Pre Columbian Art Including Selection of Lempertz

L E M PE RT Z
PRECOLUMBIAN ART :
INCLUDING A SELECTION OF
THE DR. ROLAND HARTMANN
COLLECTION
18 JUNE 2011
COLOGNE
LEMPERTZ AUCTION 984
PRECOLUMBIAN ART :
INCLUDING A SELECTION OF
THE DR. ROLAND HARTMANN
COLLECTION
18. JUNE 2011
COLOGNE
LEMPERTZ AUCTION 984
PREVIEW VORBESICHTIGUNG
Cologne
Wednesday 15 June - Friday 17 June
10 am 5.30 pm
Saturday 18 June
10 am 1 pm
Brussels (Highlights)
Rue aux Laines 1 Wolstraat
Wednesday 8 June Saturday 11 June
10 am 6 pm
SALE VERSTEIGERUNG
Cologne
Saturday 18 June 2011
2 pm
Rue aux Laines 1 Wolstraat

1000 Brussels, Belgium
Tel +32 2 514 05 86
Fax +32 2 511 48 24
brussel@lempertz. com
Neumarkt 3
50667 Cologne (Germany)
Tel +49 221 92 57 29-0
Fax +49 221 92 57 29-6
info@lempertz.com
www.lempertz.com
PRECOLUMBIAN ART FROM

THE COLLEC TION OF
DR. ROLAND HARTMANN
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
eld of rare books where he concentrated on incunabula and medieval manuscripts. Dr. Hartmann
purchased his 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. Hartmanss 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
1 200 2 200
*2
*4
CHAVIN BLACKWARE VESSEL
CHAVIN STONE MACE HEAD
Ca. 700-400 B. C.
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.
Star-shaped with six tapering projections, in ne green stone.
Height 22.2 cm
500 700
Diameter 12 cm
Literature
Hans-Dietrich Disselho, Leben im alten

Peru, Munich, 1966, g. 223
450 650
*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

Cf. for the general type, Lapiner, g. 89
800 1 200
*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 Disselho, 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
8
*6
*7
CHAVIN GREYWARE VESSEL

CUPINISQUE
VICUS ZOOMORPHIC VESSEL
Ca. 900-600 B. C.
Ca. A. D. 100-500
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.
The whistling vessel of unusual conguration, 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 16.6 cm
Height 21 cm
Literature
Ferdinand Anton, Alt-Peru und seine Kunst, Leipzig,

1972, pl. 12
1 500 2 500
2 000 4 000
*8
*9
VICUS DOUBLEBODIED VESSEL
VICUS DOUBLEBODIED VESSEL
Ca. A. D. 100-500
Ca. A. D. 100-500
Surmounted a pair of embracing anthropomorphic gures, each with spotted body and tail
extending at the back, and 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.
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 23.5 cm
Length 28.3 cm
Literature

1972, pl. 24
Such receptacles with two bodies joined by a
tube and a handle-bridge where one of the bodies is 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
10
1 000 1 500
10
*10
11
*11
VICUS ZOOMORPHIC VESSEL
VICUS FELINE VESSEL
Ca. 100-500
Ca. A. D. 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.
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 31.5 cm
Length 24.5
Cf. for a coati vessel, Vicus, Disselho, pl. 27D
Provenance
1 000 1 500
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
*14
VICUS FIGURAL VESSEL
VICUS FIGURAL VESSEL
Ca. A. D. 100-500
Ca. A. D. 100-500
The naked male gure seated with hands resting

on the raised knees, head bent downward, with
facial tattoos and slit coee bean eyes, bipartite striated hair and pierced eyes, the rounded
body incised with geometric patterns, the whole
covered in a brown slip.
The kneeling naked 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 23 cm
Height 21 cm
800 1 200
Cf. Vicus, Disselho, pl. 39
1 000 1 500
13
15
*15
VICUS EFFIGY VESSEL
Ca. A. D. 100-300
Of a prone female 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 at foot,
toes extended, the whole ornamentally painted
with black resist.
Height 23 cm
600 800
14
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 sta 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 gures 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 sta, painted in cream, reddish
brown and orange.
Height 27 cm
Provenance
1 000 2 000
*19
*20
MOCHICA BLACKWARE VESSEL
EARLY/MIDDLE MOCHICA VESSEL
Ca. A. D. 200-500
Ca. 100 B. C. -A. D. 500
The cylindrical vessel molded with a stepped curl

motif and molded with four tumbo fruits, known
as granadilla, a member of the passion ower
family, the distinctive V-shaped stirrup molded on
each side with a three crouching frogs, perhaps
poison dart frogs.
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 24 cm
Provenance
Height 18.5 cm
Literature

1972, pl. 160
1 500 2 500
Cf. For such fruits, Spirit of Peru, pl. 44
1 500 2 500
17
*21
*22
MIDDLE MOCHICA VESSEL
MIDDLE MOCHICA PAINTED VESSEL
Ca. A. D. 200-500
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 sta, the body painted with
a riverine delta in reddish brown and cream with
sh, crab, lobster, jellysh and long-necked herons
wading through reeds.
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 owers decorating the spout.
Height 23 cm
Provenance
Height 29 cm
Galerie Fischer, Luzern, November 26, 1959, lot 37
Provenance
Bernoulli Collection, 1949

Literature
Chirstopher Donnan and Donna McClelland,

Moche Fineline Painting, 1999, Los Angeles, g. 4.55
Cf. Lapiner, pl. 96, for a similar pierced vessel
1 500 2 500
18
1 000 1 400
*23
Ca. A. D. 200-500
Painted in 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 ight, each
warrior sashed loincloth and semicircular helmet with a jaguar head
nial and a round shield-like projection at the back, each clutching a
small satchel.
Height 28 cm
Provenance

Cf. Moche Fineline Painting, g. 4.30, for Ritual Runners
The gures depicted on this group of vessels have at times been
entitled bean runners because of the oating beans in the 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
*24
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 eld and covering the spout.
1 500 2 500
Height 31 cm
Ca. A. D. 200-500
Provenance
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.

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 signicance of beans on certain
Moche ceramics was studied by Larco Hoyle who
theorized that they maybe a counting device.
20
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.
*25
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 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 Disselho, 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
*27
*28
EARLY/MIDDLE MOCHICA
ZOOMORPHIC VESSEL
Ca. 100 B. C.-A. D. 500
Ca. 100 B. C. 200 A. D.

In the form of a llamas head with lips parted,
nostrils ared and downward hanging ears and
painted in cream and reddish brown.
Height 18.5 cm
Cf. Lapiner, g. 273
900 1 200
EARLY/MIDDLE MOCHICA VESSEL

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
900 1 200
22
*29
*30
EARLY MOCHICA OWL VESSEL
EARLY MOCHICA FROG VESSEL
Ca. 300-100 B. C.
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.
The crouching amphibian with feet rmly planted,

thin closed mouth, and large bulbous eyes under
heavy lids, painted in egg-cream with decorative
details in reddish brown.
Height 19.5 cm
Cf. Lapiner, g. 269
Owls are widely associated with death because of
their nocturnal habits and mournful voices.
Height 19.7 cm
Cf. Trujillo, pg. 145, top
1 200 1 800
1 200 1 800
23
31
*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 aring nostrils, large ears perked.
Height 19 cm
Exhibited

Kunsthaus Zurich, April 18-June 2, 1957, pl. 7
Literature
1 000 2 000
24
32
33
*32
*33
EARLY MOCHICA FELINE VESSEL
MIDDLE MOCHICA DEER VESSEL
Ca. 300-100 B. C.
Ca. A. D. 200-500
The snarling male puma seated with his weight

placed on the attened feet, incised tail wrapping
around the right rear leg, large ears perked, fangs
bared and covered overall in lustrous black slip.
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 20 cm
Cf. Stierlin, pl. 59
Height 25.5 cm
Provenance
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
Cf. Donnan, g. 85
Literature
Cologne, Schtze aus Peru von Chavin bis zu den

Inka, Rautenstrauch-Joest-Museum, June 20September, 6, 1959, no, 587, not illustrated
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 aring lime
container in the other, attired in long patterned
tunic, and headband adorned at each side with a
hand with palm open and 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

Literature

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 conguration with a richly attired
three dimensional 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

Literature
Cologne, Schtze aus Peru von Chavin bis zu den Inka,

Rautenstrauch-Joest-Museum, June 20-September,
6, 1959, pl. 28
Pottery is Moches 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 re, went into the manufacture
of terracotta, which held sustenance for people and
gods.
Front cover
4 000 6 000
27
*36
MIDDLE MOCHICA DIGNITARY
Ca. A. D. 200-500
In a distinctive deep black slip with the seated aged 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 anges and large earspools, the whole
once decoratively inlaid.
Height 17.2 cm
Provenance

