A few examples of appraisal values for
ZAPOTEC

• ZAPOTEC "COCIJO" PRE-COLUMBIAN POTTERY
  ZAPOTEC "COCIJO" PRE-COLUMBIAN POTTERY EFFIGY URN Pre-Columbian Zapotec (Oaxaca, Mexico) effigy urn / incensario, depicting Cocijo the god of rain and lightning, grayware pottery with remnants of red-brown pigments. 6.75" H x 4.25" W x 4.25" D.
• (2) MEXICAN WOOL SERAPE BLANKET & ZAPOTEC
  (2) MEXICAN WOOL SERAPE BLANKET & ZAPOTEC RUG(lot of 2) Wool textiles, Mexico, 20th c., including: (1) blue serape/ blanket, having geometric design and bird motifs, approx 77"l, 39"w, (1) Zapotec rug, maroon and cream, geometric designs formed of repeating diamond shapes, approx 39.25"l, 23.5"w
• ZAPOTEC RUG, MEXICO, 5'1" X 2'7"Zapotec
  ZAPOTEC RUG, MEXICO, 5'1" X 2'7"Zapotec Indian rug, Mexico, slight unraveling at one end, approx 5'1"l, 2'7"w
• BAUTISTA ZAPOTEC HAND WOVEN RUG, 5'8'X5'4"
  BAUTISTA ZAPOTEC HAND WOVEN RUG, 5'8'X5'4" & BOOK(lot of 2) Hand woven Zapotec rug Oaxaca, Mexico, attributed to a member of the Bautista family of weavers, bearing the tag of the retail store La Unica Cosa, Taos, New Mexico, and titled "Hopi Waters", 5'8" x 5'4", together with (1) book entitled "Zapotec Weavers of Teotitlan", Andra Fischgrund Stanton, Museum of New Mexico Press, 1999, many color illustrations, dust cover, 117 pages, 10.5"h, 8.5"w, total: approx. 8.5lbs .25"d
• Zapotec Pottery Fragment in the Forn
  Zapotec Pottery Fragment in the Forn of the Head of a Bat-God, 250-500 AD modelled ears down, baring fangs, now mounted on acrylic stand fragment width 2.5 in — 6.4 cm
• RUFINO TAMAYO MIXED MEDIA ON CANVAS
  RUFINO TAMAYO MIXED MEDIA ON CANVAS BOARDRufino Tamayo (New York/Mexico, 1899 - 1991) colorful mixed media abstract portrait on canvas board, signed to upper right "Tamayo 0-81". Unframed, measures 20" in height with width of 16". In overall good condition. Provenance: from the estate of a prominent Texas collector. Rufino Tamayo was a Mexican painter of Zapotec heritage, born in Oaxaca de Juarez, Mexico. Following the death of his parents, he moved to Mexico City to live with his aunt, where he later (1917) enrolled in the Escuela Nacional de Artes Plasticas at San Carlos to study art. As a student, he experimented with & was influenced by Cubism, Impressionism, & Fauvism, but with a distinctly Mexican feel. He was later appointed the head designer of the department of ethnographic drawings at the National Museum of Archaeology in Mexico City. There he was surrounded by pre-Colombian objects, an aesthetic inspiration that would play a pivotal role in his life. In his own work, Tamayo integrated the forms and tones of pre-Columbian ceramics into his early still lives and portraits of Mexican men and women. In the early 1920s he also taught art classes in Mexico City's public schools. Despite his involvement in Mexican history, he did not subscribe to the idea of art as nationalistic propaganda. Modern Mexican art at that time was dominated by 'The Three Great Ones' : Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueros, but Tamayo began to be noted as someone 'new' and different' for his blending of the aesthetics of post Revolutionary Mexico with the vanguard artists of Europe and the United States. After the Mexican Revolution, he focused on creating his own identity in his work, expressing what he thought was the traditional Mexico, and refusing to follow the political trends of his contemporary artists. This caused some to see him as a 'traitor' to the political cause, and he felt it difficult to freely express himself in his art. As a result, he decided to leave Mexico in 1926 and move to New York, along with his friend, the composer Carlos Chavez. The first exhibition of Tamayo's work in the United States was held at the Weyhe Gallery, New York, in that same year. The show was successful, and Tamayo was praised for his 'authentic' status as a Mexican of 'indigenous heritage', and for his internationally appealing Modernist aesthetic. (Santa Barbara Museum of Art). Throughout the late thirties and early forties New York's Valentine Gallery gave him shows. For nine years, beginning in 1938, he taught at the Dalton School in New York. In 1929, some health problems led him to return to Mexico for treatment. While there he took a series of teaching jobs. During this period he became romantically involved with the artist Maria Izquierdo, with whom he lived and worked for several years. In 1933 he completed his first successful mural commission, a series of wall paintings for the Escuela Nacional de Musica (National School of Music). While working on this project, he met Olga Flores