FRAMED BUGS A clear frame that has a variety of large bugs. All the creatures wings/legs are expanded to have the full effect of the creatures. The frame measures 63 x 53 cms.
Maya Stone Coatimundi - Von Winning Papered: Pre-Columbian, Guatemala highlands, Mayan, Classic Period, ca. 250 to 900 CE. Finely carved in the round, a playful depiction of a coatimundi, an animal deemed sacred and magical by the Mayans. This sculpture comes with authentication paperwork from Hasso von Winning, a leading expert of Mesoamerican art who described it as follows, "Splendid stone representation of IS 'CHI 'IK or Coatimundi; the Mayans believed this creature could talk and possessed supernatural powers. This figure shows a sitting creature with rounded ears, almond shaped eyes and a very long tail pointing upwards; the creature is crouching and is graciously holding its snout with both frontal limbs. " Size: 5" L x 4" W x 16. 375" H (12. 7 cm x 10. 2 cm x 41. 6 cm). . The raccoon-like coatimundi (or coati) was easily tamed, and its funny antics made it a popular pet among the ancients of the Americas. According to Peterson and Green, "The coati's foraging and playfulness help explain its close associations with agriculture and ritual clowning . . . These are celebrated by traditional cultures from the Southwest United States down through Middle America and appear to have great antiquity. " (Jeanette Favrot Peterson with essay by Judith Strupp Green, "Precolumbian Flora and Fauna: Continuity of Plant and Animal Themes in Mesoamerican Art" Mingei International Museum of World Folk Art, 1990, p. 52) Known for its voracious appetite, the coatimundi was oftentimes depicted eating. In this sculpture, the adorable creature is holding his snout - perhaps as he ingests a delectable delight, or perhaps simply displaying a playful gesture. . . Provenance: ex private Southern California collection; ex Milton Birnbaum collection, Los Angeles, California, USA collection; accompanied by authentication paperwork from Hasso von Winning, Ph. D. Consultant in Mesoamerican Archaeology, Southwest Museum, Los Angeles, California, USA - dated September 15, 1973. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #132245 Condition Nice red cinnabar deposits. Tail repaired - two pieces reattached with restoration over the break lines. Expected surface wear commensurate with age; losses to back of coatimundi, a few high point areas, and periphery of integral base.
Huge & Fabulous Chimu Painted Textile w/ Figures: Pre-Columbian, north/central coast Peru, Chimu, ca. 1100 to 1470 CE. A beautiful and sizable textile panel that is tightly woven from natural cotton fibers of a light beige hue. Painted in tan pigment across the obverse is a wondrous scene that presents a central standing anthropoid with sinuous limbs, a triangular head with an amicable face, and a grandiose, double-crescent headdress with interior serrations and abstract bird head finials. The surrounding areas are filled with a plethora of simian-like creatures with tumi headdresses, cyclopean birds, and circular and linear patterns, with a large octopus surrounded by a double-ended creature near the lower left side. The upper corners boast abstract tendril-armed creatures along with elongated fish-like animals, and the lateral peripheries are adorned with registers of enclosed geometric patterns. An intriguing example of finely painted Chimu artistry! Size: 61. 5" L x 27. 7" W (156. 2 cm x 70. 4 cm) . . Provenance: ex-private Philadelphia, Pennsylvania, USA collection, acquired at Christie's East, New York, USA in the mid-1980s. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #160590 Condition Loosening and fraying to some interior and peripheral threads, with damage to one small interior area, minor staining to some areas of obverse and verso, and light fading to painted pigment, otherwise intact and excellent. Wonderful preservation to painted decorations along obverse.
A Jim Morrison signed copy of 'The New Creatures' together with 'The Lords/Notes on Vision,' 1969
The two original, limited edition, self-published books of poetry that Morrison gave to a select group of friends; the first bound in brown paper with a green spine; embossed in gold on cover "The New Creatures / James Douglas Morrison;" signed on the title page in blue ballpoint ink "To Tony & Judy / J Morrison;" the second comprising 83 loose leaf typed/printed pages (with two identical pages, about Lee Harvey Oswald) housed in a navy blue folder; embossed in gold on cover "The Lords / Notes on Vision / James Douglas Morrison." (Please note this folder is somewhat worn due to age and has a tear next to Morrison's last name.)
8 3/4 x 5 3/4; 9 x 11 1/2in
TIMOTHY BURKE, MICHIGAN (B. 1959), SCULPTOR, 1996, OIL ON CANVAS, 10 1/4"H X 11 3/4"W (SIGHT), 11 3/4"H X 13 1/2"W (FRAME)Timothy Burke, Michigan, (b. 1959) Sculptor, 1996, oil on canvas Titled, signed, and dated verso. Biography from the Archives of askART: "Tim Burke confronts his inner demons with his found object art: Soul-searching in the dumpster," Exhibition review, The Detroit Industrial Gallery, by Lee DeVito, Detroit Metro Times, December 10, 2014 On Sept. 18, artist Tim Burke suffered a fire at his studio — apparently part of the wave of arsons that swept through Detroit's Heidelberg Street in the past year. Dubbed the Detroit Industrial Gallery, this is where Burke has worked for the past 14 years, and where he stores treasures accumulated from 25 years of picking through the city. "I had thousands of dollars' worth of stuff in the house," Burke says, among them blueprints from city buildings, a crucifix from St. Matthew's Church, terra cotta pieces from the demolished Hudson building, and pieces recovered from Gratiot Central Market, Cass Tech High School, and Riviera Theatre — "tons of stuff," he explains. "The idea is to repurpose it all," he says of his habit. "Whether or not I get to that ... well, I have two lifetimes of stuff!" For Burke, it's not just about uncovering treasures from the past. Burke says he faces his inner demons from the items he finds in the trash, which often have what he says are uncanny connections to his life. One such example came after Burke attended an Alcoholics Anonymous meeting (Burke says he's been sober for 29 years). "I had the blues," he says. "I had the wrong reasons for going to the meeting — there was this beautiful blond lady at the meeting. She ends up telling me she doesn't like me like that. So I leave the meeting, I'm all depressed, and I say a prayer — 'God, help me get on the right track.'" Burke stopped by a dumpster outside Royal Oak Flea Market and found a variety of curios, such as a velvet painting of a bull and a cow with the initials "D.B." (Burke is a Taurus; the person who got him involved with the flea market shared the initials D.B.). He also found some 78 records from the '40s with the name "J. Burke" (his uncle was Joe Burke, a "Cass Corridor alcoholic" who tended bar at the Old Miami). Burke then called up his estranged uncle and asked him to get sandwiches in Eastern Market. Two months later, Uncle Joe died. "It's about review, and where I am," Burke says. "It's about trying