoulli Collection, Basel, 1946
€ 600 – 900
130
131
85

86
*132
NAZCA VESSEL
Ca. A.D. 300-600
Painted in maroon, grey, shades of brown,
white and black, with a row of striding
raptorial birds, each with recurved beak
and large staring rimmed eye.
Diameter 18 cm
€ 800 – 1 200
132 133
*133
NAZCA POLYCHROME BOWL
Ca. A. D. 300-600
Painted in maroon, grey, shades of brown,
white and black, with a row of condors (?),
in alternating colors, each with recurved
beak and large staring rimmed eye.
Diameter 17.5 cm
Provenance
Bernoulli Collection, Basel, 1946
€ 1 000 – 1 500
*134
NAZCA VESSEL
Ca. A. D. 300-600
Representing an unusual clutch of three
chili peppers, of long tapering form attached
together at their stems, linear lines
indicating the ribs, painted in wine red,
white, cream and dark brown.
Height 12 cm
Literature
Ferdinand Anton and Frederick Dockstader,
Das Alte Amerika, Baden, 1967,
pg. 184
€ 500 – 800

*135
TIAHUANACO EFFIGY FRAGMENT
Ca. A. D. 600-1000
Molded with the features of moustachioed fi 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
*136
HUARI-TIAHUANACO
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
Dr. Ernst Hauswedell Auction, Hamburg,
November, 29, 1965, lot 271
€ 900 – 1 200
136
134
135
87

*137
RARE COASTAL TIAHUANACO DRUM
Ca. A. D. 600-1000
The drum-shaped cylindrical base surmounted
by two confronted, standing anthropomorphic
fi 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
Bernoulli Collection, Basel, 1949
€ 2 000 – 4 000

*138
HUARI POLYCHROME VESSEL
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
*139
TIAHUANACO POLYCHROME
BEAKER
Ca. A. D. 800-1000
With fl aring cylindrical sides painted with
two striding anthropomorphic, winged
felines, each with head fl ung back sharply
and grasping a staff , the fur decoratively
treated, in reddish brown, tan, deep red,
grey, white and black.
Height 11.5 cm
Provenance
Bernoulli Collection, Basel, 1949
Literature
Ferdinand Anton, Alt -Peru und seine Kunst,
Leipzig, 1962, pl. 111a
Ferdinand Anton, Alt -Peru und seine Kunst,
Leipzig, 1972, pl. 190
€ 1 000 – 1 400
*140
HUARI BOTTLE
Ca. A D. 800-1000
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
89

*141
HUARI-TIAHUANACO 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
Istvan Racz, Perun Taide, Helsinki, 1975, pl. 60
€ 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 bird’s wing), the other a
highly stylized profi le 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
Galerie Fischer, Luzern, June 12, 1956, lot 211
Cf. Arte Textil, pg. 211
It is likely that such tunics were worn only by individuals of high rank
and their designs were determined by the rank and position of their
owners.
€ 10 000 – 15 000
91

92
*143
TWO PERUVIAN TEXTILE
FRAGMENTS
Ca. A. D. 200-1000
one a fi nely woven Huari fragment probably
from a tunic in camelid wool with
the remnants of a striding fi gure, a smaller
fi 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
Galerie Fischer, Luzern, June 12, 1956, lot
213, for the fi rst
See illustration of one
€ 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
Bernoulli Collection, Basel, 1949
€ 700 – 1 000

*146
HUARI-TIHUANACO 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
Bernoulli Collection, Basel, 1950
Exhibited
Zurich, Alt-Peru aus Schweizer Sammlungen,
Kunsthaus Zurich, April 18-June 2, 1957, pl.
9, no. 441 (not illustrated)
Literature
Ferdinand Anton, Alt -Peru und seine Kunst,
Leipzig, 1962, pl. 119
Ferdinand Anton, Alt -Peru und seine Kunst,
Leipzig, 1972, pl. 202
€ 2 000 – 4 000
145
93

94
*147
HUARI-TIAHUANACO 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 fi ber and
blue feathers.
Height 39.4 cm
Provenance
Bernoulli Collection, Basel, 1950
Exhibited
Zurich, Alt-Peru aus Schweizer Sammlungen, Kunsthaus
Zurich, April 18-June 2, 1957, pl. 25
Cf. Anton, 1962, pl. 106
€ 3 000 – 5 000

*148
INCA DOUBLE-BODIED
VESSEL
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
€ 1 000 – 1 400
148 149
*149
INCA POLYCHROME KERO
Ca. A. D. 1470-1532
The beaker with fl aring cylindrical sides
painted in Cuzco style with various geometric
patterns in a subdued palette in
cream, rusty orange and shades of brown.
Height 15 cm
Provenance
Bernoulli Collection, Basel, 1950
€ 700 – 900
150
*150
THREE ICA VESSELS
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.
Diameter 16; Heights 5 and 4 cm
€ 350 – 550
95

96
*151
PAIR OF INCA BOWLS
Ca. A. D. 1470-1532
The shallow off erings 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
Bernoulli Collection, Basel, 1951
Cf. Anton, 1972, pl. 280-281
€ 300 – 500
*152
COLONIAL WOOD
CEREMONIAL KERO
Ca. A. D. 1470-1560
Of fl 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, fl utist attired in
traditional Inca costume, ancient repair..
Height 17 cm
€ 1 000 – 2 000

*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, fl 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 fi gures attired in capes and holding staff s
along with two European dignitaries, with faunal
motifs in the fi eld.
Height 15 cm
Cf. Arts de l’Amerique, 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
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
fi gural motifs, the satchels attached together in
two rows; some still containing organic remains.
10 x 11 to 6 x 5 cm
€ 700 – 900
153
154
97

98
*156
GROUP OF ELEVEN LATE PARACAS
GOLD ORNAMENTS
Ca. 300 – 100 B. C.
Including four sheet gold headbands, each in the form of a stylized
stingray with tapering wings outspread and embossed with large
circular eyes, lips drawn in a grin, one further ornamented with
curling motifs, one with whiskers, pierced at the sides; together with
three roundels, a ten petaled fl ower ornament, two smaller stingray
bands and a stylized feather; all pierced for attachment.
Lengths 2.5 to 30 cm
Cf. Lavalle, Paracas, pls. 178-179
Paracas gold ornaments characteristically exhibit graphic repousse
designs on thin sheet gold.
€ 5 500 – 7 500
156
*157
CHIMU GOLD DIADEM
Ca. A. D. 1100-1300
Of thick section pierced twice at the corner for attachment.
Length 58 cm
Cf. Gallo, LIX, top
€ 1 500 – 2 500
*158
CHIMU GOLD HEADBAND
Ca. A. D.1100-1300
Of thick section with tapering end.
Length 56 cm
€ 1 000 – 1 500

*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 fl 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
160
158
157
*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 fi 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
Cf. Gallo, pl. LXXVI, for a similar composition
€ 1 200 – 1 800
99

100
162
163
*162
NAZCA GOLD PLUME
Ca. A. D. 300-600
The turban ornament fl aring into a fan shape
embossed with four roundels and bands
of graduated beadwork; with ancient repair.
Length 32.9 cm
Provenance
Galerie Koller, 1964, lot 159
Cf. L’Or et son Mythe, pg. 39 left
€ 1 200 – 1 800
164
*163
EIGHT QUIMBAYA NOSE
ORNAMENTS
Ca. A. D. 1000-1500
Consisting of seven hollow crescentic
ornaments in various sizes together with
an elliptical cast nose ring with tapering
terminals.
Widths 1 to 5 cm
€ 1 500 – 2 500
*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