Rivas, a piano student at the school. Soon he separated from Izquierdo, and began a romance with Olga. The two were married in 1934. Although Olga was talented and had a budding performance career, she abandoned her musical pursuits to devote herself to promoting Tamayo's work. She was a lifelong muse to the artist, and over his seventy year career, he drew and painted many portraits of her. They moved to New York in 1937, and he began to exhibit his work internationally. From 1937 to 1949, Tamayo and Olga lived there, and he became widely recognized for his signature form of abstract figuration. Some of his most valuable works were created during that time. In 1943 Tamayo painted his first mural in the United States at the Hillyer Art Library at Smith College. Vogue magazine's 1946 issue referred to him as 'the best of young painters'. Look magazine also named him 'a fixed star in the New York art world'. (Santa Barbara Museum of Art) He was an elegant and media-savvy man, often photographed in his Upper East Side studio, with its wall of windows facing out onto Manhattan's fashionable townhouses. The 1940s were however not without problems for the couple. Olga suffered from health problems, leading to several miscarriages, and the marriage was strained. Tamayo dedicated his work to her by adding an extra 'O' to his signature. His fame was growing in Mexico. In 1948 his first major retrospective was held at the Palacio de Bellas Artes in Mexico City, and while he was still controversial, his popularity was high. He enjoyed broad commercial and critical success, but remained uncomfortable with the political differences and controversy, and so Tamayo and Olga moved to Paris in 1949. There he was welcomed by the artists and intellectuals of Europe. The French government named him Chevalier and Officier de la Légion d'Honneur in 1956 and 1969, respectively, and he was the recipient of numerous other honors and awards. Tamayo was among the first Mexican artists to be included in the Venice Biennale. He remained in Paris for 10 years, after which the couple returned permanently to Mexico. His work was exhibited internationally in group and solo shows. Important Tamayo retrospectives took place at the São Paulo Bienal in 1977 and the Solomon R. Guggenheim Museum, New York, in 1979. From 1933 to 1980, Tamayo painted 21 murals for an array of universities, libraries, museums, civic and corporate clients, hotels and an ocean liner. He was also an influential printmaker, and, in the latter part of his life embarked on the creation of sculpture. Tamayo eschewed the highly politicized themes explored within the works of his peers, and favored lyrical imagery and incorporated elements of Cubism, Surrealism and Expressionism. Mexican folklore and his Indian origins provided a constant source of inspiration for him. Through his 70s and 80s he continued to be a prolific artist, teacher, and collector. Critics have extolled his bold and saturated use of color as his most significant contribution to Modern art. He was elected an honorary member of the American Academy and National Institute of Arts and Letters in 1961. Rufino and Olga Tamayo donated the Museum of Pre-Hispanic Mexican Art to their native State of Oaxaca in 1974. Their personal holdings of more than 1,000 pieces of ceramics and sculpture formed the cornerstone of the collection. The Rufino Tamayo Museum of International Contemporary Art opened in Mexico in 1981, and it displays many of the artist's works, as well as paintings, sculpture and drawings from his private collection. At the time, it was the first major museum not run by the Government. An interesting sidelight regarding Tamayo's work has to do with a theft. Tamayo's 1970 painting 'Tres Personajes' was bought by a Texan as a gift for his wife in 1977, then stolen from their storage locker during a move in 1987. In 2003, a woman, Elizabeth Gibson, found the painting in the trash on a New York City curb. She knew little about modern art, but felt the painting "had power" and took it without knowing its origin or market value. She spent four years trying to learn about the work, eventually learning it had been featured on an episode of Antiques Roadshow. Ultimately, Gibson and the former owner arranged to sell the painting at a Sotheby's auction. In November, 2007 Gibson received a $15,000 reward plus a portion of the $1,049,000 auction sales price. Tamayo painted his last painting in 1989, at the age of 90, 'Hombre Con Flor' (Man withFlower), a self-portrait. Rufino Tamayo died in 1991 at the age of 92 in Mexico City. Olga passed away two and a half years later.