The black color of the vase is achieved by ring the work in a closed
kiln, a technique used and disseminated by the Chavin cultures.
2 000 4 000
28
*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
2 000 4 000
29
*38
*39
MIDDLE MOCHICA PORTRAIT HEAD
EARLY/MIDDLE MOCHICA PORTRAIT

VESSEL
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 aps, the face decorated with two rectangles of face paint, and tubular
earspools, painted in cream, brown and reddish
brown.
Height 20 cm
Provenance
Ca. 300 B. C.-A. D. 500

The truncated gure with a moustachioed
oversized head resting on raised knees, the eyes
and chin decorated with facial paint and the long
hair owing down the back, in reddish brown and
cream.
Height 22 cm
Cf. Willey, pl. 388
Literature

Cf. Moche Portraits, g. 8.20
Accordning to Christopher Donnan this vase
might represent an actual individual identied as
cut lip (Moche Portraits, pp. 141-159).
1 500 2 500
30
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 crows 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

Inka, Rautenstrauch-Joest-Museum, June 20September, 6, 1959, pl. 29
1974, pl. 338
2 000 4 000
*41
Ca. A. D. 200-500
The vessel with modeled seated female 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
gure on the right, possibly a servant, and the left
side decorated with ve corn cobs of alternating
colors, painted in cream, brown and reddish
brown.
Height 26 cm
Provenance

Literature

1974, pl. 299
This scene might depict a display of oerings 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 utists seated on a two-legged bench playing their pan
utes with coee 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
3 000 5 000
*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

Literature

Cf. for the general type, Spirit of Ancient Peru, pl. 26
1 500 2 500
34
*44
*45
EARLY MOCHICA AIAPEC VESSEL
Ca. 300-100 B. C.
Ca. A. D. 200-500
Molded with the ferocious physiognomy of AiApec, 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.
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 22 cm
Height 25.1 cm
Cf. Stierlin, pl. 47
Provenance
1 500 2 500
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
Ca. A.D. 200-500
Painted in cream and reddish brown on each side with a fox-headed
warriors, with thick centipede tails 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
backap with decorative streamers and
crested helmet.
Height 27.2 cm
Provenance

Literature
Alan Lapiner, Pre-Columbian Art of South

America, 1974, pl. 313-316
It is not known if these 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 sacricied was a principal object of
combat whether real or a mythical.
2 000 4 000
*48
LARGE MOCHICA BOWL
Ca. A. D. 200-500
The aring conical vessel or orero with pedestal foot lled with rattles, painted in cream and reddish brown, with an animated shing
scene composed of two tule boats surrounded by anthropomorphic
creatures, each with the prow and stern with a nial in the form of
a ferocious monsters head with teeth bared, each vessel carrying
two energetic shermen, in one a kneeling 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 shermen with one alert gure standing at the stern with
a rope and club, the whole populated with stingrays, ying birds,
various sh and two long beaked striding birds.
Provenance

Exhibited
Zurich, Alt-Peru aus Schweizer Sammlungen, Kunsthaus Zurich, April

18-June 2, 1957, pl. 9, no. 202
Literature
Hans-Dietrich Disselho, Leben im alten Peru, Munich, 1966, pl. 52

Cf. Moche Fineline Painting, g. 3.45
Such tule boats are still used by 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
orero.
Diameter 36 cm
4 000 6 000
38
50
*49
Ca. A. D. 200-500
Painted with two running hawk-headed, winged
warriors, each grasping a shield, multiple spears
and mace-headed sta, 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 ight, with resolute expression, eyes
and pupils inlaid in shell.
Height 18 cm
Cf. Lapiner, pl.381, for the warrior type
49
40
1 000 1 500
*51
HUARMEYMOCHICA TEXTILE FRAGMENT
Ca. A. D. 200-600
Composed of a striding shamanic, frontally-portrayed 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
*52
HUARMEY TEXTILE FRAGMENT
HUARMEY TEXTILE
Ca. A. D. 200-600
Ca. A. D. 200-600
Possibly from a tunic woven in camelid ber in deep red, teal blue,
ocher, dark brown and white with a highly abstract central anthropomorphic gure with wide spread, bent legs with body treated in
x-ray style, lled with geometric patterns, hands as serpents heads
and grasping diminutive winged warriors, the elongated horizontal
helmet decorated with similar serpents heads and anked by further
small warriors, and surrounded by a border of stylized avian wings;
damaged.
Possibly part of a tunic, woven in camelid ber in slit tapestry with

four anthropomorphic gures, each holding a sta 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.
Ca. 32 x 44 cm
1 200 1 800
42
*53
29 x 28.3 cm
1 200 1 800
53
*54
HUARMEY TEXTILE FRAGMENT
Ca. A. D. 500-700
Probably from a tunic, woven in camelid 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
54
43
*55
*56
Ca. A. D. 200-500
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
Molded on each side with a large, anthropomorphic sh with ferocious expression showing large
teeth and a human arm with clenched sh, the
Demon Fish, the scales indicated with pecked
stripes and aring tail n.
900 1 200
Height 24 cm
Provenance
Carmen D. Oechsle Collection, Zurich

Literature

Inka, Rautenstrauch-Joest-Museum, June 20September, 6, 1959, pl. 23
Cf. Moche Fineline Painting, pg. 66i, for the
Demon Fish
1 000 1 400
44
*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.
57
1 200 1 800
58
45
*59
*60
RECUAY FIGURAL VESSEL
RARE RECUAY BLACKWARE

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 sta in one hand and a beaker in
the other with a diminutive attendant kneeling
in front and presenting a bowl of oerings and
anked by attendants carrying oerings, 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
46
Ca. A .D .100-300
The rotund seated 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

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 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
2 000 4 000
*62
LAMBAYEQUE HEAD
Ca. A. D. 900-1100
Possibly a 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, g. 40; Sackler, g. 69
48
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 identied and generically portrayed as the Lord of Sican, who came on a eet of balsa
wood rafts with his wife Ceterni and lots of other folk, including servants and 40 ocials. He set up his capital with a palace called Chot
and apparently founded a dynasty. Yamlap it seems had a harem
and dierent ocials in charge of such duties as the litter and throne
bearing, the road system, facial painting, weavings, and musicians for
the shell trumpets. Another ocial had Spondylus shells crushed into
dust for him to walk on.
3 000 5 000
63
*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 sh in its beak, each with long
neck and head tilted downward.
Height 21 cm
Literature
800 1 200
*64
LARGE CHIMU BLACKWARE VESSEL
Ca. A. D. 1000-1250
Of unusual conguration 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, g. 79 for a similar bird
1 000 1 500
64
65
66
*65
*67
CHIMU GREYWARE
ZOOMORPHIC VESSEL
RARE EARLY PACHACAMAC

ORANGEWARE VESSEL
Ca. A. D. 1000-1400
Ca. A. D. 900-1100
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.
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 eld, a further snakes
proliferating, one bearing fruits (?), surrounded by
a stepped pattern.
18.1 cm
700 900
*66
LAMBAYEQUE HEAD VESSEL
Height 36 cm
Ca. A. D. 900-1100
Provenance
The pedestal foot molded with stepped lozenges

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.
50

Literature
Height 19 cm
Rebeca Carrion Cachot, El Culto del Agua,

Peru, 1955, p. 59
800 1 200
3 000 5 000
67
68
*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 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 saron yellow, pink, tan and shades of
green.
32 x 28 cm
450 650
52
69
70
*70
SEVEN NAZCACHANCAY
RITUAL HONDA
A.D. 300-1400
Each woven in camelid bers in assorted colors
and congurations, 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
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
71
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
72
53
73
*73
*74
CHANCAY SHIRT
CHIMU/CHANCAY
BORDER FRAGMENT
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.
Ca. A. D. 1100-1300
95 x 26 cm
Cf. Oechsle, pg. 42 top
1 000 2 000
400 700
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
74
54
*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 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 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
75
76
55
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 prole, alternating with stylized felines and zoomorphic
creatures.
130 x 69.8 cm
77 detail
*77
Chancay textiles are noted for their varied use of

color and alternating design motifs to enliven the
repeated components
900 1 200
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
56
*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 ve felines with fangs
bared, and long fringe below.
30.2 x 54. 3 cm
500 800
78
79
57
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
80
58
700 900
82
*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
59
*83
*84
PARACAS BLACKWARE VESSEL