to learn to stop judging, and be here, be in the moment. It takes a lot to get present. To get present, I have to deal with all the resentment, all the hurts, and hurts I've done to others in the path and clean that shit up and try the best that I can to be in the now, right now." Creating art, Burke says, is a way of confronting these unresolved issues. Burke says he took to art as a kid, but "the drinks and drugs interrupted that," describing his youth as being "a street hoodlum." After a brief stint in the Army at the end of the '70s, he got back into making art. His father was an artist, a Wayne State-educated painter and sculptor, and Burke's therapist, Ted Church, was big on using art as therapy. Burke took things to the next level with a welding class in 1990. "I had all these ideas, all these images in my head that I wanted to weld up," he says. "I told the teacher I didn't want to be a welder per se — too much technical shit. He said, 'just pass the safety test, and then you have free rein of the lab.'" The first thing Burke made was a metal creature, which can now be viewed in the garden near Lafayette Coney Island. Burke says he didn't think much of what it could mean until he showed it to Church. "He said to me, 'Tim, I want you to stand in front of this thing and tell me what it's thinking and feeling.' I'm like, 'Jesus fucking Christ, just look at the art, man!'" Burke says. "I get in front of that iron creature and I write, 'Don't blink and don't breathe or I'll kill you.' Then I thought, 'That thing's not thinking that — it's you,'" Burke says. That's when he had a memory of a recurring nightmare he had at 10 for about three years, in which an iron man comes down the back steps of the house to kill his family. "I made up rules in the dream so that he wouldn't kill me," Burke says. "'Don't breathe and don't blink, he can't kill you.'" Upon the revelation, Burke says he kicked his sculpture over — then hugged it, sobbing for 10 minutes. That's when Burke realized the iron man was his alcoholic stepfather, a violent drunk who broke his mother's nose and once fired a shotgun through the front door. Burke says he watched The Wizard of Oz the night of the shotgun incident, which was the origin of the iron man creature from his dream. "The Tin Man — it's an archetypal image for macho men," he explains. "If the Tin Man cried, Dorothy would oil him up. Dorothy is in every man — it's the kind, nurturing female aspect that the macho man has denied." Burke shows us another image he's made, forged from metal — a giant bouquet of flowers made out of steel. "It's male and female, in that respect," he says. Lately, Burke has made furniture using parts from F-18 fighter jets and Patriot missiles (he has a friend who is in the business of building them), on display at the River's Edge Gallery in Wyandotte. He's also selling jewelry at the Detroit Institute of Arts' gift shop, made from copper from buildings like the burned-down Fisher mansion in Palmer Woods. Again, Burke says he has strange connections to many of these places. "These buildings that I've gotten into — I've been in meetings in these buildings," he says. "My mother and father worked in the Hudson's building." He pauses to reflect, adding, "It's pieces of a broken-down city that I've put back together in a different context to build a broken-up person." — mt oil on canvas Dimensions: 10 1/4"H x 11 3/4"W (sight), 11 3/4"H x 13 1/2"W (frame)
VISCONTI: Supernatural Creatures Series. 4 Piece Limited Edition Set.
I. OGRE. Made from white celluloid with gold trim and painted using the maki-e technique. Hand-painted ogres dance across the cap and body, in a both charming and beautiful rendering of the creatures of myth and fairy tale.
II. DRAGON & PHOENIX. Made from white celluloid and painted using the maki-e technique. A maki-e dragon and phoenix wind their way across the cap and body, in a beautiful rendering of the creatures of myth.
III. ANUBI. Made from white celluloid and painted using the maki-e technique. The Egyptian god, Anubis, and other Egyptian motifs are beautifully painted in maki-e, making this pen’s design as unique as it is stylish.
IV. PEGASUS & CHIMERA. Made from white celluloid and painted using the maki-e technique. The creatures of Greek myth are masterfully rendered, depicting the pure white Pegasus, the menacing Chimera, and the sinister head of Medusa.
Each of the four pens in the set is fitted with an 18-carat gold nib, and is a double reservoir power filler. Each is numbered 11 in a series of 188 and comes with original box and papers.
Arnold Zimmerman (1954 USA) Untitled No. 1 (Portugal Series)1988Ash Glazed Stoneware; ht. 45 wd. 17 dp. 16 in.Zimmerman studied with Ken Ferguson at the Kansas City Art Institute and received his MFA from Alfred University.? Judy Collischan writes of Zimmerman that his work is:"Reminiscent of Hieronymus Bosch or at times Pieter Bruegel this work exhibits Zimmerman's fascination with exaggeration and the bizarre. This impulse is in line with the grotesque a decorative form of art that intertwines elements from human animal and foliage sources. The resultant creatures ... are interconnected ... as though caught in a common web of their own growth and existence ... the incredible creatures seem ugly yet harmless. There is a blend of humor with deformity as these characters seem to clamor and chatter among themselves. Zimmerman combines anthropomorphic form with a moralizing content that relates a lesson about pretense and folly. He epitomizes this ethical passage via a three-dimensional satire."Zimmerman's penchant for exaggeration continues into scale enjoying the technical and aesthetic challenge of working large. He lives in New York and maintains a studio in Brooklyn. Daniel Jacobs and Derek Mason Collection; Acquired directly from the Artist.
235. Ivory Carving of a Reclining Woman
This carving features a reclining woman and a mythical creature at her feet. The figurine and the creature are decorated with multicolored cabochons. Bottom is signed with the maker's insignia. Rests on a carved wood stand. Measures approx. 4-3/4"T x 13"W at tallest and widest points. Stand measures approx. 2"T x 13"W.
500/750 Sold: $575.00
WEDGWOOD LUSTRE BOWL. Pretty Wedgwood bowl done in the Mythical Creature Lustre with rare emerald green lustre and four mythical creatures. Interior features two Bai-fuku riding on Feng birds with one Waso-byo-ye riding on a crance with a Pay-fei border. Marked on the underside with Portland vase mark, “Wedgwood”, “Made in England” and “Z4831”. SIZE: 4-1/2” dia. CONDITION: Very good to excellent. 5-63656 (200-400)
SURREALIST OVERSIZE CREATURE ART INSTALLATION Artist unknown, a surrealist monumental oversized mixed media installation comprising a tooth-set head of an alien creature covered in individual cut-metal scales, and the tail of the same creature, separately positionable to create the illusion of partial submersion in matter. 84" H (the head) and 105" H (the tail) x approx. 23" diameter. Note: This unique piece may have been created as set or window dressing, or may have been a movie prop, rather than a work of art. An unusual and impressive work.