• RUFINO TAMAYO "ESTUDIO" GRAPHITE ON
  RUFINO TAMAYO "ESTUDIO" GRAPHITE ON PAPERRufino Tamayo (New York/Mexico, 1899 -1991) unframed portrait portrayal of two ladies, signed to lower right "R. Tamayo" & measuring 20" in height with width of 16". Comes complete with Certificate of Authenticity (see photographs), & is in overall good condition. All measurements are approximate. Provenance: from the estate of a prominent Texas collector. Rufino Tamayo was a Mexican painter of Zapotec heritage, born in Oaxaca de Juarez, Mexico. Following the death of his parents, he moved to Mexico City to live with his aunt, where he later (1917) enrolled in the Escuela Nacional de Artes Plasticas at San Carlos to study art. As a student, he experimented with & was influenced by Cubism, Impressionism, & Fauvism, but with a distinctly Mexican feel. He was later appointed the head designer of the department of ethnographic drawings at the National Museum of Archaeology in Mexico City. There he was surrounded by pre-Colombian objects, an aesthetic inspiration that would play a pivotal role in his life. In his own work, Tamayo integrated the forms and tones of pre-Columbian ceramics into his early still lives and portraits of Mexican men and women. In the early 1920s he also taught art classes in Mexico City's public schools. Despite his involvement in Mexican history, he did not subscribe to the idea of art as nationalistic propaganda. Modern Mexican art at that time was dominated by 'The Three Great Ones' : Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueros, but Tamayo began to be noted as someone 'new' and different' for his blending of the aesthetics of post Revolutionary Mexico with the vanguard artists of Europe and the United States. After the Mexican Revolution, he focused on creating his own identity in his work, expressing what he thought was the traditional Mexico, and refusing to follow the political trends of his contemporary artists. This caused some to see him as a 'traitor' to the political cause, and he felt it difficult to freely express himself in his art. As a result, he decided to leave Mexico in 1926 and move to New York, along with his friend, the composer Carlos Chavez. The first exhibition of Tamayo's work in the United States was held at the Weyhe Gallery, New York, in that same year. The show was successful, and Tamayo was praised for his 'authentic' status as a Mexican of 'indigenous heritage', and for his internationally appealing Modernist aesthetic. (Santa Barbara Museum of Art). Throughout the late thirties and early forties New York's Valentine Gallery gave him shows. For nine years, beginning in 1938, he taught at the Dalton School in New York. In 1929, some health problems led him to return to Mexico for treatment. While there he took a series of teaching jobs. During this period he became romantically involved with the artist Maria Izquierdo, with whom he lived and worked for several years. In 1933 he completed his first successful mural commission, a series of wall paintings for the Escuela Nacional de Musica (National School of Music). While working on this project, he met Olga Flores Rivas, a piano student at the school. Soon he separated from Izquierdo, and began a romance with Olga. The two were married in 1934. Although Olga was talented and had a budding performance career, she abandoned her musical pursuits to devote herself to promoting Tamayo's work. She was a lifelong muse to the artist, and over his seventy year career, he drew and painted many portraits of her. They moved to New York in 1937, and he began to exhibit his work internationally. From 1937 to 1949, Tamayo and Olga lived there, and he became widely recognized for his signature form of abstract figuration. Some of his most valuable works were created during that time. In 1943 Tamayo painted his first mural in the United States at the Hillyer Art