SAN PABLO
Ca. A. D. 300-600
Ca. 900-600 B.C.
60
NAZCA STIRRUP SPOUT VESSEL
The gently lobed body molded with two water

birds in ight with incised wings outstretched, the
strap handle incised with a lozenge pattern.
Painted in a striking white with eleven trophy

heads (?) encircled with petal-shaped motifs,
sometimes known as Surrounded Heads, in dark
brown.
Height 15 cm
Height 16 cm
600 800
500 700
*85
*86
MIDDLE PARACAS VESSEL

SAN PABLO
MIDDLE PARACAS VESSEL

SAN PABLO
Ca. 500-300 B. C.
Ca. 500-300 B. C.
The stirrup spout vessel molded on one end of

the handle with a birds 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.
The stirrup spout vessel molded on one end of

the strap handle with a birds 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 17 cm
Provenance
Dr. Ernst Hauswedell Auction, Hamburg, November 26, 1962, lot 203
Cf. Ceramics of Ancient Peru, g. 47
Height 13.5 cm
Cf. Ceramics of Ancient Peru, g. 47
1 000 2 000
1 000 1 500
61
*87
*88
PARACAS PAINTED VESSEL

OCUCAJE
LARGE PARACAS 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
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.
Cf. Lavalle, Paracas, pg. 145

Height 40 cm
3 500 4 500
Provenance
Jean Roudillon, Paris, 1963

Cf. Nazca, pl. 31
Paracas ceramics were red in a smudging atmosphere creating a dark grey-to-black surface.
4 000 6 000
62
*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 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 anked by two similar diminutive
gures, long fringe extending at the top.
23 x 24.5 cm (woven section only)
Literature

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
64
*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 birds head, in
ochre, deep red and brown.
Height 13 cm
Literature
Ferdinand Anton, Alt -Peru und seine Kunst, Leipzig, 1962, pl. 6b
2 000 4 000
65
*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 birds head, painted in red and brown.
Length 19 cm
Cf. Lavalle, Paracas, p. 144; Nasca, pl. 2
2 000 4 000
66
*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 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
*93
*94
LARGE PARACAS EMBROIDERED

FRINGE PANEL
PARACAS NECROPOLIS STYLE,
MIDDLE/LATE PARACAS
PARACAS/PROTONAZCA
FRAGMENTS
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 anked by grinning
felines and small birds in the eld.
55 x 9 cm
Cf. Sawyer, 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
68
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
cats 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
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
96
*97
*95
PARACAS NECK SLIT ? FRAGMENT
PARACAS VESSEL OCUCAJE
Ca. 400-100 B. C.
Ca. 500-300 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.
The bottle with the neck encircled by an

incised collar, painted overall in black with
details in resin pigment in cream and red.
28 x 5 cm
Height 13 cm
Provenance
400 700
400 600
*96
THREE PROTONAZCA FRAGMENTS
*98
Ca. 400-100 B. C.
PARACAS VESSEL OCUCAJE
The crossknit fragments from borders of mantles woven in camelid

ber in vibrant shades of blue, green, red, purple, brown and white,
with stylized avians with beaks open.
Ca. 500-300 B. C.
14 to 56 cm
Height 20.5 cm
Similarly decorated as lot 97
Provenance
600 900
500 800
97
95
98
69
*99
*100
TWO PROTONAZCA
BORDER FRAGMENTS
Ca. A. D. 300-600
Ca. 400-100 B. C.
Probably borders from mantles woven in camelid
wool in tubular knit stem stitch with highly
stylized anthropomorphic gures and tabs with
geometric motifs as fringe in alternating colors, in
shades of blue and green, pink, red, ocher, white
and dark brown.
The double-faced textile with colors alternating

on each side, with three stylized shamanic gures,
each anked by a smaller anthropomorphic
gure, holding a stylized sh within a basket (?),
monkeys and birds in the eld, the priest gure
attired in a patterned tunic and turban, woven in
camelid wool in shaded olive green and pink.
Lengths 195 x 128 cm
15 x 32 cm
750 950
700 1 000
70
RARE NAZCA TEXTILE FRAGMENT
*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, saron 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
102
*102
PROTONAZCA 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 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
103
72
104
*104
NAZCA TEXTILE FRAGMENT
Ca. A. D. 300-600
Possibly from a tunic woven in cotton and
camelid wool with 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
105
73
106
*106
107
*107
*108
NAZCA VESSEL
NAZCA POLYCHROME VESSEL
NAZCA BEAKER
Ca. A. D. 300-600
Ca. A. D. 300-600
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.
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.
Painted in cream, plum, grey, tawny

brown and black, with an imposing
representation of the Anthropomorphic
Mythical Deity, outstretched and grasping
a sta, his cape trimmed with stylized
birds alternating with vegetal (?) motifs.
Height 18 cm
Height 20 cm
Cf. An die Mchte der Natur, pl. 1.8
700 1 000
A major theme of Nazca ceramic art

features complex gures with feline
faces, human trophy heads and weapons,
probably alludes to combats, the faking of
heads, and the use of blood oerings to
earth, sky and water.
900 1 200
800 1 200
74
108
Height 18.5 cm
109
*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
700 900
*110
TWO NAZCA FIGURAL VESSELS
Ca. A. D. 300-600
The standing female 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
110
75
*111
NAZCA FIGURAL VESSEL
Ca. A. D. 300-600
Molded in the form of a standing, robust female gure with arms to her torso, distinctive hands graphically portrayed with four 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-tted
patterned turban, painted in tan, orange-brown,
wine red, white and black.
Height 19 cm
1 000 2 000
76
*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 sta, 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.
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 gure, perhaps a shaman or a
ritual performer-someone impersonating a supernatural creature.
Diameter 35 cm
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

Cf. Nasca, pl. 224
1 200 2 200
*116
LATE NAZCA FEMALE FIGURINE
Ca. A. D. 300-600
The robust, 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
*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 Mchte der Natur, pl. 4.7
1 500 2 500
*118
NAZCA EFFIGY VESSEL
Ca. A. D. 300-600
The female gure clutching a pair of fruits (?) on a vine, long hair
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
117
118
80
119
120
*119
121
122
*121
NAZCA PORTRAIT VESSEL
Ca. A. D. 300-600
Ca. A. D. 300-600
Painted in orange, tan, grey, black and cream, the squat expanding
vessel in the form of a 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 frogs head.
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
Height 9 cm
600 800
1 200 2 200
*122
NAZCA BOWL
Ca. A. D. 300-600
*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
ying gures and octopus tentacles, stylized trophy heads and the
rim also encircled with trophy heads, in cream, tan, grey and shades
of brown.
Painted in cream, tan, wine red, grey and shades of brown, the
aring walls with an anthropomorphic 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

Literature
Ferdinand Anton, Alt -Peru und seine Kunst, Leipzig, 1962, pl. 88a
Height 16 cm
Cf. Nasca, pl. 195
600 800
1 200 1 500
81
123
124
*123
Ca. A.D. 300-600
Painted with two 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
700 900
*124
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
125
82
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 gure grasping a ying supernatural 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

Cf. for a similar composition, Nasca, pl. 125
1 500 2 500
*126
126
*127
LARGE NAZCA PORTRAIT HEAD

Ca. A. D. 300-600
NAZCA POLYCHROME BOWL
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.
Ca. A. D. 300-600
Height 20 cm
Painted with two sweeping 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.
Cf. Villaret, pg. 100
Diameter 27 cm
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.
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 atter conception of form.
1 500 2 500
2 000 4 000
127
83
*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 sta
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 Mchte 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 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 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

Literature
For the second, Ferdinand Anton,

Alt -Peru und seine Kunst, Leipzig, 1962,
pl. 98
128
500 800
129
129
130
*130
*131
TWO NAZCA POLYCHROME BOWLS
TWO NAZCA POLYCHROME BOWLS
Ca. A.D. 300-600
One a waisted cup painted with the 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.
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 sh, the waisted bowl with the Anthropomorphic
Mythical Deity grasping a stylized gure and with a serpent as
tongue issuing forth small frogs.
Heights 10 and 8 cm
Provenance
Heights 5 and 7 cm
Provenance
600 900
500 700
131
130
131
85
132
133
*132
*133
*134
NAZCA VESSEL
NAZCA POLYCHROME BOWL
NAZCA VESSEL
Ca. A.D. 300-600
Ca. A. D. 300-600
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.
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 18 cm
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.
Diameter 17.5 cm
800 1 200
Provenance
Height 12 cm
Literature
1 000 1 500
Ferdinand Anton and Frederick Dockstader, Das Alte Amerika, Baden, 1967,
pg. 184
500 800
86
*135
TIAHUANACO EFFIGY FRAGMENT
Ca. A. D. 600-1000
Molded with the features of moustachioed 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
134
*136
HUARITIAHUANACO
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
135
136
87
*137
RARE COASTAL TIAHUANACO DRUM
Ca. A. D. 600-1000
The drum-shaped cylindrical base surmounted
by two confronted, standing anthropomorphic
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
2 000 4 000
*138
*139
*140
HUARI POLYCHROME VESSEL
TIAHUANACO POLYCHROME
BEAKER
Ca. A D. 800-1000
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
Ca. A. D. 800-1000
With aring cylindrical sides painted with
two striding anthropomorphic, winged
felines, each with head ung back sharply
and grasping a sta, the fur decoratively
treated, in reddish brown, tan, deep red,
grey, white and black.
HUARI BOTTLE
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
Height 11.5 cm
Provenance