A life-sized statue of "The Creature from the Black Lagoon"
Universal, 1954. Carved of wood and painted bright green with yellow and orange eyeballs and a blood-red mouth, this guy was created as a lobby display for a movie theatre down in Mexico, probably during the film's original 1950s run. (It could have been made for a later re-release, but it does appear to be over fifty years old; also, it was repainted about ten years ago). This statue's stature seems somewhat short [5'6"], but this may have been purposely done so viewers could see him 'eye to eye.' (Please note a claw on his right hand is missing and there are a few paint chips and dings throughout due to age). A fun bit of trivia: Marilyn Monroe references the Creature in her most famous film, 1955's "The Seven Year Itch." After she and Tom Ewell come out of the movie theatre, her character says, "But I just felt so sorry for the Creature at the end...he wasn't really all bad. I think he just craved a little affection. You know, a sense of being loved and needed and wanted."
Greek Corinthian Piriform Aryballos Sea Creature w/ TL: Greece, Corinth, Archaic Period, ca. 550 BCE. A petite piriform aryballos presenting a magical figural program on the ovoid belly of the vessel. The figural/decorative program is delineated via the black-figure technique and embellished with incised details as well as added fugitive red pigment. We see a bearded male riding an enormous merman/sea creature with a voluminous tail that is meticulously incised with scales. The pair appear to be fleeing a leonine creature who is facing and clawing at the rider. In the field is an additional sea creature, perhaps a dolphin, as well as floral or seaweed motifs. Radiating rays frame the areas above and below the imagery and also adorn the rim, and finally a band of frets embellishes the handle. A lovely example with intriguing iconography! Size: 4. 375" H (11. 1 cm); 5. 4" H (13. 7 cm) on included custom stand. . Corinthian potters introduced the aryballos, a small round or ovoid vessel with a narrow neck used for storing scented oils, during the 8th century BCE. The belly of these vessels was ideal for embellishing with wondrous imagery as we see on this example. . This piece has been tested using thermoluminescence (TL) analysis and has been found to be ancient and of the period stated. A full report will accompany purchase. . . Provenance: private Orange County, California, USA collection acquired in September 2011; ex-Artemission Gallery, London, England; ex-private French collection, acquired in the 1960s. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #156890 Condition Chips to rim that have smoothed over time. Minute chips to base. Surface wear with some loss to decorative program as shown, but the imagery that remains is quite nice with ample red fugitive pigment.
1171. A Chinese Jade Carving of a Mythical Creature
A Chinese jade carving of a mythical creature on an integral rounded rectangular base, approx. 1-1/2"H x 1-5/8"L x 7/8"W, with pierced and incised detailing.
75/150 Sold: $103.50
A Chinese Carved Hardstone Creature Hand carved of yell/green/brown hardstone depicting a seated creature. Unsigned 6-1/2"T. From a private Michigan collection.
7 PIECE COLLECTION OF CARVED HARDSTONE FIGURES: An assembled collection of 7 assorted oriental stone figures to include 1) Fighting dragons with clouds, 4 1/4'' h. x 6 1/4'' x 3''. 2) Bird group on branches, 5 1/2'' h. x 5 1/2'' x 2'', sold with fitted stand 1'' h. x 5''. 3) Reclining figure removable from gourd shelter, overall 3 1/4'' h. x 3 1/2''. 4) Mythological creature with removable head lid, 3'' h. x 3'' x 1 1/2'', sold with fitted stand, 1'' h. 5) Resting dog like creature, 1'' h. x 4'' long. 6) Resting horse, 3/4'' h. x 1 3/4''. 7) Kneeling horse like creature, 2 3/4'' h. x 4''.CONDITION: The occasional chip may be discovered.
Pan Mythological Creature Figural Napkin Ring. Description Creature with fawn feet perches on the side of a triangular napkin holder playing cymbals. Embossed flower is on the opposite side of the napkin holder. Marked "Meriden B. Co., #246".Condition (VERY GOOD).
RARE CHINESE HAN DYNASTY BRONZE HU VESSEL W/ LID!**Originally Listed At $2500**
East Asia, China, Han Dynasty, 206 BCE to 220 CE. An elegant, pear shaped hu vessel, the iconographic program of this piece comes to life with two taotie masks that are affixed with ring handles on opposite sides of the body. These stylized animals represent a type of dragon from Chinese mythology. Their abstracted visages reflect the influence of previous eras such as those of the Zhou Dynasty. Further adorning the vessel are circumferential bands at midline, junction of body and neck, rim, and base. The vessel is blessed with its original lid which is rare and, quite simply, extremely good luck. An attractive green patina adds brilliant color and texture to the vessel. This vessel would have been used for the storage and transport of sumptuous wines, as during the Han Dynasty, the tradition of casting bronze vessels for use in ritual libation ceremonies continued and flourished. The shapes of such precious vessels were subject to many stylistic restrictions and guidelines. Size: 8.5" Diameter x 13" H (21.6 cm x 33 cm)
Only a wealthy merchant or member of court could afford the luxury of such a fine vessel. This piece was ultimately placed in a tomb as a symbol for the bountiful pleasures of life, drinking and feasting, to be experienced in the afterlife. The taotie is one of the "four fiends" or "four evil creatures" of Chinese mythology, and it is a particularly fascinating and ancient symbol seen on ancient bronzes. In the Lushi Chunqiu, known in English as Master Lu's Spring and Autumn Annals, a Chinese encyclopedia compiled around 239 BCE, the taotie is described thusly: "The taotie on Zhou bronzes has a head but no body. When it eats people, it does not swallow them, but harms them" (16/3a Prophecy). This and other ancient descriptions of the creature suggest that it related to making food offerings/sacrifices for the insatiable spirits of the dead. Some scholars believe that the creature is part of the mysterious communication between people and the gods.
PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm.
Provenance: private Vero Beach, Florida, USA collection, acquired before 2003
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
We ship worldwide and handle all shipping in-house for your convenience.
Very good with exception of small stress crack to right of one handle on body and some minor restoration to hoops on lid. Beautiful patina throughout and earthen encrustions on interior.
Cocle Gold Composite Creature Pendant - 11 g: Pre-Columbian, Panama, Cocle, ca. 700 to 1100 CE. A wonderful pendant comprised of high quality gold (90% or equivalent to 20K+) and depicting an endearing amphibian creature with a frog-like face presenting bulging eyes and a wide mouth as well as a long, lizard-like body. Two suspension loops also serve as the animals front feet; the creature also has hind legs and a tail. According to scholar Dorie Reents-Budet, in Panama and Columbia, gold adornments such as this lizard effigy would have been a totemic icon for a familial unity or community group, intimating the honorable members special powers. (Exploring Art of the Ancient Americas (2012). Size: 1. 75" L (4. 4 cm); weight: 11 grams; gold quality: 90%, equivalent to 20K+. . Pre-Columbian art is well-known for its impressive goldworks. Gold became the preferred material for creating fashionable ornaments sometime after 500 CE replacing jadeite and other green stones from which artists had made impressive jewelry for centuries. Indeed the ancient cultures of the New World created countless gold ornaments and ceremonial objects. Unfortunately, the Spanish conquistadors melted nearly all of these to convert them to gold bars and coins for Spain. Due to this, surviving genuine pre-Columbian gold is rare and highly coveted by collectors. . . Provenance: private Los Angeles, California USA Collection; acquired at Heritage Auctions, Friday May 10, 2013, Auction #5135, Lot 54286. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #145431 Condition Minor casting flaw in mouth area. Otherwise excellent.