Library at Smith College. Vogue magazine's 1946 issue referred to him as 'the best of young painters'. Look magazine also named him 'a fixed star in the New York art world'. (Santa Barbara Museum of Art) He was an elegant and media-savvy man, often photographed in his Upper East Side studio, with its wall of windows facing out onto Manhattan's fashionable townhouses. The 1940s were however not without problems for the couple. Olga suffered from health problems, leading to several miscarriages, and the marriage was strained. Tamayo dedicated his work to her by adding an extra 'O' to his signature. His fame was growing in Mexico. In 1948 his first major retrospective was held at the Palacio de Bellas Artes in Mexico City, and while he was still controversial, his popularity was high. He enjoyed broad commercial and critical success, but remained uncomfortable with the political differences and controversy, and so Tamayo and Olga moved to Paris in 1949. There he was welcomed by the artists and intellectuals of Europe. The French government named him Chevalier and Officier de la Légion d'Honneur in 1956 and 1969, respectively, and he was the recipient of numerous other honors and awards. Tamayo was among the first Mexican artists to be included in the Venice Biennale. He remained in Paris for 10 years, after which the couple returned permanently to Mexico. His work was exhibited internationally in group and solo shows. Important Tamayo retrospectives took place at the São Paulo Bienal in 1977 and the Solomon R. Guggenheim Museum, New York, in 1979. From 1933 to 1980, Tamayo painted 21 murals for an array of universities, libraries, museums, civic and corporate clients, hotels and an ocean liner. He was also an influential printmaker, and, in the latter part of his life embarked on the creation of sculpture. Tamayo eschewed the highly politicized themes explored within the works of his peers, and favored lyrical imagery and incorporated elements of Cubism, Surrealism and Expressionism. Mexican folklore and his Indian origins provided a constant source of inspiration for him. Through his 70s and 80s he continued to be a prolific artist, teacher, and collector. Critics have extolled his bold and saturated use of color as his most significant contribution to Modern art. He was elected an honorary member of the American Academy and National Institute of Arts and Letters in 1961. Rufino and Olga Tamayo donated the Museum of Pre-Hispanic Mexican Art to their native State of Oaxaca in 1974. Their personal holdings of more than 1,000 pieces of ceramics and sculpture formed the cornerstone of the collection. The Rufino Tamayo Museum of International Contemporary Art opened in Mexico in 1981, and it displays many of the artist's works, as well as paintings, sculpture and drawings from his private collection. At the time, it was the first major museum not run by the Government. An interesting sidelight regarding Tamayo's work has to do with a theft. Tamayo's 1970 painting 'Tres Personajes' was bought by a Texan as a gift for his wife in 1977, then stolen from their storage locker during a move in 1987. In 2003, a woman, Elizabeth Gibson, found the painting in the trash on a New York City curb. She knew little about modern art, but felt the painting "had power" and took it without knowing its origin or market value. She spent four years trying to learn about the work, eventually learning it had been featured on an episode of Antiques Roadshow. Ultimately, Gibson and the former owner arranged to sell the painting at a Sotheby's auction. In November, 2007 Gibson received a $15,000 reward plus a portion of the $1,049,000 auction sales price. Tamayo painted his last painting in 1989, at the age of 90, 'Hombre Con Flor' (Man with Flower), a self-portrait. Rufino Tamayo died in 1991 at the age of 92 in Mexico City. Olga passed away two and a half years later.