Literature

Leipzig, 1962, pl. 111a
1 000 1 400
89
*141
HUARITIAHUANACO 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
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 birds wing), the other a
highly stylized prole 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
*143
TWO PERUVIAN TEXTILE
FRAGMENTS
Ca. A. D. 200-1000
one a nely woven Huari fragment probably from a tunic in camelid wool with
the remnants of a striding gure, a smaller
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 rst
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
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
700 1 000
92
*146
HUARITIHUANACO 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

Exhibited

Kunsthaus Zurich, April 18-June 2, 1957, pl.
9, no. 441 (not illustrated)
Literature

2 000 4 000
145
93
*147
HUARITIAHUANACO 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 ber and
blue feathers.
Height 39.4 cm
Provenance

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
94
148
149
*148
*149
INCA DOUBLEBODIED
VESSEL
INCA POLYCHROME KERO
THREE ICA VESSELS
Ca. A. D. 1470-1532
Ca. A. D. 800-1100
The beaker with aring cylindrical sides

painted in Cuzco style with various geometric patterns in a subdued palette in
cream, rusty orange and shades of brown.
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.
Height 15 cm
Diameter 16; Heights 5 and 4 cm
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.
*150
Provenance
350 550
700 900
1 000 1 400
150
95
*151
PAIR OF INCA BOWLS
Ca. A. D. 1470-1532
The shallow oerings 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

Cf. Anton, 1972, pl. 280-281
300 500
*152
COLONIAL WOOD
CEREMONIAL KERO
Ca. A. D. 1470-1560
Of 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, utist attired in
traditional Inca costume, ancient repair..
Height 17 cm
1 000 2 000
96
*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, 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 gures attired in capes and holding stas
along with two European dignitaries, with faunal
motifs in the eld.
Height 15 cm
Cf. Arts de lAmerique, 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
153
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
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
gural motifs, the satchels attached together in
two rows; some still containing organic remains.
10 x 11 to 6 x 5 cm
700 900
154
97
156
*156
*157
GROUP OF ELEVEN LATE PARACAS

GOLD ORNAMENTS
Ca. A. D. 1100-1300
Ca. 300 100 B. C.
Of thick section pierced twice at the corner for attachment.
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 ower ornament, two smaller stingray
bands and a stylized feather; all pierced for attachment.
Length 58 cm
Lengths 2.5 to 30 cm
*158
Cf. Lavalle, Paracas, pls. 178-179
CHIMU GOLD HEADBAND
Paracas gold ornaments characteristically exhibit graphic repousse

designs on thin sheet gold.
Ca. A. D.1100-1300
5 500 7 500
Length 56 cm
CHIMU GOLD DIADEM
Cf. Gallo, LIX, top
1 500 2 500
Of thick section with tapering end.
1 000 1 500
98
158
157
*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 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
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 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
161
Cf. Gallo, pl. LXXVI, for a similar composition
1 200 1 800
160
99
*162
*163
NAZCA GOLD PLUME
EIGHT QUIMBAYA NOSE

ORNAMENTS
Ca. A. D. 300-600
Ca. A. D. 1000-1500
The turban ornament aring into a fan shape embossed with four roundels and bands
of graduated beadwork; with ancient repair.
Consisting of seven hollow crescentic

ornaments in various sizes together with
an elliptical cast nose ring with tapering
terminals.
Length 32.9 cm
Provenance
Galerie Koller, 1964, lot 159
Widths 1 to 5 cm
Cf. LOr et son Mythe, pg. 39 left
1 500 2 500
1 200 1 800
162
164
*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
163
100
*165
MUISCA GOLD TUNJO
Ca. A.D. 1300-1500
The cast oering 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 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 gure at his waist, and holding a birdheaded sta, adorned with jewelry and openwork crescentic helmet
ornamented with dangles.
Height 16.2 cm
The isolated Chibcha (Muisca) are known for their distinctive votive
oerings or tunjos. The attened compositions were cast in ow
molds, layering wax sheets to which threads were applied to form
the gural and decorative details.
These 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 gures are considered multi-symbolic images closely related to overall Muisca religious and social
concepts.
Cf. Gold, pl. 44 top left
3 000 5 000
101
*167
GROUP OF TWENTYFIVE BOOKS
Berner Kunstmuseum, Kunst der Inca, April 28-July 29, 1956; Kunsthaus
Zurich, Alt-Peru aus Schweizer Sammlungen, April 18-June 19, 1957;
Disselho, 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 Ahnvlker
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; Disselho, H.D., Alltag im alten Peru,
1966; Musee de LHomme Paris, Ancien Perou: Vie, Pouvoir et Mort, May
1987-January 1988; Museum zu Allerheiligen Schahausen Sammlung
Ebnther, 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, 1968Jan. 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., LArt 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 TWENTYTHREE 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
Metallgerte, 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; DHarcourt,
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 lInvention 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 Gefmalereien, 1926; Uhle, M., Nazca Pottery of Ancient Peru, 1914; Collier,
D., Cultural Chronology and Change as reected in the Ceramics of the Viru
Valley, Peru, 1955; Willey, G., Das alte Amerika, Propylen Kunstgeschichte, Vol. 18, 1974, Kaumann Doig, F., Manual del Arqueologo Peruanista,
1961; Espejo Nunez, J., Bibliograa de Arqueologia Peruana, 1956-61
1 000 1 500
*169
GROUP OF TWENTYSEVEN 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; Disselho, H.-D.,
Gott muss Peruaner sein, 1956; Guidoni, E./Magni, R., Monumente Groer
Kulturen: Inka, 1972; Rautenstrauch-Joest Museum, Kln, Exotische Kunst,
1967; Bennett, W.C., Ancient Arts of the Andes, 1954; Ubbelohde-Doering, Heinrich, Kulturen Alt-Perus, 1966, Ubbelohde-Doering, H., Auf den
Knigsstraen der Inka, 1941; Trimborn, H., Grosse Kulturen der Frhzeit:
Das Alte Amerika, 1959; Knstlerhaus, Wien, Gold und Macht: Spanien in
der Neuen Welt, 1986; Cartwright Brundage, B., Empire of the Inca, 1963;
102
Lehmann, H., Les Ceramiques Precolombiennes, 1959; Villa Hgel 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; Kaumann Doig, F., La Cultura
Chavin, 1963; Galerie Marcel Evrard, Arts du Perou, 1956; Ebnther, M.,
Arbeit, Kampf und Spiel, 1980; Museum zu Allerheiligen, Schahausen,
Sammlung Ebnther, Faszination Archologie, 1994; Kutscher, G., Chimu.
Eine altindianische Hochkultur, 1950; Hhere Fachschule fr das Graphische Gewerbe, Stuttgart, Orbis Opera, 1966; Museum Rietberg, Zurich,
Sican-Ein Frstengrab in Alt-Peru, Nov. 3, 1997-March 9, 1997; Disselho,
H.D., Das Imperium der Inka, 1972; Kosok, P., Life, Land and Water in Ancient Peru, 1965
1 000 2 000
*170
GROUP OF TWENTYEIGHT BOOKS
Assereto, A.P., La Cultura Nazca, 1962; Lothrop, S.K., Essays in Pre-Columbian Art and Archaeology, 1961; Neudecker, A., Archologische 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; DHarcourt, R., La Medecine dans lancient 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, Beitrge zur
Vlkerkunde, 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 Hgel, Petit Palais, Istituto Italo-Latino
Americano, Rome, Landesmuseum Mnster, American Museum of Natural
History, Linden-Museum, Stiftung St. Galler Museen, Vlkerkunde-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.,
DHarcourt, 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
DHarcourt, R. and M., La Ceramique Ancienne du Perou, 1924
150 250
*172
PERUANISCHE ALTERTHMER
Knigliche Museen Berlin/Museum fr Vlkerkunde, Peruanische Alterthmer, insbesondere altperuanische Gefsse und Gefsse der Chibcha
und der Tolima- und Cauca-Stmme, Goldschmuck etc., 1893
200 400
*173
*176
DIE RUINENSTTTE VON TIAHUANACO