*165
MUISCA GOLD TUNJO
Ca. A.D. 1300-1500
The cast off ering 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 fi 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 fi gure at his waist, and holding a birdheaded
staff , adorned with jewelry and openwork crescentic helmet
ornamented with dangles.
Height 16.2 cm
Cf. Gold, pl. 44 top left
The isolated Chibcha (Muisca) are known for their distinctive votive
off erings or tunjos. The fl attened compositions were cast in fl ow
molds, layering wax sheets to which threads were applied to form
the fi gural and decorative details.
These fi 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 fi gures are considered multi-symbolic
images closely related to overall Muisca religious and social
concepts.
€ 3 000 – 5 000
101

102
*167
GROUP OF TWENTY-FIVE BOOKS
Berner Kunstmuseum, Kunst der Inca, April 28-July 29, 1956; Kunsthaus
Zurich, Alt-Peru aus Schweizer Sammlungen, April 18-June 19, 1957;
Disselhoff , 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 Ahnvölker
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; Disselhoff , H.D., Alltag im alten Peru,
1966; Musee de L’Homme Paris, Ancien Perou: Vie, Pouvoir et Mort, May
1987-January 1988; Museum zu Allerheiligen Schaff hausen Sammlung
Ebnöther, 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, 1968-
Jan. 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., L’Art 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 TWENTY-THREE 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
Metallgeräte, 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; D’Harcourt,
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 l’Invention 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 Gefäßmalereien,
1926; Uhle, M., Nazca Pottery of Ancient Peru, 1914; Collier,
D., Cultural Chronology and Change as refl ected in the Ceramics of the Viru
Valley, Peru, 1955; Willey, G., Das alte Amerika, Propyläen Kunstgeschichte,
Vol. 18, 1974, Kauff mann Doig, F., Manual del Arqueologo Peruanista,
1961; Espejo Nunez, J., Bibliografi a de Arqueologia Peruana, 1956-61
€ 1 000 – 1 500
*169
GROUP OF TWENTY-SEVEN 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; Disselhoff , H.-D.,
Gott muss Peruaner sein, 1956; Guidoni, E./Magni, R., Monumente Großer
Kulturen: Inka, 1972; Rautenstrauch-Joest Museum, Köln, Exotische Kunst,
1967; Bennett, W.C., Ancient Arts of the Andes, 1954; Ubbelohde-Doering,
Heinrich, Kulturen Alt-Perus, 1966, Ubbelohde-Doering, H., Auf den
Königsstraßen der Inka, 1941; Trimborn, H., Grosse Kulturen der Frühzeit:
Das Alte Amerika, 1959; Künstlerhaus, Wien, Gold und Macht: Spanien in
der Neuen Welt, 1986; Cartwright Brundage, B., Empire of the Inca, 1963;
Lehmann, H., Les Ceramiques Precolombiennes, 1959; Villa Hügel 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; Kauff mann Doig, F., La Cultura
Chavin, 1963; Galerie Marcel Evrard, Arts du Perou, 1956; Ebnöther, M.,
Arbeit, Kampf und Spiel, 1980; Museum zu Allerheiligen, Schaff hausen,
Sammlung Ebnöther, Faszination Archäologie, 1994; Kutscher, G., Chimu.
Eine altindianische Hochkultur, 1950; Höhere Fachschule für das Graphische
Gewerbe, Stuttgart, Orbis Opera, 1966; Museum Rietberg, Zurich,
Sican-Ein Fürstengrab in Alt-Peru, Nov. 3, 1997-March 9, 1997; Disselhoff ,
H.D., Das Imperium der Inka, 1972; Kosok, P., Life, Land and Water in Ancient
Peru, 1965
€ 1 000 – 2 000
*170
GROUP OF TWENTY-EIGHT BOOKS
Assereto, A.P., La Cultura Nazca, 1962; Lothrop, S.K., Essays in Pre-Columbian
Art and Archaeology, 1961; Neudecker, A., Archäologische 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; D’Harcourt, R., La Medecine dans l’ancient 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, Beiträge zur
Völkerkunde, 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 Hügel, Petit Palais, Istituto Italo-Latino
Americano, Rome, Landesmuseum Münster, American Museum of Natural
History, Linden-Museum, Stiftung St. Galler Museen, Völkerkunde-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.,
D’Harcourt, 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
D’Harcourt, R. and M., La Ceramique Ancienne du Perou, 1924
€ 150 – 250
*172
PERUANISCHE ALTERTHÜMER
Königliche Museen Berlin/Museum für Völkerkunde, Peruanische Alterthümer,
insbesondere altperuanische Gefässe und Gefässe der Chibcha
und der Tolima- und Cauca-Stämme, Goldschmuck etc., 1893
€ 200 – 400

*173
DIE RUINENSTÄTTE VON TIAHUANACO
IM HOCHLANDE DES ALTEN PERU
Stübel, A./Uhle, M., Die Ruinenstätte von Tiahuanaco im Hochlande des
alten Peru. Eine kuturgeschichtliche Studie, 1892
€ 300 – 500
*174
GROUP OF FIFTEEN BOOKS
Sawyer, A., Ancient Peruvian Ceramics, 1966; Kutscher, G., Nordperuanische
Keramik, 1954; Kutscher, G., Werke Präkolumbischer 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., L’Art 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 Corneur-
Roudillon (three copies), Salle des ventes Rosset, 1932-1979; Group of
two magazines, Antike Welt, Fanal, 1964-1978; Group of fi ve Museum
Exhibition Catalogues, Museum für Völkerkunde Freiburg i.B., Museum
für Völkerkunde 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 für Völkerkunde
Berlin, Staatliches Museum für Völkerkunde München, 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, Scientifi c Review, Museum Basel
€ 800 – 1 200
*175
GROUP OF TWENTY-FIVE BOOKS
Emery, I., The Primary Structures of Fabrics,1966; Reiss-Engelhorn-Museen
Mannheim, An die Mächte der Natur, Vol. 5, July 21-Oct 20, 2002; Hoyle,
R.L., Las Epocas Peruanas, 1963; Linden-Museum Stuttgart, Im Zeichen
des Jaguars, 1974; Sawyer, A., Mastercraftsmen of Ancient Peru, 1968;
Rowe, J.H., Chavin Art, 1962; Disselhoff , H.D., Vicus. Eine neu entdeckte
altperuanische Kultur, 1971; Musee des Arts Decoratifs Paris, Collection
Nathan Cummings d’art Ancien du Perou, March-May 1956; Galerie Asbaek
Copenhagen, Chavin, June 20-Aug. 14, 1995; Centro Ligure per la
Storia della Ceramica, Ceramica peruviana, May 31-Aug 25, 1974; Hoyle,
R.L., La ceramica de Vicus 2, s.A.; Hoyle, R.L., La ceramica de Vicus, 1963
(two copies); Stein, W., Hualcan: Life in the Highlands of Peru, 1961; Leicht,
H., Indianische Kunst und Kultur, 1944; Bollinger, A., So bauten die Inka,
1979; Kusch, E., Peru, 1973; Stingl, M., Auf den Spuren der ältesten Reiche
Perus, 1990; Kauff mann Doig, F., El Peru Arqueologico, 1963; Hoyle, R.L., La
Cultura Santa, s.A.; Disselhoff , H.D., Geschichte der altamerikanischen Kulturen,
1953; Joyce, T.A., South American Archaeology, 1912; Spahni, J.-C.,
Peru, 1970; Osborne, H., South American Mythology, 1968; Alden Mason,
J., Das alte Peru, 1965; Group of Nine Academic Booklets and Museum
Exhibition Catalogues, Organo de la Comision Nacional de Cultura,
Vol. 5 (two copies), The Textile Museum Washington, Museumsbrief St.
Gallen (two copies), Les Cahiers CIBA, Sammlung Karl Handler Wien,
Museum für Volkskunde Basel, Stiftung zur Förderung der Hamburgischen
Kunstsammlungen, 1960-1981
€ 1 000 – 2 000
*176
GROUP OF THIRTEEN BOOKS
Villaret, B., Arts anciens du Perou, 1978; Hoyle, R.L., Peru, 1966; Dockstader,
F.J., DIe Kunder der Indianer in Südamerika, 1967; D’Harcourt, R., Arts
de L’Amerique, 1948; Bennett, W./Bird, J., Andean Culture History, 1960;
Eisleb, D., Altperuanische Kulturen, Vol. I-IV, 1975; Rautenstrauch-Joest-
Museum Köln, Schätze aus Peru, June 20-Sept. 6, 1959; Group of three
museum exhibition catalogues, Staatliches Museum für Völkerkunde
München (two copies), Übersee-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 Zürich, Sammlung Carmen Oechsle, 1962-1996;
Museum zu Allerheiligen Schaff hausen Sammlung Ebnöther, 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
Linden-Museum Stuttgart, Trois Continents, 1983; Disselhoff , H.D./Linne,
S., Alt-Amerika, 1960; Trimborn, H., Dämonen und Zauber im Inkareich,
1939; Museum für Ur- und Frühgeschichte Freiburg i.B., Das erste Gold
der Menschheit, 1986; Kunst- und Ausstellungshalle Bonn, Gold aus
dem alten Peru. Die Königsgräber von Sipan, Dec 15, 2000-April 29, 2001;
Dickey, T., Man, J., Wiencek, H., Die Könige von El Dorado, 1989; Group of
Five Exhibition Catalogues, Gold Museum Bogota, Museum für Völkerkunde
Berlin, Maison de l’Amerique latine Paris, Australian Art Exhibitions
Corporation, Rietberg-Museum Zurich, 1968-1988; Group of Six Exhibition
Catalogues, Palais des Beaux-Arts Brussels, Galerie Motte Geneva, Palazzo
Accademia delle Scienze Turin, Museum für Völkerkunde und Vorgeschichte
Hamburg, Musee de l’Or de Bogota, Landsmuseum Koblenz, 1956-1988;
Emmerich, A., Sweat of the Sun and Tears of the Moon, 1965; Emmerich,
A., Gold- und Silberschmuck aus dem präkolumbischen Amerika, 1964;
Hoyle, R. L., Checan, 1965; Rautenstrauch-Joest-Museum Köln, Arte Colombiano,
June 16-Aug. 12, 1962; Jones, J., The Art of Precolumbian Gold.
The Jan Mitchell Collection, 1985
€ 800 – 1 200
*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