20th C. African Fon Wood Short Staff - Hand & Chameleon: Africa, Republic of Benin, Fon peoples, ca. early to mid 20th century CE. An impressive and rare wood short staff displaying the hand-carved figure of a chameleon on one side and a left hand on the other. Coated in vibrant hues of green and pink, the lovely reptile exhibits a long body, four legs with claw-like feet, and a sinuous coiled tail. A series of incised dots decorates the cute creature's body, representing its scaly skin. The adorable animal's large head features a pair of conical eyes and a sizable open mouth. Alternatively, the hand at the other end of the staff is naturalistically carved with slender fingers and lengthy fingernails. The palm of the hand is rendered in careful detail, with incised palm lines and folds of the knuckles exhibited on each finger. The body of the staff showcases a lovely decorative motif of a central spherical embellishment incised with a zigzag design surrounded by a series of protruding rings. Size: 14. 875" L x 1. 75" W (37. 8 cm x 4. 4 cm); 4. 25" H (10. 8 cm) on included custom stand. . Known for its unique ability to change its color, the chameleon is a common symbol of transformation throughout West Africa. The creature's transformative nature is shown here via the green and red hues throughout its body. The spiral of the creature's coiled tail, also seen in this example, is another important symbolic motif representing the passage of time. As in most representations of chameleons in African cultures, here the reptile's tail curls curiously upwards, while in nature it curls down. . . Provenance: private Los Angeles, California, USA collection. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #162215 Dimension Condition Collection label on side. Nail of pinky finger has been reattached. Stable fissures throughout, as well as a few nicks and abrasions commensurate with age and use. Otherwise, very nice with excellent remaining pigments.
TRIBAL: Five Inuit carved black stone creatures, no signatures viewed, all folk-tale creatures, including: long laying creature with bearded face, 2 3/4" h. x 5 1/2" w. x 1 3/4" d.; a four legged creature standing up with blunt facial features, 5 3/4" h. x 1 3/4" w. x 1 5/8" d.; oversized smiling face with two uneven legs hanging down, 2 1/4" h. x 5 1/2" w. x 3 3/4" d.; and a tiny frog like creature with upward turned human face, 1 1/2" h. x 2 7/8" w. x 2 1/2" d., all pieces with wear consistent with age and use and may include scratches, small nicks, etc., sold as is.
Karel Appel New York/Dutch (1921-2006)
THREE WORKS: MONKEY; GREEN-EYED CREATURE, and CAT CREATURE
color lithograph, framed, signed & numbered: lower margin in pencil, 108/30; 290/300; and 80/100
sight size: H14 12" W11"; H14 3/4" W10 3/4"; and H24" W34" (3pcs)
TRIBAL: FIVE INUIT CARVED BLACK STONE CREATURES, NO SIGNATURES VIEWED, ALL FOLK-TALE CREATURES, INCLUDING: LONG LAYING CREATURE WITH...TRIBAL: Five Inuit carved black stone creatures, no signatures viewed, all folk-tale creatures, including: long laying creature with bearded face, 2 3/4" h. x 5 1/2" w. x 1 3/4" d.; a four legged creature standing up with blunt facial features, 5 3/4" h. x 1 3/4" w. x 1 5/8" d.; oversized smiling face with two uneven legs hanging down, 2 1/4" h. x 5 1/2" w. x 3 3/4" d.; and a tiny frog like creature with upward turned human face, 1 1/2" h. x 2 7/8" w. x 2 1/2" d., all pieces with wear consistent with age and use and may include scratches, small nicks, etc., sold as is.
MOSE TOLLIVER 'WINGED CREATURE' EARLY PAINTING Mose Tolliver (American 1920-2006), 'Winged Creature', oil on board, depicting an abstract maroon winged creature with a white, yellow and green background, signed to lower center, unframed. Note: Ahlers & Ogletree would like to thank Marcia Weber for assistance in cataloguing this lot. Approximate dimensions: board h. 13", w. 4.25", d. 0.375"
An early 20th century Burmese silver circular presentation bowl embossed with continuous scene of figures amongst scrolling foliage on ebonised base with tripod mythical beast supports and inscribed plaque relating to the Moulmein Races January 1911 overall height 13.75in 42 oz. Estimate ?600-800 There are 5 tiny holes within the embossed decoration around the main body. There are small old patches and small areas of old solder visible around the interior of the bowl possibly when constructed??. There is swome wear to the features on the faces of the figures around the bowl otherwise the general overall condition is otherwise good. There has been a repair (old break where old screw was which has been glued) to one of the bases upon which one of the creature supports sits. There are some minor nicks to the wood in general conducive with age and use. There is a possible old chip to the tip of one of the creature supports tails. FURTHER IMAGES ALREADY AVAILABLE AT WWW.GORRINGES.CO.UK Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid prior to placing a bid. All transactions are governed by Gorringes Conditions of Sale.Sold for ?2 200
Viking Silver Belt Buckle, Mammen Type: Northern Europe, Scandinavia, Viking or Norse culture, ca. 9th to 10th century CE. A beautiful and stocky belt buckle, formed from 98. 5% silver, exhibiting the characteristic stylization of the Mammen type, so named based on an axe head of a similar construction found in a burial cache connected to the Jelling Dynasty. The rectangular clothing accessory features a slightly curved profile with a pair of hefty openwork attachment brackets on the verso. The obverse is decorated with an incredible, abstract creature with a deer-like head and a twisting, knotted body that seems to never end. Dark gray deposits create a complementary backdrop atop which the creature stands out. Size: 3. 2" L x 2. 25" W (8. 1 cm x 5. 7 cm); quality of silver: 98. 5%; total weight: 118. 1 grams. . This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world’s largest database of stolen art, collectibles, and antiques. . . Provenance: private New York, New York, USA collection; ex-private Kaliningrad (Koenigsberg) and then Latvia collection; found on the Baltic Sea coast prior to 1982. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #165055 Condition Professionally cleaned in modern times with light abrasions along obverse and verso commensurate with cleaning process. Slight bending to openwork attachment brackets on verso and minor softening to some finer details on obverse, otherwise intact and excellent. Great preservation of zoomorphic creature on front.