IM HOCHLANDE DES ALTEN PERU
GROUP OF THIRTEEN BOOKS
Stbel, A./Uhle, M., Die Ruinensttte 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 Prkolumbischer 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., LArt 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 CorneurRoudillon (three copies), Salle des ventes Rosset, 1932-1979; Group of
two magazines, Antike Welt, Fanal, 1964-1978; Group of ve Museum
Exhibition Catalogues, Museum fr Vlkerkunde Freiburg i.B., Museum
fr Vlkerkunde 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 fr Vlkerkunde Berlin, Staatliches Museum fr Vlkerkunde Mnchen, 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, Scientic Review, Museum Basel
Villaret, B., Arts anciens du Perou, 1978; Hoyle, R.L., Peru, 1966; Dockstader,
F.J., DIe Kunder der Indianer in Sdamerika, 1967; DHarcourt, R., Arts
de LAmerique, 1948; Bennett, W./Bird, J., Andean Culture History, 1960;
Eisleb, D., Altperuanische Kulturen, Vol. I-IV, 1975; Rautenstrauch-JoestMuseum Kln, Schtze aus Peru, June 20-Sept. 6, 1959; Group of three
museum exhibition catalogues, Staatliches Museum fr Vlkerkunde
Mnchen (two copies), bersee-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 Zrich, Sammlung Carmen Oechsle, 1962-1996;
Museum zu Allerheiligen Schahausen Sammlung Ebnther, 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
*175
Linden-Museum Stuttgart, Trois Continents, 1983; Disselho, H.D./Linne,

S., Alt-Amerika, 1960; Trimborn, H., Dmonen und Zauber im Inkareich,
1939; Museum fr Ur- und Frhgeschichte Freiburg i.B., Das erste Gold
der Menschheit, 1986; Kunst- und Ausstellungshalle Bonn, Gold aus
dem alten Peru. Die Knigsgrber von Sipan, Dec 15, 2000-April 29, 2001;
Dickey, T., Man, J., Wiencek, H., Die Knige von El Dorado, 1989; Group of
Five Exhibition Catalogues, Gold Museum Bogota, Museum fr Vlkerkunde Berlin, Maison de lAmerique 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 fr Vlkerkunde und Vorgeschichte
Hamburg, Musee de lOr 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 prkolumbischen Amerika, 1964;
Hoyle, R. L., Checan, 1965; Rautenstrauch-Joest-Museum Kln, Arte Colombiano, June 16-Aug. 12, 1962; Jones, J., The Art of Precolumbian Gold.
The Jan Mitchell Collection, 1985
GROUP OF TWENTYFIVE BOOKS
800 1 200
800 1 200
Emery, I., The Primary Structures of Fabrics,1966; Reiss-Engelhorn-Museen

Mannheim, An die Mchte 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; Disselho, H.D., Vicus. Eine neu entdeckte
altperuanische Kultur, 1971; Musee des Arts Decoratifs Paris, Collection
Nathan Cummings dart 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 ltesten Reiche
Perus, 1990; Kaumann Doig, F., El Peru Arqueologico, 1963; Hoyle, R.L., La
Cultura Santa, s.A.; Disselho, 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 fr Volkskunde Basel, Stiftung zur Frderung der Hamburgischen Kunstsammlungen, 1960-1981
1 000 2 000
*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
PROPER T Y FROM EUROPEAN

PRIVATE COLLEC TIONS
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 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 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 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.
183
3 000 5 000
184
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 rmly, a
swelling robust body and elongated neck,
lips parted, pierced nostrils ared and
ears backward swept and pierced, a spout
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, g.26
Another modeled llama is in the Museo
National de Antropologia y Arqueologia in
Lima, Sackler Collections, pg. 112, 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
187
187
188
SINU GOLD EAGLE PENDANT
PAIR OF SINU GOLD EAR ORNAMENTS
Ca. A. D.500-1000
Ca. A .D. 500-1000
The regal bird with rounded 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 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.
Of semi-circular form nely cast with three rows of openwork 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
Sothebys, May 17, 2002, lot 233

Belgian Collection
Width 8.9 cm
Provenance
Sothebys, May 17, 1992, lot 70

Belgian Collection
2 500 4 500
6 000 9 000
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
188
Galeria Cano, 1986

Belgian Collection
900 1 200
110
190
190
TOLIMA GOLD NOSE ORNAMENT
Ca. A. D. 500-1000(check)
Cast with semi-circular nose ring with tapering ends, with openwork
crosshatched side 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
192
1 200 1 800
*191
192
PAIR OF SINU GOLD EARRINGS
DIQUIS GOLD AVIAN PENDANT

PALMAR SUR
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.
Ca. A. D. 800-1200
Diameter each 5 cm
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.
Acquired in the early 1970s in Holland
Height 5.5 cm
Provenance
800 1 200
Belgian Collection
2 000 2 500
189
191
111
193
VERAGUAS GOLD EAGLE PENDANT
Ca. A. D. 800-1500
Cast with broad 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.
Provenance
Estate of the Honarable A.G. Samuel, London, acquired in the 1970s

Christies, London, June 5, 2008, lot 104
Cf. Between Continents/Between Seas, g.248 and 249
Width 9.2 cm
5 000 7 000
112
194
RARE CALIMA EMERALD PENDANT
Ca. A. D. 200-400
The miniature version of an anthropomorphic
gure of a double-spouted alcarraza; drilled with
a suspension hole.
Height 1.6 cm
Cf. Colombia Before Columbus, 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 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
GUANACASTENICOYA
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
Metates, tablelike objects of stone used in ancient Mesoamerica for

the grinding of foodstus 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 birds 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.
Acquired in the early 1980s in the US

Cf. Between Continents/Between Seas, g. 75
12 000 18 000
197
COSTA RICAN STONE DOUBLE FIGURE
ATLANTIC WATERSHED REGION
Ca. A. D. 800-1200
The addorsed seated male 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 Krger Collection, Germany, 1990

Exhibited
Munich, Zwischen den Weltmeeren: Faszinierende Archologie aus

Costa Rica, pg. 21, 1992, Dresdner Bank, 1991-1994
Cf. Sacred Landscapes, Fig. 15
These sukia gures are most numerous of the Period VI stone
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 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 dOeuvres 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,
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 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 shamans trance.
2 000 4 000
117
203
202
202
202
203
203
203
202
202
203
204
FOUR PRECLASSIC
FEMALE FIGURINES
FOUR PRECLASSIC
FEMALE FIGURINES
THREE PRECLASSIC WEST

MEXICAN FIGURINES
LATE PRECLASSIC
MIDDLE PRECLASSIC
LATE PRECLASSIC
Ca. 300-100 B. C.
Ca. 1150-550 B. C.
Ca. 300-100 B. C.
Including three Colima gurines, one

seated with her child in her lap, a standing gure with her child clambering up
her torso, and a Jalisco gurine covered
overall in reddish brown slip.
Each holding their infant, one a Tlatilco seated gure with remains of red
pigment, the other a standing Michoacan
gure with remains of red pigment, and
two seated Chupicuaro gurines.
All seated and cradling their infants, one

Jalisco painted in a white slip with details
in black, the other Nayarit and a Colima
gurine with should scarication and
jewelry.
Heights 6 to 11 cm
Heights 4 8 to 11.5 cm
Heights 10 to 11. 5 cm
Provenance
Provenance
Provenance
Jean Roudillon Auction, Paris, 1970s, for

the last two
Jean Roudillon Auction, Paris, 1970s, lot

85, 82, 83 and 84
Jean Roudillon Auction, Paris, 1970s, lot

108, 107 and 86
900 1 200
900 1 200
1 200 1 800
204
204
205
204
205
118
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 rst
206
Cf. Oerings for a New Life, pl. 53, for the

second
900 1 200
207
208
TWO COLIMA PRECLASSIC FEMALE FIGURINES
206
THREE WEST MEXICAN
PRECLASSIC
FEMALE FIGURINES
LATE PRECLASSIC
Ca. 300-100 B. C.
Including one pregnant gure with remains of ochre pigment, and
a standing gure holding her child to her right shoulder, wearing
jewelry and a wraparound skirt.
LATE PRECLASSIC
Ca. 300-100 B. C.
Heights 18.5 and 23 cm
Composed of a seated Colima Preclassic

mother and child, and two Nayarit gurines
each holding their infants, one standing and
balancing a bowl on her left shoulder and
with remains of pigment.
Jean Roudillon Auction, Paris, 1970s, lot 90, for the rst
900 1 200
Heights 13.5 to 15 cm
Provenance
Jean Roudillon Auction, Paris, 1970s, lot 88,

for the rst
1 000 2 000
207
TWO PANUCO FEMALE
FIGURINES
Ca. A. D. 250-450
The corpulent seated gure solely adorned
in jewelry and feathered headdress, the
standing 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
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-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
7 000 10 000
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-tted red cap, and
the body painted in a creamy slip with ne crosshatch black designs
covering her whole torso, possibly tattoos.
Height 30 cm
Provenance
Jean Roudillon Auction, Paris, 1970s, lot 101