• RUFINO TAMAYO CABEZA IN RED MIXED MEDIARufino
  RUFINO TAMAYO CABEZA IN RED MIXED MEDIARufino Tamayo (New York/Mexico, 1899 - 1991) unframed mixed media depicting a semi-abstract geometric figure of a man lined in black on a red background. Tamayo created a series of "Cabeza" pieces primarily throughout the 1960s and 1970s. This piece comes without paperwork of authentication, but signature and style are consistent with those of the artist's known works. In overall good condition. Measures approximately 20" in height by 16" in width and is signed "R Tamayo 0.81" to the upper right hand corner. Provenance: from the estate of a prominent Texas collector, known to not only to have collected quite an assortment of notable art, but to have befriended a vast majority of the artists of whose work was acquired. Rufino Tamayo was a Mexican painter of Zapotec heritage, born in Oaxaca de Juarez, Mexico. Following the death of his parents, he moved to Mexico City and enrolled in the Escuela Nacional de Artes Plasticas at San Carlos to study art in 1917 where he was influenced by Cubism, Impressionism and Fauvism. He integrated the forms and tones of pre-Columbian ceramics into his early still lives and portraits of Mexican men and women. The first exhibition of Tamayo's work in the United States was held at the Weyhe Gallery, New York, in 1926. In 1943 Tamayo painted his first mural in the United States at the Hillyer Art Library at Smith College. Tamayo and his wife Olga moved to Paris in 1949, and the French government named him Chevalier and Officier de la Légion d'Honneur in 1956 and 1969.,The Rufino Tamayo Museum of International Contemporary Art opened in Mexico in 1981, and it displays many of the artist's works, as well as paintings, sculpture and drawings from his private collection. Rufino Tamayo died in 1991 at the age of 92 in Mexico City.
• RUFINO TAMAYO CABEZA MIXED MEDIARufino
  RUFINO TAMAYO CABEZA MIXED MEDIARufino Tamayo (New York/Mexico, 1899 - 1991) unframed mixed media depicting a semi-abstract geometric figure of a man lined in red on a black background. Tamayo created a series of "Cabeza" pieces primarily throughout the 1960s and 1970s. This piece comes without paperwork of authentication, but signature and style are consistent with those of the artist's known works. In overall good condition. Measures approximately 20" in height by 16" in width and is signed "R Tamayo 0.81" to the upper right hand corner. Provenance: from the estate of a prominent Texas collector, known to not only to have collected quite an assortment of notable art, but to have befriended a vast majority of the artists of whose work was acquired. Rufino Tamayo was a Mexican painter of Zapotec heritage, born in Oaxaca de Juarez, Mexico. Following the death of his parents, he moved to Mexico City and enrolled in the Escuela Nacional de Artes Plasticas at San Carlos to study art in 1917 where he was influenced by Cubism, Impressionism and Fauvism. The Rufino Tamayo Museum of International Contemporary Art opened in Mexico in 1981, and it displays many of the artist's works, as well as paintings, sculpture and drawings from his private collection. Rufino Tamayo died in 1991 at the age of 92 in Mexico City.