Chinese carved hardstone fanciful creature and a carved jade bowl 1) fanciful creature - modeled as turtle-shell body with dragon head 4 1/2 in. L.; 2) jade bowl - 4 in. Diam. Estimate $ 125-200 Fanciful creature: horns and one ear broken tip of tail broken off; bowl: natural fissures wear.
QI BAISHI HANDSCROLL PAINTING - SHRIMP, CRABS, FROGS**Originally Listed At $75000**
Qi Baishi (Chinese, 1864-1957). Shrimp, Crabs, Frogs, and Aquatic Plants Handscroll Painting - ink and colors on paper, n.d. Signed with two seals (see extended description below for discussion of calligraphic inscription and seals). A magnificent painted handscroll by the legendary Chinese literati artist Qi Baishi depicting various sea creatures and aquatic plants in a long and impressive horizontal format. Ocean blue leaves of aquatic plants lead the viewer's gaze toward the left to view a trio of frogs, a pair of crabs, five shrimps, another crab, another pair of shrimps that crawl toward the left above additional blue-green plantlife, and finally, a sinuous gathering of crabs that swim in a meandering manner toward a single crab that faces them as well as the beginning of the scroll to complete the composition. An outstanding handscroll of a rare format, presenting this lively ensemble of sea creatures and plants with an elegant, flowing quality. Size of painting: 145.25" L x 10" W (368.9 cm x 25.4 cm)
The calligraphic inscription reads: Xingtang laowu hou ren Qi Huang hua (Painted by Qi Huang, descendent of the old house in Xingtang)
The small seal reads Qi Da
The larger seal reads Jieshan yin guan zhuzhe, one of Qi Baishi's many studio names.
The Metropolitan Museum of Art's curatorial description of Qi Baishi's "Water Life" (1940), which also features a sea creature theme, captures the magic of this artist's virtuosity with the following words, "The sweeping tendrils and crusty shell of the shrimp, the structure of the crab, and the moist flesh of the frogs poised to spring are rendered with the greatest economy of means. The paper becomes the pond in which elemental life is stirred by the brush."
Qi Baishi has been lauded as "the most popular painter in 20th century China, esteemed by the conservative scholarly elite, the common citizens of China's urban centres, foreign collectors and revolutionaries both artistic and political for his traditional paintings of birds, flowers, small animals and insects. The range of his appeal from the 1920s onwards derived from his character, his lifestyle and his image as a traditional, high-minded scholar–artist who remained aloof from corrupt politics and preserved cultural values during the politically and socially unsettled period after the fall of the Qing dynasty (1644–1911)" (Oxford Art Online).
Born and raised in Hunan province, Qi Baishi was a self-taught artist who lived a modest life working as a craftsman prior to pursuing painting. Baishi's story is among the most romantic of art history, because he would rise from these humble beginnings to become a master literati artist, creating impressive paintings in addition to calligraphy, seal carving, and poetry. Baishi studied with masters of the Shanghai School of painting and then moved to Beijing where both domestic and international collectors became his patrons. Following the establishment of the People's Republic in 1949, Baishi's humble background led devotees to celebrate him as a "people's artist." He was named Outstanding Artist of the Chinese People by the Ministry of Culture and was also awarded the World Peace Prize by the World Peace Council in 1955. While Baishi was undoubtedly an heir to the classical tradition of literati painting, his art stood apart for its marriage of traditional culture and modern innovation, employing virtuosic brushwork and scintillating coloration. (Sources: Oxford Art Online, The British Museum website, The Metropolitan Museum of Art website)
Qi Baishi made history in 2017 as the first Chinese artist to surpass the $100 million mark at auction. His "Twelve Landscape Screens" (1925) sold for $140.8 million (931.5 million yuan) - the highest price ever for a Chinese painting - at Poly Beijing.
A Qi Baishi hand-painted scroll entitled "Crabs and Shrimps" that measured 40 1/2 x 13 3/8 inches sold for $254,783 at Sotheby's Hong Kong on April 2, 2019 - lot 1367.
A Qi Baishi handscroll entitled "Shrimps and Crabs" (1933) that measured 13 x 51 1/6 inches sold for $205,920 at Christie's Hong Kong on May 31, 2016 - lot 1359. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm.
Provenance: Private Gaithersburg, Maryland, USA collection, inherited from their father who was an art collector and an adjunct professor at the Academy of Arts & Design of Tsinghua University in Beijing, China
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
We ship worldwide and handle all shipping in-house for your convenience.
Recently remounted. Staining of paper appears to be consistent with natural aging. Expected creases commensurate with age as well. Imagery, colors, calligraphy and seal stamps are vivid. Custom box is in excellent condition.
TRIBAL: FIVE INUIT CARVED BLACK STONE CREATURES, NO SIGNATURES VIEWED, ALL IMAGINATIVE/ OTHERWORLDLY CREATURES INCLUDING FROG WITH T...TRIBAL: Five Inuit carved black stone creatures, no signatures viewed, all imaginative/ otherworldly creatures including frog with tiny wings, bear with human head, two with long tails, and one creature on all fours wearing mittens, wear consistent with age and use including small chips, scratches, etc., between 3 1/2" and 7 3/4" h.
Nazca Polychrome Bowl - Serpent Creature w/ Trophy Head: **Originally Listed At $400**. . Pre-Columbian, south coast of Peru, Nazca, ca. 220 BCE to 125 CE. A deep-walled, round-bottomed polychrome bowl, its exterior finely decorated with a mythical serpentine creature tasting a large trophy head with its long tongue - all painted in hues of red, orange, white, chocolate brown, and white. The trophy head's eyes look upward, perhaps rolling backward and dramatically capturing its demise. The Serpentine Creature presents a characteristically feline mask, and its long spikey body is filled with droplets of red blood - adding to the drama of the iconography. Size: 6. 125" W x 3. 75" H (15. 6 cm x 9. 5 cm). . Mummified trophy heads date to the pre-ceramic period in ancient Peru. Perhaps the most extensive practice of headhunting occurred along the south coast of Peru in the Nazca and Inca valleys where the early Paracas and succeeding Nazca cultures resided. Head-taking was a significant component of their warfare and religious mythology. A warrior could increase his might and status by capturing prisoners for head-taking. . . Provenance: ex-private Hans Juergen Westermann collection, Germany, collected from 1950-1960s. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #150504 Condition Expected surface wear with scuffs and scratches commensurate with age. There are some stabilized cracks but these are difficult to discern.
Rare Fossilized Trilobite Specimen, in its original nodule, Paleozoic Era (543 to 248 million years ago), the fossilized creature mineralized in softstone matrix, the split nodule exhibiting the creature on one side and its impression on the other, excavated in the Atlas Mountains of Morocco, matrix l. 5-1/2", w. 4", specimen l. 2-3/8".