Type C gures are perhaps the most stylized and abstract of the
Chinesco variants.
4 000 6 000
122
212
MICHOACANCOLIMA
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 infants 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
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 closelytted 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, g. 151
4 000 6 000
216
126
216
217
COLIMA GADROONED VESSEL
COLIMA STANDING DOG
Protoclassic, ca. 100 B. C.-A. D. 250
PROTOCLASSIC
Standing on three legs modelled as parrots with

incised folded wings and eyes, with sharply
sectioned body and wide, aring lip, and painted
overall in reddish brown.
Diameter 32.3 cm
3 000 5 000
Ca. 100 B. C.-A. D. 250

A youthful canine standing on bent legs with
head jutting forward with an openwork growl,
nostrils ared and ear perked, the tail upturned
and painted overall in reddish brown.
Length 41.4 cm
Provenance
7 000 9 000
127
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 sta (?) in the outstretched hand
and a shield decorated with a monsters
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 monsters head, rosette
and feathers.
Height 60 cm
Provenance
Laue Gallery, Munich, 1995

Cf. Ancient Art of the Veracruz, 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 delement through
steam baths.
The paraphernalia laden deity who assisted
midwives as well as diviners is the personication of the transformative nature of
Woman.
2 500 4 500
218
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.
Literature
Diameter 22.2 cm
Cf. Laurette Sejourne, Arqueologia de Teotihuacan, 1966, g. 104
Provenance
1 500 2 500
Gerdes Gallery, Munich, 1980

German Private Collection
Keysers, Grosses Antiquittenlexikon, Pre-Columbian Art, Munich,

1980, pg. 405, illus.
220
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
219
129
221
MAYAN DIGNITARY, JAINA
LATE CLASSIC,
Ca. A. D. 550-950
With feet 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 coiure, 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 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 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

Sothebys, November 17, 2006 lot 418
Cf. mayavase.com K2294
5 500 7 500
131
a shnet pattern, each holding an implement,

possibly a torch, alternating with three costumed
gures, including one in a jaguar costume with a
shnet costume, resembling serpent skin or sh
scales, and this neck wrapped in knotted scarf associated with sacrice, 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
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.
LATE CLASSIC
The Maya Hero Twins are the central gures of

a narrative included within the colonial Quich
document called Popol Vuh and constituting the
oldest Maya myth to have been preserved in
its entirety. Called Hunahpu and Xbalanque in
Quich, the Twins have also been identied 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
oered him as a sacrice, 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 oering the lords as a sacrice,
but predictably did not bring them back from
the dead. The twins then shocked the Xibalbans
by revealing their identities as Hunahpu and
Xbalanque.
Ca. A. D. 550-950
Height 16.5 cm
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
Provenance
*223
MAYAN POLYCHROME CYLINDER VASE
132
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
monsters 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 Widdield 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, g. 37
2 500 3 500
225
MAYAN JADE PENDANT
LATE CLASSIC
Ca. A. D. 550-950
The dignitarys 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 oerings, the 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 Mchte 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-dOeuvres Inedits
Gerald Berjonneau, Emile Deletaille et Jean-Louis Sonnery, Chefs-dOeuvres Inedits de lArt Precolombien, Boulogne, 1985
Colombia before Columbus
Armand J. Labb, 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
LArt des Ameriques
Raoul dHarcourt, LArt 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
LOr et son Mythe
Grand Palais, Lor 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
Oerings For a New Life

Ed. Mireille Holsbeke and Karel Arnaut, Oerings 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 Disselho, Vicus, Berlin, 1971
Villaret
Bernard Villaret, Arts Anciens du Perou, Tahiti, 1978
Willey
Ed. Gordon R. Willey, Propylen Kunstgeschichte: Das Alte Amerika, vol. 18, Berlin, 1974
DER VERSAND SHIPMENT