• RUFINO TAMAYO "HOMBRE DEL SOL" OIL &
  RUFINO TAMAYO "HOMBRE DEL SOL" OIL & SAND PAINTINGRufino Tamayo (New York/Mexico, 1899 - 1991)unframed oil and sand on canvas painting depicting a head of a man in yellow, red, & white entitled "Hombre De Sol" executed in 1972 and measuring 23-3/4" in height with width of 19-3/4". Signed to top right "Tamayo O-72" and comes complete with certificate of authenticity signed by the artist himself, as well as a letter of provenance from the artist's Godson. In overall good condition. All measurements are approximate. Rufino Tamayo was a Mexican painter of Zapotec heritage, born in Oaxaca de Juarez, Mexico. Following the death of his parents, he moved to Mexico City and enrolled in the Escuela Nacional de Artes Plasticas at San Carlos to study art in 1917 where he was influenced by Cubism, Impressionism and Fauvism. He integrated the forms and tones of pre-Columbian ceramics into his early still lives and portraits of Mexican men and women. The first exhibition of Tamayo's work in the United States was held at the Weyhe Gallery, New York, in 1926. In 1943 Tamayo painted his first mural in the United States at the Hillyer Art Library at Smith College. Tamayo and his wife Olga moved to Paris in 1949, and the French government named him Chevalier and Officier de la Légion d'Honneur in 1956 and 1969.,The Rufino Tamayo Museum of International Contemporary Art opened in Mexico in 1981, and it displays many of the artist's works, as well as paintings, sculpture and drawings from his private collection. Rufino Tamayo died in 1991 at the age of 92 in Mexico City. Condition: It is our recommendation that all pieces be examined in person by perspective clients or a dealer they have asked to give them a condition report. This is consistent with our terms of sale that all goods are sold as is and all sales are final.
• ZAPOTEC, PENATE TYPE FIGUREPenate type
  ZAPOTEC, PENATE TYPE FIGUREPenate type figure Zapotec Oaxaca, Mexico Terminal Late classic CE 700- 900 Whitish green hardstone; drilled and incised, with slight surface polish 3 1/8"H In fine condition with one small section of the perforated right ear missing since antiquity. Otherwise, in perfect condition and with strong mineral deposits Provenance: ex-private Palm Beach FL collection, 1980's A larger example with typical linear and circular cuts, and a bi-conically drilled hole on reverse for suspension. This form of a pendant, affectionately referred to as a "penate" because of the hands held in prayer-like humility, was actually created by the Zapotec culture, but is more commonly associated with the later Mixtec culture of Oaxaca. - Be aware that this item is being remotely consigned and we will assist with arranging shipping directly from the client, will be shipped from zip code (43950) Condition: - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. - Due to the size of our gallery not all items are out for preview at one time. If you plan on coming to preview any lot(s) we recommend letting us know prior so we can have them collected and prepared for your preview. - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via WIRE TRANSFER, no other forms of payment will be accepted. - All items are sold as-is where-is and no guarantees are made of any kind. All sales are final; no refunds will be given under any circumstances. - All artwork is listed and sold per section (10) of our terms and conditions, please read over all definitions of authorship prior to bidding to better understand artwork listings. - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. 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. - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail.com - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through multiple online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly. - Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be outbid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live. - Unless otherwise stated in the description, all items are sold without additional documentation or COAs. If any supporting documentation is available an image will be available online via the catalog listing.
• RARE ZAPOTEC MONTE ALBAN POTTERY FIGURE
  RARE ZAPOTEC MONTE ALBAN POTTERY FIGURE OF CAMAZOTZPre-Columbian, Mexico, Oaxaca, Zapotec culture, Monte Alban, Phase III, ca. 500 to 700 CE. A hand-built pottery figure of intriguing form depicting the Zapotec Bat-god Camazotz. Camazotz presents with an anthropomorphic body while he holds both arms up against his chest in a defensive pose, and he wears a simple loincloth beneath a medallion-adorned necklace. His head presents with expressive features that include impressed eyes, an upturned snout, bared fangs, and scarification marks on his cheeks, all beneath a crested coiffure and a massive pair of ears. Remains of white pigment allude to how vibrant this figure appeared when first created. Certain groups of ancient Zapotec peoples worshipped the cult of Camazotz by filling corresponding effigy vessels with slow-burning incense as the deity was associated with ritual sacrifice, night, and ultimately death. Size: 2.7" W x 4.7" H (6.9 cm x 11.9 cm) Provenance: Whisnant Gallery, New Orleans, Louisiana, USA, acquired prior to 2000; ex-private French 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. 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. #169361 Condition: Fading to pigment in most areas, with extensive encrustations and earthen deposits, abrasions and small nicks across most surfaces, and softening to some finer details, otherwise intact and very good. Light remains of white pigment throughout.