MARTIN BROS. CREATURE. Wonderful, whimsical Martin Bros. creature has smiling face with large ears and finned body. Creature has two front legs and curling tail. Body, head and legs are finished in a mottled brown glaze, while fins around the body are finished in a blue and cream glaze. Signed on underside “Martin Bros 1894”. SIZE: 4-1/2” l. CONDITION: Very good to excellent. 5-64119 (3,000-5,000)
Hand Painted English Pottery Vase Singed G. Allen Apprx. 8"H x 6"D at the widest point squat body on flaring foot tapered neck and flaring lip hand painted with clear glossy glazes and with textured glaze in the sky above the creatures floral images with lizzard-like creatures lined up head to tail in a landscape around the middle stamped factory mark of Thomas Forester & Sons Ltd in underglaze and signature "G. Allen" in underglaze on the underside.
TRIBAL: Five Inuit carved black stone creatures, no signatures viewed, all imaginative/ otherworldly creatures including frog with tiny wings, bear with human head, two with long tails, and one creature on all fours wearing mittens, wear consistent with age and use including small chips, scratches, etc., between 3 1/2" and 7 3/4" h.
Lot of 4 Chimu Textile Fragments - Zoomorphs & Avians: Pre-Columbian, North Coast Peru, Chimu, ca. 1100 to 1470 CE. A fine gathering of four textile fragments composed of tightly-woven camelid (alpaca or llama wool fibers) in hues of crimson, marigold, wheat, salmon-pink, coffee, and cream. The largest fragment features a series of abstract zoomorphic creatures with curled snouts, rectangular eyes, and triangular tails. The next panel shows a pair of mirrored abstract creatures with diamond-shaped eyes and mouths as well as repeating diamonds adorning the slender bodies. The third panel exhibits two rows of repeating feline figures in either red or black hues. The fourth panel illustrates five abstract avian creatures with simplified bodies and petite heads with drooping beaks. A wonderful collection from ancient Peru! Mounted under glass. Lucite display stand for photography purposes only. Size of largest (abstract zoomorphs): 6. 9" W x 4" H (17. 5 cm x 10. 2 cm); size (frame): 8" W x 10" H (20. 3 cm x 25. 4 cm). . . Provenance: private Ventura County, California, USA collection. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #148433 Condition All items are fragments of larger woven textiles. Largest fragment has small losses to some interior areas. All items have loosening or fraying to areas of interior and peripheral fibers, with light staining to original pigmentation. Iconography is still visible and clear.
Chinese Shang Dynasty Silvered Bronze Zun - XRF Tested: East Asia, China, Late Shang Dynasty, ca. 12th to 11th century BCE. A fascinating ritual wine vessel, a cast silvered bronze "zun". The body is an elongated vase, with a flaring mouth and a tall, cylindrical foot. Much of the body is smooth, with its shiny silver-color - a result of the high lead content in the bronze - very clear. Around the corseted neck is a wide band of motifs with two raised flanges. Dramatic taotie heads face forward and glare outward from each side. These are surrounded by symbols for thunder and clouds known as leiwen. The zun, with its wide mouth, was used to provide the offering of wine for the deceased during ceremonies, and the symbolism of its ornamentation relates to its funerary function. Size: 5. 55" W x 9. 9" H (14. 1 cm x 25. 1 cm). . The taotie is one of the "four fiends" or "four evil creatures" of Chinese mythology, and is a particularly fascinating and ancient symbol - seen on Shang Dynasty bronzes. In the Lushi Chunqiu, known in English as Master Lu's Spring and Autumn Annals, a Chinese encyclopedia compiled around 239 BCE, the taotie is described thusly: "The taotie on Zhou bronzes has a head but no body. When it eats people, it does not swallow them, but harms them" (16/3a Prophecy). This and other ancient descriptions of the creature suggest that it related to making food offerings/sacrifices for the insatiable spirits of the dead. Some scholars believe that the creature is part of the mysterious communication between people and the gods. . We owe the preservation of these ancient bronzes to their burial, either in storage pits, where they were hastily hidden by fleeing members of a defeated elite house, or, more commonly, in tombs. During the Shang dynasty, members of the royalty were accompanied in the afterlife by their bronzes, ceramics, weapons, amulets, and ornaments, and even the human and animal entourage that surrounded them in life: servants, bodyguards, horses, chariots, and charioteers. Each tomb had a set of specialized bronze vessels, of which the zun was just one designed to hold wine. . . This piece has been tested for the presence or absence of particular elements via XRF elemental analysis. A full XRF report identifying the quantity of each element present in the sample will accompany purchase. The report certifies that the element composition is consistent with antiquity and will be included with the purchase. . Provenance: private Ventura County, California, USA collection. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #148135 Condition Intact, with rich turquoise encrusted patina. Interestingly, there is a pattern that looks like impressed fabric on one side, suggesting it lay against cloth for centuries. Much of the originally polished surface shines through the patina. Overall Dimensions Unit: Height: 0. 00 Width: 0. 00 Depth: 0. 00 Weight: 0. 00
COLLECTION ART NOUVEAU STERLING NAIL FILES: 15 pieces to include 1) Full figure of a woman in sheer dress marked Sterling. 2) Large flower atop marked Sterling H. 3) Woman's face atop looking left marked Sterling. 4) Oak leaf with acorns marked Sterling. 5) Full figure woman with arms above head marked Sterling. 6) Foster & Bailey woman's head facing right with bird. 7) Woman's head facing forward bone handle marked Sterling. 8) Woman's face atop wild hair sea creature below marked Sterling. 9) Simon Brothers woman's full body left profile with left arm bent. 10) Floral bunch atop marked Sterling H. 11) Foster & Bailey with worn marks couple on a swing. 12) 3/4 woman's profile looking to her right marked Sterling. 13) Marshall Field woman's face looking slightly down. 14) Full figured woman front and back marked Sterling. 15) Kerr sea horse type dragon creature.CONDITION: Dings scratches and signs of use to be expected.