wird nach Zahlungseingang einem Klner Spediteur zur sorgfltigen Erledigung bertragen. Besondere Wnsche, insbesondere
Auftrge zur Transportversicherung, bitten
wir, uns mitzuteilen. Telefon +49/(0)221/92 57 29 -19
If requested to dispatch any lot or lots on the buyers behalf,
Kunsthaus Lempertz will, upon receipt of full payment,
hand over such lot or lots to a Cologne forwarding agent for
careful execution of the shipment. Any special requests in particular such as concern transport insurance, should be notied to
Kunsthaus Lempertz.
MEHRWERTSTEUER (VAT No.)
Umsatzsteueridentikationsnummer (VAT No.) der Firma
Kunsthaus Lempertz, Inhaber Henrik R. Hanstein, e.K.:
DE 27 11 63 145. AG Kln HRA 1263
1 1,46 US $
EXPORT
Von der Mehrwertsteuer befreit sind Ausfuhrlieferungen
in Drittlnder (d.h. auerhalb der EU) und bei Angabe
der MwSt.-ldentikations-Nr. auch an Unternehmen in anderen
EU-Mitgliedstaaten. Nehmen Auktionsteilnehmer ersteigerte
Gegenstnde selber in Drittlnder mit, wird ihnen die MwSt.
erstattet, sobald dem Versteigerer der Ausfuhr- und Abnehmernachweis vorliegen.
Bei der Ausfuhr aus der EU sind die Bestimmungen des UNESCObereinkommens vom 14.11.1970 sowie des Kulturgterrckgabegesetzes zu beachten.
Exports to third (i.e. non-EU) countries will be exempt from VAT,
and so will be exports made by companies from other
EC member states if they state their VAT identication
number. Persons who have bought an item at auction and export it as personal luggage to any third country will be refunded
the VAT as soon as the form certifying the expor-tation and the
exporters identity has been returned to the auctioneer. Our sta
will be glad to advise you on the export formalities.
Exports to lands outside the European Community are subject
to the regulations of the 1970 UNESCO-Agreement and the
German Kulturgterrckgabegesetz.
PHOTOGRAPHIE Benedikt Prinz v. Croy
DRUCK Grasche Werkstatt Druckerei Gebr. Kopp, Kln
ERHALTUNGSZUSTAND CONDITION
Ins Gewicht fallende Schden werden vermerkt.
Farbabbildungen knnen vom Original abweichen.
Damage of any consequence is noted. It is possible that colour
illustrations deviate from the original.
PROVENIENZ PROVENANCE
Soweit die Provenienzangaben nicht ausdrcklich dokumentiert
sind, beruhen sie auf Angaben der Einlieferer.
Die Einlieferer aller zur Versteigerung kommenden Objekte
haben schriftlich besttigt, dass die Einfuhr der Objekte nach
Deutschland vor dem 18.5.2007, beziehungsweise in die Schweiz
vor dem 1.6.2005 erfolgte.
Any given provenance details are based upon documentation or
have been provided by the consignor.
The consignors of all the works oered for sale have conrmed,
in writing, that the import into Germany took place before
18.5.2007 or into Switzerland before 1.6.2005.
KATALOGBEARBEITER SPECIALIST
Fatma Wille
KATALOGREDAKTION EDITORS
Mag. Alice Jay von Seldeneck
Helen Dahlhuisen
Tel. ++49 89 98 10 77 67
Whrend der Besichtigungszeiten stehen die Katalogbearbeiter zur Beratung gerne zur Verfgung.
Hotel
We recommend the following excellent hotels.
Please request the special rate arranged for by
mentioning Lempertz.
Hotel Excelsior Ernst, Tel. +49 221 2701
(10 minutes walk to Lempertz, next to the cathedral)
Hotel am Wasserturm, Tel. +49 221 200 80
(5 minutes walk to Lempertz)
Lageplan und Anfahrtsskizze
Zu Lempertz nden Sie unter www.lempertz.de,
gehen Sie auf Kontakt und dann auf Adresse;
wir empfehlen das Aral Parkhaus, Ccilien Str. 44
VERSTEIGERUNGSBEDINGUNGEN
1. Das Kunsthaus Lempertz (im Nachfolgenden Lempertz) versteigert
entlich im Sinne des 383 Abs. 3 Satz 1 BGB als Kommissionr fr Rechnung der Einlieferer, die unbenannt bleiben. Im Verhltnis zu Abfassungen der
Versteigerungsbedingungen in anderen Sprachen ist die deutsche Fassung
mageblich.
2. Lempertz behlt sich das Recht vor, Nummern des Kataloges zu vereinen,
zu trennen und, wenn ein besonderer Grund vorliegt, auerhalb der Reihenfolge anzubieten oder zurckzuziehen.
3. Smtliche zur Versteigerung gelangenden Gegenstnde knnen im Rahmen
der Vorbesichtigung geprft und besichtigt werden. Die Katalogangaben und
entsprechende Angaben der Internetprsentation, die nach bestem Wissen
und Gewissen erstellt wurden, werden nicht Bestandteil der vertraglich vereinbarten Beschaenheit. Die Angaben beruhen auf dem zum Zeitpunkt der Katalogbearbeitung herrschenden Stand der Wissenschaft. Sie sind keine Garantien im Rechtssinne und dienen ausschlielich der Information. Gleiches gilt fr
Zustandsberichte und andere Ausknfte in mndlicher oder schriftlicher Form.
Zertikate oder Besttigungen der Knstler, ihrer Nachlsse oder der jeweils mageblichen Experten sind nur dann Vertragsgegenstand, wenn sie im Katalogtext
ausdrcklich erwhnt werden. Der Erhaltungszustand wird im Katalog nicht
durchgngig erwhnt, so dass fehlende Angaben ebenfalls keine Beschaenheitsvereinbarung begrnden. Die Sachen sind gebraucht. Alle Gegenstnde
werden in dem Erhaltungszustand veruert, in dem sie sich bei Erteilung des
Zuschlages benden.
4. Lempertz verpichtet sich jedoch bei Abweichungen von den Katalogangaben, welche den Wert oder die Tauglichkeit aufheben oder nicht unerheblich
mindern, und welche innerhalb eines Jahres nach bergabe in begrndeter
Weise vorgetragen werden, seine Rechte gegenber dem Einlieferer gerichtlich geltend zu machen. Mageblich ist der Katalogtext in deutscher Sprache.
Im Falle einer erfolgreichen Inanspruchnahme des Einlieferers erstattet Lempertz dem Erwerber ausschlielich den gesamten Kaufpreis. Darber hinaus
verpichtet sich Lempertz fr die Dauer von zwei Jahren bei erwiesener
Unechtheit zur Rckgabe der Kommission, wenn der Gegenstand in unverndertem Zustand zurckgegeben wird. Im brigen ist eine Haftung wegen
Mngeln ausgeschlossen.
5. Ansprche auf Schadensersatz aufgrund eines Mangels, eines Verlustes oder
einer Beschdigung des versteigerten Objektes, gleich aus welchem Rechtsgrund, oder wegen Abweichungen von Katalogangaben oder anderweitig
erteilten Ausknften sind ausgeschlossen, sofern Lempertz nicht vorstzlich
oder grob fahrlssig gehandelt oder vertragswesentliche Pichten verletzt hat;
im brigen gilt Zier 4.
Bieter sofort beanstandet worden ist oder sonst Zweifel ber den Zuschlag bestehen ( 2 Zier 4 VerstVO). Gebote werden von Lempertz nur
in dem Umfang ausgeschpft, der erforderlich ist, um ein anderes
Gebot zu berbieten. Der Versteigerer kann fr den Einlieferer bis zum vereinbarten Limit bieten, ohne dies anzuzeigen und unabhngig 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 Fahrlssigkeit.
8. Der Zuschlag verpichtet 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 unverzglich nach Erteilung des
Zuschlages bzw. entsprechender Information unter den angegebenen Kontaktdaten bei Schriftgeboten von dem Vorbehaltszuschlag zurcktritt. Mit der
Erteilung des Zuschlages gehen Besitz und Gefahr an der versteigerten Sache
unmittelbar auf den Ersteher ber, das Eigentum erst bei vollstndigem Zahlungseingang.
9. Auf den Zuschlagpreis wird ein Aufgeld von 21 % zuzglich 19 %
Umsatzsteuer erhoben, gerechnet nur auf das Aufgeld (Dierenzbesteuerung). Fr die Katalogpositionen, die mit * gekennzeichnet sind, wird ein
Aufgeld von 21 % erhoben; auf diesen Nettorechnungspreis (Zuschlagpreis +
Aufgeld) wird die gesetzliche Umsatzsteuer von 7 % fr Bilder, Originalgraphik,
Plastik und Sammlungsstcke und von 19 % fr Kunstgewerbe und Photographie hinzugerechnet (Regelbesteuerung). Von der Mehrwertsteuer befreit sind
Ausfuhrlieferungen in Drittlnder (d.h. auerhalb der EU) und - bei Angabe der
MwSt.-Identikations-Nr. - auch an Unternehmen in EU-Mitgliedstaaten. Nehmen Auktionsteilnehmer ersteigerte Gegenstnde selber in Drittlnder mit,
wird ihnen die MwSt. erstattet, sobald Lempertz der Ausfuhr- und Abnehmernachweis vorliegen. Whrend oder unmittelbar nach der Auktion ausgestellte
Rechnungen bedrfen der Nachprfung; Irrtum vorbehalten.
10. Persnlich an der Auktion teilnehmende Ersteigerer haben den Endpreis
(Zuschlagspreis zuzglich Aufgeld + MwSt.) im unmittelbaren Anschluss an die
Auktion an Lempertz zu zahlen; Die Zahlung auswrtiger Ersteher, die schriftlich geboten haben oder vertreten worden sind, gilt unbeschadet sofortiger
Flligkeit bei Eingang binnen 10 Tagen nach Rechnungsdatum noch nicht als
versptet. berweisungen sind ausschlielich in Euro zu ttigen. Schecks knnen 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 behlt sich die Durchfhrung der
Umschreibung vor.
6. Abgabe von Geboten. Gebote in Anwesenheit: Der Saalbieter erhlt

gegen Vorlage seines Lichtbildausweises eine Bieternummer. Lempertz
behlt 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 knnen auch schriftlich, telefonisch oder ber das Internet abgegeben werden. Auftrge fr Gebote in Abwesenheit mssen
Lempertz zur ordnungsgemen 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 ber Widerrufs- und Rckgaberecht bei Fernabsatzvertrgen ( 312b d BGB) nden keine Anwendung. Telefongebote: Fr das
Zustandekommen und die Aufrechterhaltung der Verbindung kann nicht
eingestanden werden. Mit Abgabe des Auftrages erklrt sich der Bieter
damit einverstanden, dass der Bietvorgang aufgezeichnet werden kann. Gebote ber das Internet: Sie werden von Lempertz nur angenommen, wenn der
Bieter sich zuvor ber das Internetportal registriert hat. Die Gebote werden von
Lempertz wie schriftlich abgegebene Gebote behandelt.
11. Bei Zahlungsverzug werden Zinsen in Hhe von 1% auf den Bruttopreis je angebrochenem Monat berechnet. Lempertz kann bei Zahlungsverzug wahlweise Erfllung des Kaufvertrages oder nach Fristsetzung Schadensersatz wegen Nichterfllung verlangen. Der Schadensersatz kann in diesem
Falle auch so berechnet werden, dass die Sache nochmals versteigert wird und
der sumige Kufer fr einen Mindererls gegenber der vorangegangenen
Versteigerung und fr die Kosten der wiederholten Versteigerung einschlielich des Aufgeldes einzustehen hat.
7. Durchfhrung der Auktion. Der Zuschlag wird erteilt, wenn nach

dreimaligem Aufruf eines Gebotes kein hheres 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 hheres Gebot erfolgt, entscheidet das Los. Der Versteigerer kann den erteilten Zuschlag zurcknehmen und die Sache erneut ausbieten, wenn irrtmlich ein
rechtzeitig abgegebenes hheres Gebot bersehen und dies vom
13. Erfllungsort und Gerichtsstand, sofern er vereinbart werden kann,