PROPERTY FROM EUROPEAN
PRIVATE COLLECTIONS

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 fi 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
German collection acquired in the late 1970s
€ 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
German collection acquired in the late
1970s
Cf. Trujillo, pg. 48, lower left
€ 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
German collection acquired in the late
1970s
Both, parrots and macaws were prized
by all Mesoamerican peoples for their
feathers. Thousands of tiny feathers elaborated
costume and dress elements such
as tunics and headdresses for individuals
of status.
€ 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 fi ngers painted in reddish brown and cream
and covered overall with a spotted pattern.
Provenance
German collection acquired in the late 1970s
Cf. Spirit of Ancient Peru, pl. 43
Frogs and toads are associated with water and vegetation
and along with this fertility. All anurans are at
least somewhat toxic. Some frogs-notably Dendobrates,
the poison dart frog produce a toxin used by
some peoples in hunting and fi shing. Some toads,
such as the Bufo marinus, emit a fairly powerful toxin
from glands at the side of the head; this toxin may
have been converted by certain pre-Hispanic groups
into a psychoactive drug for ritual use.
€ 3 000 – 5 000
184
183
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
Louis Slavitz Collection
Cf. For the general type, Nazca, pg. 136
top left
€ 3 500 – 5 500
*186
TIAHUANACO EFFIGY VESSEL,
HIGHLANDS
Ca. A. D. 400-700
The naturalistically rendered standing
llama, with cloven hooves planted fi rmly, a
swelling robust body and elongated neck,
lips parted, pierced nostrils fl ared and
ears backward swept and pierced, a spout
fl aring from the back, painted in a creamy
slip with details in reddish brown.
Height 16 cm
Provenance
Arthur M. Sackler Collection
Literature
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, fi g.26
Another modeled llama is in the Museo
National de Antropologia y Arqueologia in
Lima, Sackler Collections, pg. 112, fi 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

110
187
SINU GOLD EAGLE PENDANT
Ca. A. D.500-1000
The regal bird with rounded fl 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 fl 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
Sotheby’s, May 17, 1992, lot 70
Belgian Collection
€ 6 000 – 9 000
188
187
188
PAIR OF SINU GOLD EAR ORNAMENTS
Ca. A .D. 500-1000
Of semi-circular form fi nely cast with three rows of openwork fi ligree
zigzags and roundels, surmounted by a two long-billed bird on each
shoulder; one attached to a modern gold chain.
Width 9.5 cm
Provenance
Sotheby’s, May 17, 2002, lot 233
Belgian Collection
€ 2 500 – 4 500
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
Galeria Cano, 1986
Belgian Collection
€ 900 – 1 200

190
TOLIMA GOLD NOSE ORNAMENT
Ca. A. D. 500-1000(check)
Cast with semi-circular nose ring with tapering ends, with openwork
crosshatched side fl 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
€ 1 200 – 1 800
*191
PAIR OF SINU GOLD EARRINGS
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.
Diameter each 5 cm
Acquired in the early 1970s in Holland
€ 800 – 1 200
190
189
192
DIQUIS GOLD AVIAN PENDANT
PALMAR SUR
Ca. A. D. 800-1200
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
Belgian Collection
€ 2 000 – 2 500
191
192
111

112
193
VERAGUAS GOLD EAGLE PENDANT
Ca. A. D. 800-1500
Cast with broad fl 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.
Width 9.2 cm
Provenance
Estate of the Honarable A.G. Samuel, London, acquired in the 1970’s
Christie’s, London, June 5, 2008, lot 104
Cf. Between Continents/Between Seas, fi g.248 and 249
€ 5 000 – 7 000

194
RARE CALIMA EMERALD PENDANT
Ca. A. D. 200-400
The miniature version of an anthropomorphic
fi gure of a double-spouted alcarraza; drilled with
a suspension hole.
Height 1.6 cm
Cf. Colombia Before Columbus, fi 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 fi 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
GUANACASTE-NICOYA
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
Acquired in the early 1980s in the US
Cf. Between Continents/Between Seas, fi g. 75
Metates, tablelike objects of stone used in ancient Mesoamerica for
the grinding of foodstuff s such as corn, underwent particular elaboration
in Central America, where they took on special meanings as
well as unusual sculptural forms. Certain ancient rituals must have
incorporated this activity and required special metates to be created
for this purpose. The decorative quality of some Central American
metates suggests a ceremonial function. Most are carved in volcanic
stone, and bear fretted edges, tripod legs covered with geometric
relief and cut-outs, and, at one end, an abstract animal-head motif,
frequently a bird’s head. The ornament may be related to the owner
of the object or to the ritual in which the metate was used. Its function
as a surface for grinding maize, a staple food of the region from
which they come, links these sculptures with the notion of fertility, a
primary concern for an agricultural people.
€ 12 000 – 18 000

197
COSTA RICAN STONE DOUBLE FIGURE
ATLANTIC WATERSHED REGION
Ca. A. D. 800-1200
The addorsed seated male fi 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
Gerd Krüger Collection, Germany, 1990
Exhibited
Munich, Zwischen den Weltmeeren: Faszinierende Archäologie aus
Costa Rica, pg. 21, 1992, Dresdner Bank, 1991-1994
Cf. Sacred Landscapes, Fig. 15
These sukia fi gures are most numerous of the Period VI stone
fi gures in the eastern and central portion of Costa Rica.
€ 2 200 – 2 600
198
COCLE POLYCHROME PEDESTAL PLATE
Ca. A. D. 1000-1300
Supported on a fl 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
American Private Collection
Cf. Chefs d’Oeuvres Inedits, pl. 263
€ 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,
fi 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 fi nely incised with two, four-pointed ‘Flaming
Brows’, in dark green stone, with faint remains of
cinnabar.
Width 9 cm
Provenance
German Private Collection
These receptacles may have been used for hallucinogens
to induce the shaman’s trance.
€ 2 000 – 4 000
117