WHITBOURNE, Richard (1579-1628)A Discourse and Discovery of New-Found-Land, with many reasons to procue how worthy and beneficiall a Plantation may there be made, after a far better manner than now it is. Together with the Laying Open of Certain Enormities and abuses committed by some that trade to that Countrey, and the means laid downe for reformation thereof. Written by Captaine Richard Whitbourne of Exmouth . . . and published by Authority. London: Felix Kingston, 1622. 4to (178 x 136 mm). (22), 107, (5), 15 pp. 18th-century gilt sheep, title in gilt in gilt diamond within two sets of double rules on upper cover, lower in similar design with lozenge blind-stamped in center; half morocco box. Condition: old ink initial to title, woodcut ornament at head of dedication slightly shaved, some tanning, top margin trimmed, very occasional light stains, last text leaf neatly backed; edges slightly worn, spine scuffed with loss at head and foot. Provenance: George F. Whitborne, Descendant of the author (signed by him and with long manuscript quotations concerning the family and this book on inserted front blank). Acquisition: purchased from William Reese Company (1998), $9,625.a foundation tract of british settlement in north america -- by "the father of newfoundland". This is the second edition, enlarged with “A Loving Invitation” appended instead of being issued separately. It also contains at the end 15 pages of letters from Newfoundland, dated in 1622, and gives the only account of Avalon, the colony founded by Sir George Calvert, and abandoned in favor of Maryland.Whitbourne was a South Devon man from Teignmouth, apprenticed to a merchant adventurer, and sailed extensively round Europe and to Newfoundland. In the Armada he sailed in his own ship. He spent some 30 years cod fishing off Newfoundland, and also governed Vaughans colony of Renews from 1618 to 1620 when the venture was abandoned. He was the first to hold a court of Justice in North America at Trinity in 1615. Known as the “Father of New-Found-land,” this work is to that colony as Champlain's works are to New France. He was especially successful in attracting Englishmen to Newfoundland and provides as he does here a general description and invitation to settlers. Also of interest is Whitbourne's account of seeing a creature of legend, “Now also I will not omitt to relate some thing of a strange creature, which I first saw there in the years 1610, in a morning early as I was standing by the River side in the Harbour of Saint Johns, which very swiftly came swimming towards mee, looking cheerfully on my face, as it had been a woman; by the face, eyes, nose mouth, chin, eares, necke and forehead, it seemed to bee to beautifull, and in those parts so well proportioned, having round about the head many blue streakes, resembling haire . . . This (I suppose) was a Maremaid . . .” A scarce work, the with only two copies (one defective) listed at auction since 1977.Church 397; Sabin 103331 Rich, page 38; Winsor, 8:188.
Rare Narwhal Tusk
Arctic Circle, Canada
The Narwhal, a marine mammal, is a majestic creature which is widely unknown. A species of whale (a cetacean) still living today in the Arctic Ocean it is most closely related to the Beluga (also in the Mondontidae family) and Irrawaddy Dolphin. The name "Narwhal" is derived from the Old Norse word náhvalr, meaning "corpse man"-probably a reference to the mottled white and gray skin coloring of the adult-or perhaps a reference to the way a narwhal can lie belly up in the waves, completely motionless, for several minutes at a time.
Male Narwhals are easily identified by their single extraordinarily long spiraling tusk, which is actually a tooth that projects from the left side of the upper jaw and forms a left-handed helix. While the body of an adult male can grow up to lengths of 18 feet, the tusk can grow to lengths of 5 to 10 ft. Only one in 500 males have two tusks, which occurs when the right tooth, normally small, also grows out. Like the tusks of elephants, narwhal tusks do not regenerate if they break off. However, unlike elephant tusks (or mammoth or walrus), which have a grain or core, the Narwhal's tusks have a small hollow that runs nearly the full length.
The purpose of the tusk has been the subject of much speculation. Early scientific theories postulated that the tusk was used to pierce the ice; others suggested that it was used for male showmanship and domination, a theory is supported by the activity of "tusking" in which two males rub their tusks together. However, newer research by the Smithsonian suggests that the tusk may, in fact, be a sensory organ aiding in the detection of temperature, salinity and pressure of the water in the Narwhal's habitat. There appear to be millions of tiny, deep tubules extending from the tusk's surface connecting to the narwhal's nervous system, a fact which supports this theory.
This ivory tusk has been attributed with the creation of the mythical unicorn legends of Medieval Europe. Some believed that Noah threw the unicorn off the ark and it evolved into the narwhal. So prized did the fabled horn of the unicorn become that Queen Elizabeth paid an incredible £10,000 for one-comparable to the cost of an entire castle. The royal scepter in England is made from the rare Narwhal tooth, perhaps the one that Queen Elizabeth purchased in the 16th century. Northern traders in Europe sold them for more than their weight in gold for their supposed magical properties. The horns were used to make cups that were thought to negate any poison that may have been slipped into the drink.
Between the 15th and 17th centuries, during the Age of Exploration, the truth regarding the tusk's origin developed gradually as explorers and naturalists began to visit Arctic regions contributing to the public's understand of the creature. In 1555, Olaus Magnus, a Swedish writer and mapmaker, published a drawing of a fish-like creature with a horn on its forehead in his Carta Marina, a map of the Northern Seas depicting native sea creatures. In 1577, Martin Frobisher, an English seaman, depicted the horned whale in his writings. Finally, in 1638, Danish zoologist Ole Wurm gave a public lecture on narwhal's tusks, which put a definitive end to the legend.
Aerial surveys suggest a population of around 40,000 to 50,000 Narwhals remaining. Their main natural predators are polar bears and orcas. Inuits are permitted to hunt this whale species legally, however, Narwhals have been a protected species since 1972 and their importation is prohibited.
Length 82in. Circumference of tusk at base: 9 ½ in
Panamanian Polychrome Water Jar - Creature Motifs: Pre-Columbian, Central America, Panama, Tonosi, ca. 600 to 800 CE. A beautiful pottery vase with a round-bottomed globular body and a cylindrical neck that gradually widens to a flared rim. The vessel is beautifully decorated with three panels on the body: one with an eye-like motif and the others with abstract black-painted barbed serpentine creatures. On the neck are four more panels containing eye motifs and mythical creatures. To the ancient Panamanians, these exquisitely painted motifs would have conjured a known mythic or Shamanic being. The black on cream decorative panels are surrounded by vibrant orange-red slip, and cream slip adorns the lower body of the vessel. A lovely vessel! Size: 7. 375" in diameter at widest point x 10. 875" H (18. 7 cm x 27. 6 cm) . . Provenance: ex-Hilja K. Herfurth collection, Denver, Colorado, USA. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #147254 Condition Expected surface wear with some fading to pigmentation as shown. Nice earthen and mineral deposits across the surface. Inventory numbers on underside of vessel. Lucite display stand for photography purposes only.
INUIT ARTIST, Inuit Riding a Sea Creature, H: 13 in. Abriasions to Hood, Hand and creature's face.