118
202
FOUR PRECLASSIC
FEMALE FIGURINES
LATE PRECLASSIC
Ca. 300-100 B. C.
Including three Colima fi gurines, one
seated with her child in her lap, a standing
fi gure with her child clambering up
her torso, and a Jalisco fi gurine covered
overall in reddish brown slip.
Heights 6 to 11 cm
Provenance
Jean Roudillon Auction, Paris, 1970s, for
the last two
€ 900 – 1 200
202
203
204
202
203
FOUR PRECLASSIC
FEMALE FIGURINES
MIDDLE PRECLASSIC
Ca. 1150-550 B. C.
Each holding their infant, one a Tlatilco
seated fi gure with remains of red
pigment, the other a standing Michoacan
fi gure with remains of red pigment, and
two seated Chupicuaro fi gurines.
Heights 4 8 to 11.5 cm
Provenance
Jean Roudillon Auction, Paris, 1970s, lot
85, 82, 83 and 84
€ 900 – 1 200
204
203
205
203
203
202
204
THREE PRECLASSIC WEST
MEXICAN FIGURINES
LATE PRECLASSIC
Ca. 300-100 B. C.
All seated and cradling their infants, one
Jalisco painted in a white slip with details
in black, the other Nayarit and a Colima
fi gurine with should scarifi cation and
jewelry.
Heights 10 to 11. 5 cm
Provenance
Jean Roudillon Auction, Paris, 1970s, lot
108, 107 and 86
€ 1 200 – 1 800
205
202
204

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
Jean Roudillon Auction, Paris, 1970s, lot 94,
for the fi rst
Cf. Off erings for a New Life, pl. 53, for the
second
€ 900 – 1 200
206
THREE WEST MEXICAN
PRECLASSIC
FEMALE FIGURINES
LATE PRECLASSIC
Ca. 300-100 B. C.
Composed of a seated Colima Preclassic
mother and child, and two Nayarit fi gurines
each holding their infants, one standing and
balancing a bowl on her left shoulder and
with remains of pigment.
Heights 13.5 to 15 cm
Provenance
Jean Roudillon Auction, Paris, 1970s, lot 88,
for the fi rst
€ 1 000 – 2 000
207
TWO PANUCO FEMALE
FIGURINES
Ca. A. D. 250-450
The corpulent seated fi gure solely adorned
in jewelry and feathered headdress, the
standing fi gurine with outstretched hands
and hair treated as a layered chignon; each
with remains of black chapapote.
Heights 16.5 and 10 cm
Provenance
Jean Roudillon Auction, Paris, 1970s, lots 75
and 79
€ 500 – 700
208
TWO COLIMA PRECLASSIC FEMALE FIGURINES
LATE PRECLASSIC
Ca. 300-100 B. C.
Including one pregnant fi gure with remains of ochre pigment, and
a standing fi gure holding her child to her right shoulder, wearing
jewelry and a wraparound skirt.
Heights 18.5 and 23 cm
Jean Roudillon Auction, Paris, 1970s, lot 90, for the fi rst
€ 900 – 1 200
206
208
207
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-fi tted cap with raised ridges, painted in brown and
reddish-brown.
29.2 cm
Provenance
Belgian Collection since 1990
The association of rulership and drinking suggests the importance of
ruler-sponored drinking, probably of fermented beverages.
€ 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
Belgian Collection since 1990
€ 7 000 – 10 000

122
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-fi tted red cap, and
the body painted in a creamy slip with fi ne crosshatch black designs
covering her whole torso, possibly tattoos.
Height 30 cm
Provenance
Jean Roudillon Auction, Paris, 1970s, lot 101
Type C fi gures are perhaps the most stylized and abstract of the
Chinesco variants.
€ 4 000 – 6 000

212
MICHOACAN-COLIMA
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 infant’s 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
Jean Roudillon Auction, Paris, June 24, 1974,
lot 20
Belgian Collection since the 1970s
€ 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
Lucia Meza Collection, California from the 1950s
€ 9 000 – 11 000
125

126
216
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 closelyfi
tted cap, painted in deep reddish brown with
decorative details in black and white.
Height 19.4 cm
Provenance
Jean Roudillon Auction, Paris, June 24, 1974,
lot 110
Belgian Collection since the 1970s
Cf. Shaft Tomb Figures, fi g. 151
€ 4 000 – 6 000

216
COLIMA GADROONED VESSEL
Protoclassic, ca. 100 B. C.-A. D. 250
Standing on three legs modelled as parrots with
incised folded wings and eyes, with sharply
sectioned body and wide, fl aring lip, and painted
overall in reddish brown.
Diameter 32.3 cm
€ 3 000 – 5 000
217
COLIMA STANDING DOG
PROTOCLASSIC
Ca. 100 B. C.-A. D. 250
A youthful canine standing on bent legs with
head jutting forward with an openwork growl,
nostrils fl ared and ear perked, the tail upturned
and painted overall in reddish brown.
Length 41.4 cm
Provenance
Belgian Collection since 1980
€ 7 000 – 9 000
127

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.
Diameter 22.2 cm
Provenance
Gerdes Gallery, Munich, 1980
German Private Collection
218
Literature
Keysers, Grosses Antiquitätenlexikon, Pre-Columbian Art, Munich,
1980, pg. 405, illus.
Cf. Laurette Sejourne, Arqueologia de Teotihuacan, 1966, fi g. 104
€ 1 500 – 2 500
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 staff (?) in the outstretched hand
and a shield decorated with a monster’s
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 monster’s head, rosette
and feathers.
Height 60 cm
Provenance
Laue Gallery, Munich, 1995
Cf. Ancient Art of the Veracruz, fi g. 82-83
The divinity adorned with some of the
diagnostic attributes (snail shell, broom,
and shield) Tlazoteotl may have also had
a Huastec origin from the Gulf Coast. In
the Aztec period she is goddess of lechery
and unlawful love. It is said when a man
confessed before her, everything was
shown. It was Tlazolteotl who inspired
vicious desires, and who likewise forgave
and cleaned away the defi lement through
steam baths.
The paraphernalia laden deity who assisted
midwives as well as diviners is the personifi
cation of the transformative nature of
Woman.
€ 2 500 – 4 500

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
Belgian Private Collection since 1990
€ 8 000 – 12 000
220
219
129

221
MAYAN DIGNITARY, JAINA
LATE CLASSIC,
Ca. A. D. 550-950
With feet fi 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 coiff ure, with
faint remains of blue pigment.
Height 18.1 cm
Provenance
An American Private Collection, since 1965
Back cover
€ 7 500 – 9 500

*222
MAYAN PAINTED VESSEL
LATE CLASSIC, Ca. A. D. 550-950
Painted in codex style with a boldly depicted, seated fi 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 fi gure with ‘mirror’ markings on the arms
and extended nose bridge, top and bottom rim painted in orange.
Height 15.3 cm
Provenance
California Private Collection
Sotheby’s, November 17, 2006 lot 418
Cf. mayavase.com K2294
€ 5 500 – 7 500
131

132
*223
MAYAN POLYCHROME CYLINDER VASE
LATE CLASSIC
Ca. A. D. 550-950
Painted with a complex mythical procession possibly illustrating
a key episode in the Popol Vuh with the Hero Twins, composed of
four dignitaries, each with black painted bodies, two sporting jaguar
pelts and their bodies painted with jaguar markings and belts with
a fi shnet pattern, each holding an implement,
possibly a torch, alternating with three costumed
fi gures, including one in a jaguar costume with a
fi shnet costume, resembling serpent skin or fi sh
scales, and this neck wrapped in knotted scarf associated
with sacrifi ce, another in a supernatural
costume of a sacred beast with little dots(blood?)
emanating from his raised left hand and a third
dancing personage in fantastic helmet with a
fl owing jaguar skin cape and jaguar tattoos on
his arms holding a copal(?) bag, with a band of
glyphs around the rim, in pale and dark orange,
pink and black.
The Maya Hero Twins are the central fi gures of
a narrative included within the colonial Quiché
document called Popol Vuh and constituting the
oldest Maya myth to have been preserved in
its entirety. Called Hunahpu and Xbalanque in
Quiché, the Twins have also been identifi ed in
the ceramic art of the Classic Mayas (200-900 AD).
The Twin motif recurs in many Native American
mythologies; the Mayan Twins in particular could
be considered as mythical ancestors to the Mayan
ruling lineages. In one episode, the Twins answered
a summons to entertain the Lords of the
Xibalba, the Underworld. Their identities remained
secret as they donned costumes, claiming
to be orphans and vagabonds. Incognito they
went through their gamut of miracles, slaying a
dog and bringing it back from the dead, causing
the Lords’ house to burn around them while the
inhabitants were unharmed, and then bringing
the house back from the ashes. In a climactic
performance, Xbalanque cut Hunahpu apart and
off ered him as a sacrifi ce, only to have the older
brother rise once again from the dead. Enthralled
by the performance, One Death and Seven Death,
the highest lords of Xibalba, demanded that the
miracle be performed upon them. The Twins obliged
by killing and off ering the lords as a sacrifi ce,
but predictably did not bring them back from
the dead. The twins then shocked the Xibalbans
by revealing their identities as Hunahpu and
Xbalanque.
Height 16.5 cm
Provenance
New York Collection
€ 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
monster’s head and jewelry, with details highlighted in white
pigment.
Height 14.3 cm
Provenance
Stendahl Galleries, Los Angeles, 1950s
Exhibited
New York, Art of the Maya Civilization, Martin Widdifi eld Gallery,
September 4-October 5, 1957
Kunst aus Mexiko und Mittelamerika, An Exhibition from 1958-1960
featured in Munich, Zurich, Paris, The Hague, Berlin, Vienna, Frankfurt
and Rome
Literature
Peterson, Jeanette, Precolumbian Flora and Fauna: Continuity of Plant
and Animal Themes in Mesoamerican Art, pg. 65, fi g. 37
€ 2 500 – 3 500
225
MAYAN JADE PENDANT
LATE CLASSIC
Ca. A. D. 550-950
The dignitary’s 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
Robert Stolper Gallery, Munich, 1977
€ 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 off erings, the fl 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
Ancient Art of Veracruz
Ethnic Arts Council of Los Angeles, Ancient Art of Veracruz, Los Angeles, February 23-June 13, 1971
An die Maechte der Natur
Michael Tellenbach and Alfried Wieczorek, An die Mächte der Natur: Mythen der altperuanischen Nasca-Indianer, Mainz, 2002
Anton 1962
Ferdinand Anton, Alt-Peru und seine Kunst, Leipzig, 1962
Anton 1962
Ferdinand Anton, Alt-Peru und seine Kunst, Leipzig, 1972
Arte Textile del Peru
Ed. Jose Antonio and Jose Gonzalez Garcia, Arte Textile del Peru, Lima, 1989
Between Continents / Between Seas
J. Jones, M. Kan, M. Snarkis, Between Continents/Between Seas: Precolumbian Art of Costa Rica, New York, December 20, 1981 – January 29, 1982
Chancay
Ed. Jose Antonio Lavalle, Culturas Precolombinas Chancay, Lima, 1982
Chefs-d’Oeuvres Inedits
Gerald Berjonneau, Emile Deletaille et Jean-Louis Sonnery, Chefs-d’Oeuvres Inedits de l’Art Precolombien, Boulogne, 1985
Colombia before Columbus
Armand J. Labbé, The People, Culture and Ceramic Art of Prehispanic Colombia, Bowers Museum, Santa Ana, California, 1986
Ceramics of Ancient Peru
Christopher P. Donnan, Ceramics of Ancient Peru, UCLA Fowler Museum of Cultural History, Los Angeles, 1992
Donnan
Christopher P. Donnan, Moche Art of Peru, UCLA Museum of Cultural History, Los Angeles, 1978
Eisleb
Dieter Eisleb, Altperuanische Kulturen Recuay IV, Berlin, 1987
Gallo
Mujica Gallo, Peruvian Gold, London, 1964
Gold
Roberto P. Camacho and Marcia Alicia Uribe, The Spirit of Ancient Colombian Gold, Traveling Exhibit, Smithsonian Institution, 2006
L’Art des Ameriques
Raoul d’Harcourt, L’Art des Ameriques, Paris, 1948
Larco Hoyle
Rafael Larco Hoyle, Archaeologia Mundi: Peru, Munich, 1966
Lapiner
Alan Lapiner, Pre-Columbian Art of South America, New York, 1976
L‘Or et son Mythe
Grand Palais, L‘or et son Mythe, Paris, 7-29 May, 1988.
Moche Fine Line Painting
Christopher Donnan, Moche Fineline Painting :: Its Evolution and Its Artists, Los Angeles, 1999
Nasca
Ed. Judith Rickenbach, Nasca, Zurich, 1999

Off erings For a New Life
Ed. Mireille Holsbeke and Karel Arnaut, Off erings For a New Life: Funerary Images from Pre-Columbian West Mexico, Antwerp, 1998
Paracas
Ed. Jose Antonio Lavalle, Culturas Precolombinas Paracas, Lima,.1983
Proulx
Donald Proulx, A Sourcebook of Nasca Ceramic Iconography, Iowa, 2006
Sackler Collections
Ed. Lois Katz, Art of the Andes: Pre-Columbian Sculptural and Painted Ceramics from the Arthur M. Sackler Collections, Washington D. C., 1983
Sacred Landscapes
Ed. Richard Townsend, The Ancient Americas: Art from Sacred Landscapes, Chicago, 1992
Sawyer
Alan Sawyer, Ancient Andean Arts: In the Collection of the Krannert Art Museum, Illinois, 1975
Shaft Tomb Figures
Hasso von Winning, The Shaft Tomb Figures of West Mexico, Los Angeles, 1974
Spirit of Ancient Peru
Kathleen Berrin, ed., The Spirit of Ancient Peru, San Francisco, 1997
Stierlin
Henri Stierlin, Art of the Incas, New York, 1984
Trujillo
Ed. Jose Antonio de Lavalle, ed. Trujillo Precolombiano, Peru, 1990
Vicus
Hans Disselhoff , Vicus, Berlin, 1971
Villaret
Bernard Villaret, Arts Anciens du Perou, Tahiti, 1978
Willey
Ed. Gordon R. Willey, Propyläen Kunstgeschichte: Das Alte Amerika, vol. 18, Berlin, 1974