Stan Skull Research Quality Cast Replica Tyrannosaurus rex castLate CretaceousHell Creek Formation Harding County South DakotaNo creature in popular culture holds the degree of intrigue and distinction of the Tyrannosaurus rex one of the most famous creatures that ever roamed the earth. The largest and most complete T. rex ever found is Stan an impressive skeleton possessing one of the best T. rex skulls ever collected. The original bones making up Stan's skull were preserved in immaculate condition with numerous pathologies visible in a virtually complete disarticulated skull. Discovered in 1987 by Stan Sacrison in Northwestern South Dakota and excavated in 1992 Stan's skull exhibits unusual punctures in the cheeks and lower jaws possibly wounds sustained in altercations with other T. rex's. The smoothed edges suggest that the wounds healed over time. At the rear of the skull where powerful neck muscles were once attached a segment of the crest on the braincase is missing. Below this a round hole that could possibly match the front lower jaw tooth of a T. rex is visible. Each of these pathologies represents a serious non-lethal injury that Stan sustained during its lifetime. Stan's skull also illustrates that T. rex possessed a kinetic skull with hinge screw and slip joints that allowed it to open its upper and lower jaws wide increasing its gape while also acting as shock absorbers.Meticulously prepared and molded to preserve the many fine bone details and original texture the present research quality skull cast is a unique and stunning display. Measures 58 x 48 x 32in
Uncle Remus His Cabin & Creatures Play Set. Description 1934. Very nice set includes a heavy cardboard ready to assemble cabin, Uncle Remus and other creatures with wooden stands, and large story cards to read as game is played. Appears to be complete and only very lightly played with. Box has moderate wear.Condition (Excellent). Size 17" T.
367. Chen Lun Period Style Cloisonne Tea Pot
Bulbous body teapot with double tiered lid and a metal onion-shape finial. Yellow body decorated with colorful scrolls and stylized foliage. The sides feature turquoise-background, oversized cartouches depicting qilins, sometimes called the Chinese unicorn. The qilin is an auspicious creature with the head of a dragon, the body of a deer, the tail of an ox, horse's hooves and a single horn. The qilin (also referred to as "kylin," or "kirin" in Japan) is considered to be one of the four supernatural creatures and is pre-eminent among hairy creatures. Turquoise glazed interior. Overall, with the lid and handles the teapot measures apprx. 6"T x 8"W.
75/150 Sold: $264.50
A pair of cast bronze Temple Palanquan handles. cast as mythical creatures, one as a Yali (a lion-like creature), the other as a Makara (crocodile-like creature), 17th to 18th century, South India, 13cm high. 23.5cm wide; 12cm high x 21.5cm wide. (2).
Fine Chavin Incised Pottery Vessel w/ TL, ex-Museum: Pre-Columbian, North Coast Peru, Chavin, ca. 1200 to 1000 BCE. A sizable example of a hand-built brownware pottery vessel featuring intricate, abstract zoomorphic creatures. The vessel presents with a slightly rounded but stable base, a spherical chamber with a smooth shoulder, a stocky stirrup-shaped handle, and a squat spout surmounted by a flared rim. Incised on one side of the vessel is an elaborate and highly abstract avian creature with a lengthy, right-facing neck topped with a petite head and a slender beak. The other side of the vessel bears a left-facing serpent creature with rectangular eyes, large fangs and claws, and blade-shaped feathers projecting from the backside. A trio of smaller snake heads protrude from the front of the larger serpent's face and are adorned with bullseye-motif circles. Size: 6. 2" Diameter x 9. 2" H (15. 7 cm x 23. 4 cm). . The Chavin people lived in the northern Highland Andes, and their capital, Chavin de Huantar, is a UNESCO World Heritage Site. The artwork of Chavin represents the first widespread artistic style in the Andes. The center of Chavin de Huantar is a massive, flat-topped pyramid, surrounded by lower platforms. Between 1200 and 500 BCE the pyramid space was used for religious ceremonies. The Old Temple, constructed very early in the history of the site, consists of a series of passageways built around a circular courtyard; within were carved stone monuments showing jaguars, serpents, and other figures with transformative and/or anthropomorphic figures. . This piece has been tested using thermoluminescence (TL) analysis and has been found to be ancient and of the period stated. A full report will accompany purchase. . . Provenance: ex-Ashland University Museum, Ashland, Ohio, USA, donated to Ashland University between July 1994 to December 1998. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. . Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. . #166345 Condition Several fissures on shoulder along one side, perhaps from impact damage sustained during a fall. Minor nicks, spalls, and abrasions to base, body, handle, and spout, with light fading to brown color in scattered areas. Great preservation to incised zoomorphs. TL drill holes beneath base and under top rim.
1940s Haida / Tlingit Red Cedar Totem Pole: Native American, Pacific Northwest Coast, probably Haida or Tlingit, ca. 1940s CE. A hand-carved red cedar totem pole depicting a trio of abstract zoomorphic creatures painted in vibrant colors atop an integral platform. The featured creatures on the totem pole are [from bottom to top] a seated bear with bared fangs, a perched raven with a downward-pointed beak and beady eyes, and a crouching eagle with an anthropomorphic face peering out from its abdomen. Size: 1. 55" W x 11. 75" H (3. 9 cm x 29. 8 cm) . . Provenance: private Newport Beach, California, USA collection. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #146527 Condition Small chip to one lower corner of platform, with light abrasions and fading to pigment on all three creatures, otherwise intact and very good. Nice remains of original pigment throughout.
DOYLE, Sir Arthur Conan.Autograph manuscript, unsigned, titled Dwellers on the Border. N.p.: n.d. [but c. 1930]. 4pp., recto only of four sheets ( each 252 x 195 mm or smaller). Written in black ink on thin ruled paper. The essay begins: "I propose in this article to discuss the evidence of elemental forms of life, invisible to the normal eye, which inhabit the same planet as ourselves." The essay compares the abilities of a clairvoyant to that of a radio receiver that tunes in to "extra corporial creatures," commenting on the so-called Cottingley Fairy photographs that he had included in his book the Coming of the Fairies, and going into some details of the appearance of a trail of footprints apparently caused by a "satyr-like creature" in Devon.[With:] Two autograph letters signed by Doyle, relating to the paranormal and spiritualism. Windlesham: 28 January 1920; 13 April no year. The first 2pp., the second 1p.
248. Carved Grey Opal Snuff Bottle, circa 19th Century
This snuff bottle is carved out of grey opal with wonderful iridescent enclosures. Mythical creatures, birds, and fish are carved on the bottle, natural coloring of the stone accentuates some of those creatures. Contrasting red stopper. measures approx. 2-7/8"T with the stopper 1-3/4"W at shoulders and 1/2" thick.
75/125 Sold: $97.75
A French Silver Gilt Butter Dish Modelled as a Scallop Shell on Three Scroll and Fleur-De-Ly Feet. The Handle With a Fine Relief Crest Consisting of a Mythical Creature in a Shield With Stars Above Which is a Crowned Knights Helmet Supporting Another Mythical Creature. Post 1879 French Mark for ' 950 ' Standard Silver and Maker ' J.G ' ( J.Granvigne of Paris )
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