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DRUCK Grafi sche Werkstatt Druckerei Gebr. Kopp, Köln
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maßgeblich.
2. Lempertz behält sich das Recht vor, Nummern des Kataloges zu vereinen,
zu trennen und, wenn ein besonderer Grund vorliegt, außerhalb der Reihenfolge
anzubieten oder zurückzuziehen.
3. Sämtliche zur Versteigerung gelangenden Gegenstände können im Rahmen
der Vorbesichtigung geprüft und besichtigt werden. Die Katalogangaben und
entsprechende Angaben der Internetpräsentation, die nach bestem Wissen
und Gewissen erstellt wurden, werden nicht Bestandteil der vertraglich vereinbarten
Beschaff enheit. Die Angaben beruhen auf dem zum Zeitpunkt der Katalogbearbeitung
herrschenden Stand der Wissenschaft. Sie sind keine Garantien
im Rechtssinne und dienen ausschließlich der Information. Gleiches gilt für
Zustandsberichte und andere Auskünfte in mündlicher oder schriftlicher Form.
Zertifi kate oder Bestätigungen der Künstler, ihrer Nachlässe oder der jeweils maßgeblichen
Experten sind nur dann Vertragsgegenstand, wenn sie im Katalogtext
ausdrücklich erwähnt werden. Der Erhaltungszustand wird im Katalog nicht
durchgängig erwähnt, so dass fehlende Angaben ebenfalls keine Beschaff enheitsvereinbarung
begründen. Die Sachen sind gebraucht. Alle Gegenstände
werden in dem Erhaltungszustand veräußert, in dem sie sich bei Erteilung des
Zuschlages befi nden.
4. Lempertz verpfl ichtet sich jedoch bei Abweichungen von den Katalogangaben,
welche den Wert oder die Tauglichkeit aufheben oder nicht unerheblich
mindern, und welche innerhalb eines Jahres nach Übergabe in begründeter
Weise vorgetragen werden, seine Rechte gegenüber dem Einlieferer gerichtlich
geltend zu machen. Maßgeblich ist der Katalogtext in deutscher Sprache.
Im Falle einer erfolgreichen Inanspruchnahme des Einlieferers erstattet Lempertz
dem Erwerber ausschließlich den gesamten Kaufpreis. Darüber hinaus
verpfl ichtet sich Lempertz für die Dauer von zwei Jahren bei erwiesener
Unechtheit zur Rückgabe der Kommission, wenn der Gegenstand in unverändertem
Zustand zurückgegeben wird. Im übrigen ist eine Haftung wegen
Mängeln ausgeschlossen.
5. Ansprüche auf Schadensersatz aufgrund eines Mangels, eines Verlustes oder
einer Beschädigung des versteigerten Objektes, gleich aus welchem Rechtsgrund,
oder wegen Abweichungen von Katalogangaben oder anderweitig
erteilten Auskünften sind ausgeschlossen, sofern Lempertz nicht vorsätzlich
oder grob fahrlässig gehandelt oder vertragswesentliche Pfl ichten verletzt hat;
im übrigen gilt Ziff er 4.
6. Abgabe von Geboten. Gebote in Anwesenheit: Der Saalbieter erhält
gegen Vorlage seines Lichtbildausweises eine Bieternummer. Lempertz
behält sich die Zulassung zur Auktion vor. Ist der Bieter Lempertz nicht bekannt,
hat die Anmeldung 24 Stunden vor Beginn der Auktion schriftlich
und unter Vorlage einer aktuellen Bankreferenz zu erfolgen. Gebote in Abwesenheit:
Gebote können auch schriftlich, telefonisch oder über das Internet
abgegeben werden. Aufträge für Gebote in Abwesenheit müssen
Lempertz zur ordnungsgemäßen Bearbeitung 24 Stunden vor der Auktion
vorliegen. Der Gegenstand ist in dem Auftrag mit seiner Losnummer und
der Objektbezeichnung zu benennen. Bei Unklarheiten gilt die angegebene
Losnummer. Der Auftrag ist vom Aufraggeber zu unterzeichnen. Die
Bestimmungen über Widerrufs- und Rückgaberecht bei Fernabsatzverträgen
(§ 312b – d BGB) fi nden keine Anwendung. Telefongebote: Für das
Zustandekommen und die Aufrechterhaltung der Verbindung kann nicht
eingestanden werden. Mit Abgabe des Auftrages erklärt sich der Bieter
damit einverstanden, dass der Bietvorgang aufgezeichnet werden kann. Gebote
über das Internet: Sie werden von Lempertz nur angenommen, wenn der
Bieter sich zuvor über das Internetportal registriert hat. Die Gebote werden von
Lempertz wie schriftlich abgegebene Gebote behandelt.
7. Durchführung der Auktion. Der Zuschlag wird erteilt, wenn nach
dreimaligem Aufruf eines Gebotes kein höheres Gebot abgegeben wird.
Der Versteigerer kann sich den Zuschlag vorbehalten oder verweigern,
wenn ein besonderer Grund vorliegt. Wenn mehrere Personen zugleich
dasselbe Gebot abgeben und nach dreimaligem Aufruf kein höheres Gebot
erfolgt, entscheidet das Los. Der Versteigerer kann den erteilten Zuschlag
zurücknehmen und die Sache erneut ausbieten, wenn irrtümlich ein
rechtzeitig abgegebenes höheres Gebot übersehen und dies vom
Bieter sofort beanstandet worden ist oder sonst Zweifel über den Zuschlag
bestehen (§ 2 Ziff er 4 VerstVO). Gebote werden von Lempertz nur
in dem Umfang ausgeschöpft, der erforderlich ist, um ein anderes
Gebot zu überbieten. Der Versteigerer kann für den Einlieferer bis zum vereinbarten
Limit bieten, ohne dies anzuzeigen und unabhängig davon, ob andere
Gebote abgegeben werden. Wenn trotz abgegebenen Gebots kein Zuschlag
erteilt worden ist, haftet der Versteigerer dem Bieter nur bei Vorsatz oder grober
Fahrlässigkeit.
8. Der Zuschlag verpfl ichtet zur Abnahme. Sofern ein Zuschlag unter Vorbehalt
erteilt wurde, ist der Bieter an sein Gebot bis vier Wochen nach
der Auktion gebunden, wenn er nicht unverzüglich nach Erteilung des
Zuschlages bzw. entsprechender Information unter den angegebenen Kontaktdaten
bei Schriftgeboten von dem Vorbehaltszuschlag zurücktritt. Mit der
Erteilung des Zuschlages gehen Besitz und Gefahr an der versteigerten Sache
unmittelbar auf den Ersteher über, das Eigentum erst bei vollständigem Zahlungseingang.
9. Auf den Zuschlagpreis wird ein Aufgeld von 21 % zuzüglich 19 %
Umsatzsteuer erhoben, gerechnet nur auf das Aufgeld (Diff erenzbesteuerung).
Für die Katalogpositionen, die mit * gekennzeichnet sind, wird ein
Aufgeld von 21 % erhoben; auf diesen Nettorechnungspreis (Zuschlagpreis +
Aufgeld) wird die gesetzliche Umsatzsteuer von 7 % für Bilder, Originalgraphik,
Plastik und Sammlungsstücke und von 19 % für Kunstgewerbe und Photographie
hinzugerechnet (Regelbesteuerung). Von der Mehrwertsteuer befreit sind
Ausfuhrlieferungen in Drittländer (d.h. außerhalb der EU) und - bei Angabe der
MwSt.-Identifi kations-Nr. - auch an Unternehmen in EU-Mitgliedstaaten. Nehmen
Auktionsteilnehmer ersteigerte Gegenstände selber in Drittländer mit,
wird ihnen die MwSt. erstattet, sobald Lempertz der Ausfuhr- und Abnehmernachweis
vorliegen. Während oder unmittelbar nach der Auktion ausgestellte
Rechnungen bedürfen der Nachprüfung; Irrtum vorbehalten.
10. Persönlich an der Auktion teilnehmende Ersteigerer haben den Endpreis
(Zuschlagspreis zuzüglich Aufgeld + MwSt.) im unmittelbaren Anschluss an die
Auktion an Lempertz zu zahlen; Die Zahlung auswärtiger Ersteher, die schriftlich
geboten haben oder vertreten worden sind, gilt unbeschadet sofortiger
Fälligkeit bei Eingang binnen 10 Tagen nach Rechnungsdatum noch nicht als
verspätet. Überweisungen sind ausschließlich in Euro zu tätigen. Schecks können
nicht akzeptiert werden. Der Antrag auf Umschreibung einer Rechnung
auf einen anderen Kunden als den Bieter muss unmittelbar im Anschluss an
die Auktion abgegeben werden. Lempertz behält sich die Durchführung der
Umschreibung vor.
11. Bei Zahlungsverzug werden Zinsen in Höhe von 1% auf den Bruttopreis
je angebrochenem Monat berechnet. Lempertz kann bei Zahlungsverzug
wahlweise Erfüllung des Kaufvertrages oder nach Fristsetzung Schadensersatz
wegen Nichterfüllung verlangen. Der Schadensersatz kann in diesem
Falle auch so berechnet werden, dass die Sache nochmals versteigert wird und
der säumige Käufer für einen Mindererlös gegenüber der vorangegangenen
Versteigerung und für die Kosten der wiederholten Versteigerung einschließlich
des Aufgeldes einzustehen hat.
12. Die Ersteher sind verpfl ichtet, ihre Erwerbung sofort nach der Auktion in
Empfang zu nehmen. Lempertz haftet für verkaufte Gegenstände nur für Vorsatz
oder grobe Fahrlässigkeit. Ersteigerte Objekte werden erst nach vollständigem
Zahlungseingang ausgeliefert. Eine Versendung erfolgt ausnahmslos
auf Kosten und Gefahr des Ersteigerers. Lempertz ist berechtigt, nicht abgeholte
Objekte vier Wochen nach der Auktion im Namen und auf Rechnung
des Ersteigerers bei einem Spediteur einlagern und versichern zu lassen. Bei
einer Selbsteinlagerung durch Lempertz werden 1 % des Zuschlagspreises für
Versicherungs- und Lagerkosten p.a. berechnet.
13. Erfüllungsort und Gerichtsstand, sofern er vereinbart werden kann,
ist Köln. Es gilt deutsches Recht; Das UN-Übereinkommen über Verträge
des internationalen Warenkaufs (CISG) fi ndet keine Anwendung. Sollte
eine der Bestimmungen ganz oder teilweise unwirksam sein, so bleibt
die Gültigkeit der übrigen davon unberührt.
Henrik Hanstein, öff entlich bestellter und vereidigter Auktionator.
Takuro Ito, Kunstversteigerer.

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 offi cial one.
2. The auctioneer reserves the right to divide or combine any catalogue lots or,
if it has special reason to do so, to off er any lot for sale in an order diff erent 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 specifi cations and related specifi cations appearing
on the internet, which have both been compiled in good conscience, do
not form part of the contractually agreed to conditions. These specifi cations
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 item’s condition or any other information,
either in oral or written form. Certifi cates or certifi cations from artists, their
estates or experts relevant to each case only form a contractual part of the
agreement if they are specifi cally mentioned in the catalogue text. The state of
the item is generally not mentioned in the catalogue. Likewise missing specifi
cations 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 justifi cation 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 offi cial 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 fl 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 Verst-
VO). 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 identifi cation number.
10. Successful bidders attending the auction in person shall forthwith
upon the purchase pay to Lempertz the fi 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 ineff ective, this will not aff ect
the validity of the remaining provisions.
Henrik Hanstein, sworn public auctioneer.
Takuro Ito, auctioneer.

CONDITIONS DE VENTE AUX ENCHERES
1. Kunsthaus Lempertz (appelée Lempertz dans la suite du texte) organise des
ventes aux enchères publiques d’après le paragraphe 383, alinéa 3, phrase 1
du code civil allemand en tant que commissionnaire pour le compte de dépositaires,
dont les noms ne seront pas cités. Les conditions des ventes aux
enchères ont été rédigées dans plusieurs langues, la version allemande étant
la version de référence.
2. Le commissaire-priseur se réserve le droit de réunir les numéros du
catalogue, de les séparer, et s‘il existe une raison particulière, de les off rir ou de
les retirer en-dehors de leur ordre.
3. Tous les objets mis à la vente aux enchères peuvent être examinés et
contrôlés avant celle-ci. Les indications présentes dans le catalogue ainsi
que dans la présentation Internet correspondante, établies en conscience
et sous réserve d’erreurs ou omissions de notre part, ne constituent
pas des éléments des conditions stipulées dans le contrat. Ces
indications dépendent des avancées de la science au moment de l’élaboration
de ce catalogue. Elles ne constituent en aucun cas des garanties juridiques
et sont fournies exclusivement à titre informatif. Il en va de même pour
les descriptions de l’état des objets et autres renseignements fournis de
façon orale ou par écrit. Les certifi cats ou déclarations des artistes, de
leur succession ou de tout expert compétent ne sont considérés comme des
objets du contrat que s’ils sont mentionnés expressément dans le texte du
catalogue. L’état de conservation d’un objet n’est pas mentionné dans son
ensemble dans le catalogue, de telle sorte que des indications manquantes
ne peuvent constituer une caractéristique en tant que telle. Les objets sont
d‘occasion. Tous les objets étant vendus dans l‘état où ils se trouvent au moment
de leur adjudication.
4. Dans le cas de dérogations par rapport aux descriptions contenues dans
les catalogues susceptibles d‘anéantir ou de réduire d‘une manière non négligeable
la valeur ou la validité d‘un objet et qui sont exposées d‘une manière
fondée en l‘espace d‘un an suivant la remise de l‘objet, Lempertz s‘engage
toutefois à faire valoir ses droits par voie judiciaire à l‘encontre du déposant.
Le texte du catalogue en langue allemande fait foi. Dans le cas d‘une mise à
contribution du déposant couronnée de succès, Lempertz ne remboursera à
l‘acquéreur que la totalité du prix d‘achat payé. En outre, Lempertz s‘engage
pendant une durée de deux ans au remboursement de la provision en cas
d‘inauthenticité établie. Pour le reste, la responsabilité de Lempertz pour cause
de vices est exclue.
5. Toutes prétentions à dommages-intérêts résultant d‘un vice, d‘une perte ou
d‘un endommagement de l‘objet vendu aux enchères, pour quelque raison
juridique que ce soit ou pour cause de dérogations par rapport aux indications
contenues dans le catalogue ou de renseignements fournis d‘une autre manière
sont exclues dans la mesure où Lempertz n‘ait ni agi avec préméditation ou
par négligence grossière ni enfreint à des obligations essentielles du contrat.
Pour le reste, l‘alinéa 4 est applicable.
6. Placement des enchères. Enchères en présence de l’enchérisseur :
l’enchérisseur en salle se voit attribuer un numéro d’enchérisseur sur présentation
de sa carte d’identé. Lempertz décide seul d’autoriser ou non l’enchère. Si
l’enchérisseur n’est pas encore connu de Lempertz, son inscription doit se faire
dans les 24 heures précédant la vente aux enchères, par écrit et sur présentation
de ses informations bancaires actuelles. Enchères en l’absence de l’enchérisseur
: des enchères peuvent également être placées par écrit, par téléphone ou par
le biais d’Internet. Ces procurations doivent être présentées conformément
à la réglementation 24 heures avant la vente aux enchères. L’objet doit y être
nommé, ainsi que son numéro de lot et sa description. En cas d’ambiguïté, seul
le numéro de lot indiqué sera pris en compte. Le donneur d’ordre doit signer
lui-même la procuration. Les dispositions concernant le droit de rétraction et
celui de retour de l’objet dans le cadre de ventes par correspondance (§ 312bd
du code civil allemand) ne s’appliquent pas ici. Enchères par téléphone:
l’établissement de la ligne téléphonique ainsi que son maintien ne peuvent
être garantis. Lors de la remise de son ordre, l’enchérisseur accepte que le déroulement
de l’enchère puisse être enregistré. Placement d’une enchère par le
biais d’Internet : ces enchères ne seront prises en compte par Lempertz que
si l’enchérisseur s’est au préalable inscrit sur le portail Internet. Ces enchères
seront traitées par Lempertz de la même façon que des enchères placées par
écrit.
7. Déroulement de la vente aux enchères. L’adjudication a lieu lorsque trois
appels sont restés sans réponse après la dernière off re. Le commissaire-priseur
peut réserver l’adjudication ou la refuser s’il indique une raison valable. Si plusieurs
personnes placent simultanément une enchère identique et que personne
d’autre ne place d’enchère plus haute après trois appels successifs, le hasard
décidera de la personne qui remportera l’enchère. Le commissaire-priseur peut
reprendre l’objet adjugé et le remettre en vente si une enchère supérieure placée
à temps lui a échappé par erreur et que l’enchérisseur a fait une réclamation
immédiate ou que des doutes existent au sujet de l’adjudication (§ 2, alinéa
4 du règlement allemand sur les ventes aux enchères). Des enchères ne seront
placées par Lempertz que dans la mesure nécessaire pour dépasser une autre
enchère. Le commissaire-priseur ne peut enchérir pour le dépositaire que dans
la limite convenue, sans affi cher cette limite et indépendamment du placement
ou non d’autres enchères. Si, malgré le placement d’enchères, aucune
adjudication n’a lieu, le commissaire-priseur ne pourra être tenu responsable
qu’en cas de faute intentionnelle ou de négligence grave.
8. L’adjudication engage l’enchérisseur. Dans la mesure où une adjudication
sous réserve a été prononcée, l’enchérisseur est lié à son enchère
jusqu’à quatre semaines après la fi n de la vente aux enchères, s’il ne se
désiste pas immédiatement après la fi n de la vente.
9. Dans le cadre de la vente aux enchères un agio de 21 % s’ajout au
prix d’adjudication, ainsi qu’une TvA de 19 % calculée sur le agio (taxation
diff érentielle). Pour les position de catalogue caractérisée par *,
un agio de 21% est prélevé sur le prix d‘adjudication; ce prix facturé net
(prix d‘adjudication + agio) est majoré de la T.V.A. légale de 7% pour les tableaux,
graphiques originaux, sculptures et pièces de collection, et de
19 % pour les arts décoratifs appliqués (imposition régulière). Sont exemptées
de la T.V.A., les livraisons d‘exportation dans des pays tiers (en dehors de l‘UE)
et – en indiquant le numéro de T.V.A. intracommunautaire – aussi à destination
d‘entreprises dans d‘autres pays membres de l‘UE. Si les participants à une
vente aux enchères emmènent eux-mêmes les objets achetés aux enchères
dans des pays tiers, la T.V.A: leur est remboursée dès que Lempertz se trouve
en possession du certifi cat d‘exportation et d‘acheteur. Les factures établies
pendant ou directement après la vente aux enchères d‘oeuvres d‘art doivent
faire l‘objet d‘une vérifi cation, sous réserve d‘erreur.
10. Les adjudicataires participant personnellement à la vente aux enchères
sont tenus de payer le prix fi nal (prix d‘adjudication plus agio + T.V.A.) directement
après l‘adjudication à Lempertz. Le paiement par des adjudicateurs externes,
qui ont enchéri par écrit ou ont été représentés, est, nonobstant son
exigibilité immédiate, considéré comme n‘étant pas en retard à sa réception
dans les 10 jours suivant la date de la facture. Les virements bancaires se font
uniquement en euro. Nous n‘acceptons pas les chèques. Tout demande de
réécriture d’une facture à un autre nom de client que celui de l’enchérisseur
doit se faire directement après la fi n de la vente aux enchères. Lempertz eff ectue
la réalisation de cette nouvelle facture.
11. Pour tout retard de paiement, des intérêts à hauteur de 1 % du prix brut
seront calculés chaque moins nouvellement entamé. En cas de retard de paiement,
Lempertz peut à son choix exiger l‘exécution du contrat d‘achat ou,
après fi xation d‘un délai, exiger des dommages-intérêts pour non exécution.
Les dommages-intérêts pourront dans ce cas aussi être calculés de la sorte que
la chose soit vendue une nouvelle fois aux enchères et que l‘acheteur défaillant
réponde du revenu moindre par rapport à la vente aux enchères précédentes
et des frais pour une vente aux enchères répétée, y compris l‘agio.
12. Les adjudicataires sont obligés de recevoir leur acquisition directement
après la vente aux enchères. Le commissaire-priseur n‘est responsable des
objets vendus qu‘en cas de préméditation ou de négligence grossière. Les
objets achetés aux enchères ne seront toutefois livrés qu‘après réception du
paiement intégral. L‘expédition a lieu exclusivement aux frais et aux risques de
l‘adjudicataire. Lempertz a le droit de mettre des objets non enlevés en entrepôt
et de les assurer au nom et pour le compte de l‘adjudicataire chez un
commissionnaire de transport quatre semaines après la vente aux enchères.
En cas de mise en entrepôt par Lempertz même, 1% du prix d‘adjudication sera
facturé par an pour les frais d‘assurance et d‘entreposage.
13. Le lieu d‘exécution et le domicile de compétence - s‘il peut être convenu
- est Cologne. Le droit allemand est applicable. Les prescriptions du CISG ne
sont pas applicables. Au cas où l’une des clauses serait entièrement ou partiellement
ineffi cace, la validité des dispositions restantes en demeure inaff ectée.
Henrik Hanstein, commissaire-priseur désigné et assermenté.
(Membre de la Chambre Royale Belgo-Luxembourgeoise de
commissaires-priseurs)
Takuro Ito, commissaire-priseur.

FILIALEN
BRANCHES
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Lempertz AG
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Tel 089/98 10 77 67
Fax 089/21 01 96 95
muenchen@lempertz.com
ART LOSS REGISTER
Kunsthaus Lempertz is a partner of Art Loss
register Ltd. All objects in this catalogue which are
clearly identifi able and have an estimated value of
at least € 2.500 were individually compared with
the database contents of the Register before
the auction.Lempertz adheres to the principles of
the Washington Conference.
Das Kunsthaus Lempertz ist Partner von Art Loss Register
Ltd. Sämtliche Gegenstände in diesem Katalog,
sofern sie eindeutig identifi zierbar sind und einen
Schätzwert von mind. € 2.500 haben, wurden vor der
Versteigerung mit dem Datenbankbestand des Registers
individuell abgeglichen. Lempertz orientiert sich
an den Grundsätzen der Washingtoner Konferenz.
REPRÄSENTANTEN
REPRESENTATIVES
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Dr. Petra von Trott zu Solz
Tel 069/15 05 48 01
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Tel 001/917/4 46 75 20
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Schweiz
Nicola Gräfi n zu Stolberg
Tel 0041/44/4 22 19 11
Fax 0041/44/4 22 19 10
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Mag. Alice Jay von Seldeneck
Tel 0041/78/8 81 88 39
São Paulo
Martin Wurzmann
Tel 0055/11/38 16 58 92
Fax 0055/11/38 14 49 86
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 Köln (Germany)
Tel. +49/221/9257290
Fax +49/221/9257296
info@lempertz.com
Absentee Bid Form auction 984 Pre-Columbian Art June 18, 2011 , Cologne
Aufträge für die Auktion 984 Präkolumbische Kunst 18. Juni 2011, Köln
Katalog Nr. Lot Titel (Stichwort) Title Gebot bis zu € Bid price €
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.
Name Name
Adresse Adress
Telefon Telephone Fax E-Mail
Evtl. Referenzen und Identifi kation bei Neukunden References and identifi cation may be required for new clients
Datum Date Unterschrift Signature
Die Gebote werden nur soweit in Anspruch genommen, als andere Gebote überboten
werden müssen. Die Aufträge 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.

SHIPPING INSTRUCTIONS
Kunsthaus Lempertz is prepared to instruct Packers and
Shippers on your behalf and at your risk and expense upon
receipt of payment and instructions.
For information: Linda Kieven
Phone +49/(0)2 21/92 57 29-19
shipping@lempertz.com
Post
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FROM A GERMAN PRIVATE COLLECTION OF EARLY CHINESE PORCELAIN
LEMPERTZ
ASIAN ART
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
Auction in Cologne 9-10 June. Preview: 4-8 June
Neumarkt 3 50667 Cologne, Germany Tel. +49/221/92 57 29-36 Fax -6
asian@lempertz.com www. lempertz.com

LUBA, STOOL WITH CARYATID FIGURE. Wood, H 37 cm. Prov.: Hessberg Coll., Essen
LEMPERTZ
AUCTION TRIBAL ART
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