ist Kln. Es gilt deutsches Recht; Das UN-bereinkommen ber Vertrge des internationalen Warenkaufs (CISG) ndet keine Anwendung. Sollte
eine der Bestimmungen ganz oder teilweise unwirksam sein, so bleibt
die Gltigkeit der brigen davon unberhrt.
12. Die Ersteher sind verpichtet, ihre Erwerbung sofort nach der Auktion in
Empfang zu nehmen. Lempertz haftet fr verkaufte Gegenstnde nur fr Vorsatz oder grobe Fahrlssigkeit. Ersteigerte Objekte werden erst nach vollstndigem 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 fr
Versicherungs- und Lagerkosten p.a. berechnet.
Henrik Hanstein, 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 ocial one.
2. The auctioneer reserves the right to divide or combine any catalogue lots or,
if it has special reason to do so, to oer any lot for sale in an order dierent 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 specications and related specications appearing
on the internet, which have both been compiled in good conscience, do
not form part of the contractually agreed to conditions. These specications 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 items condition or any other information,
either in oral or written form. Certicates or certications from artists, their
estates or experts relevant to each case only form a contractual part of the
agreement if they are specically mentioned in the catalogue text. The state of
the item is generally not mentioned in the catalogue. Likewise missing specications 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 justication 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 ocial 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 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 VerstVO). 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 identication number.
10. Successful bidders attending the auction in person shall forthwith
upon the purchase pay to Lempertz the 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 ineective, this will not aect
the validity of the remaining provisions.
Henrik Hanstein, sworn public auctioneer.
Takuro Ito, auctioneer.
CONDITIONS DE VENTE AUX ENCHERES

1. Kunsthaus Lempertz (appele Lempertz dans la suite du texte) organise des
ventes aux enchres publiques daprs le paragraphe 383, alina 3, phrase 1
du code civil allemand en tant que commissionnaire pour le compte de dpositaires, dont les noms ne seront pas cits. Les conditions des ventes aux
enchres ont t rdiges dans plusieurs langues, la version allemande tant
la version de rfrence.
2. Le commissaire-priseur se rserve le droit de runir les numros du
catalogue, de les sparer, et sil existe une raison particulire, de les orir ou de
les retirer en-dehors de leur ordre.
3. Tous les objets mis la vente aux enchres peuvent tre examins et
contrls avant celle-ci. Les indications prsentes dans le catalogue ainsi que dans la prsentation Internet correspondante, tablies en conscience et sous rserve derreurs ou omissions de notre part, ne constituent pas des lments des conditions stipules dans le contrat. Ces
indications dpendent des avances de la science au moment de llaboration
de ce catalogue. Elles ne constituent en aucun cas des garanties juridiques
et sont fournies exclusivement titre informatif. Il en va de mme pour
les descriptions de ltat des objets et autres renseignements fournis de
faon orale ou par crit. Les certicats ou dclarations des artistes, de
leur succession ou de tout expert comptent ne sont considrs comme des
objets du contrat que sils sont mentionns expressment dans le texte du
catalogue. Ltat de conservation dun objet nest pas mentionn dans son
ensemble dans le catalogue, de telle sorte que des indications manquantes
ne peuvent constituer une caractristique en tant que telle. Les objets sont
doccasion. Tous les objets tant vendus dans ltat o ils se trouvent au moment de leur adjudication.
4. Dans le cas de drogations par rapport aux descriptions contenues dans
les catalogues susceptibles danantir ou de rduire dune manire non ngligeable la valeur ou la validit dun objet et qui sont exposes dune manire
fonde en lespace dun an suivant la remise de lobjet, Lempertz sengage
toutefois faire valoir ses droits par voie judiciaire lencontre du dposant.
Le texte du catalogue en langue allemande fait foi. Dans le cas dune mise
contribution du dposant couronne de succs, Lempertz ne remboursera
lacqureur que la totalit du prix dachat pay. En outre, Lempertz sengage
pendant une dure de deux ans au remboursement de la provision en cas
dinauthenticit tablie. Pour le reste, la responsabilit de Lempertz pour cause
de vices est exclue.
5. Toutes prtentions dommages-intrts rsultant dun vice, dune perte ou
dun endommagement de lobjet vendu aux enchres, pour quelque raison
juridique que ce soit ou pour cause de drogations par rapport aux indications
contenues dans le catalogue ou de renseignements fournis dune autre manire sont exclues dans la mesure o Lempertz nait ni agi avec prmditation ou
par ngligence grossire ni enfreint des obligations essentielles du contrat.
Pour le reste, lalina 4 est applicable.
6. Placement des enchres. Enchres en prsence de lenchrisseur :
lenchrisseur en salle se voit attribuer un numro denchrisseur sur prsentation de sa carte dident. Lempertz dcide seul dautoriser ou non lenchre. Si
lenchrisseur nest pas encore connu de Lempertz, son inscription doit se faire
dans les 24 heures prcdant la vente aux enchres, par crit et sur prsentation
de ses informations bancaires actuelles. Enchres en labsence de lenchrisseur
: des enchres peuvent galement tre places par crit, par tlphone ou par
le biais dInternet. Ces procurations doivent tre prsentes conformment
la rglementation 24 heures avant la vente aux enchres. Lobjet doit y tre
nomm, ainsi que son numro de lot et sa description. En cas dambigut, seul
le numro de lot indiqu sera pris en compte. Le donneur dordre doit signer
lui-mme la procuration. Les dispositions concernant le droit de rtraction et
celui de retour de lobjet dans le cadre de ventes par correspondance ( 312bd du code civil allemand) ne sappliquent pas ici. Enchres par tlphone:
ltablissement de la ligne tlphonique ainsi que son maintien ne peuvent
tre garantis. Lors de la remise de son ordre, lenchrisseur accepte que le droulement de lenchre puisse tre enregistr. Placement dune enchre par le
biais dInternet : ces enchres ne seront prises en compte par Lempertz que
si lenchrisseur sest au pralable inscrit sur le portail Internet. Ces enchres
seront traites par Lempertz de la mme faon que des enchres places par
crit.
7. Droulement de la vente aux enchres. Ladjudication a lieu lorsque trois
appels sont rests sans rponse aprs la dernire ore. Le commissaire-priseur
peut rserver ladjudication ou la refuser sil indique une raison valable. Si plusieurs personnes placent simultanment une enchre identique et que personne dautre ne place denchre plus haute aprs trois appels successifs, le hasard
dcidera de la personne qui remportera lenchre. Le commissaire-priseur peut
reprendre lobjet adjug et le remettre en vente si une enchre suprieure place temps lui a chapp par erreur et que lenchrisseur a fait une rclamation immdiate ou que des doutes existent au sujet de ladjudication ( 2, alina
4 du rglement allemand sur les ventes aux enchres). Des enchres ne seront
places par Lempertz que dans la mesure ncessaire pour dpasser une autre
enchre. Le commissaire-priseur ne peut enchrir pour le dpositaire que dans
la limite convenue, sans acher cette limite et indpendamment du placement ou non dautres enchres. Si, malgr le placement denchres, aucune
adjudication na lieu, le commissaire-priseur ne pourra tre tenu responsable
quen cas de faute intentionnelle ou de ngligence grave.
8. Ladjudication engage lenchrisseur. Dans la mesure o une adjudication sous rserve a t prononce, lenchrisseur est li son enchre
jusqu quatre semaines aprs la n de la vente aux enchres, sil ne se
dsiste pas immdiatement aprs la n de la vente.
9. Dans le cadre de la vente aux enchres un agio de 21 % sajout au
prix dadjudication, ainsi quune TvA de 19 % calcule sur le agio (taxation direntielle). Pour les position de catalogue caractrise par *,
un agio de 21% est prlev sur le prix dadjudication; ce prix factur net
(prix dadjudication + agio) est major de la T.V.A. lgale de 7% pour les tableaux, graphiques originaux, sculptures et pices de collection, et de
19 % pour les arts dcoratifs appliqus (imposition rgulire). Sont exemptes
de la T.V.A., les livraisons dexportation dans des pays tiers (en dehors de lUE)
et en indiquant le numro de T.V.A. intracommunautaire aussi destination dentreprises dans dautres pays membres de lUE. Si les participants une
vente aux enchres emmnent eux-mmes les objets achets aux enchres
dans des pays tiers, la T.V.A: leur est rembourse ds que Lempertz se trouve
en possession du certicat dexportation et dacheteur. Les factures tablies
pendant ou directement aprs la vente aux enchres doeuvres dart doivent
faire lobjet dune vrication, sous rserve derreur.
10. Les adjudicataires participant personnellement la vente aux enchres
sont tenus de payer le prix nal (prix dadjudication plus agio + T.V.A.) directement aprs ladjudication Lempertz. Le paiement par des adjudicateurs externes, qui ont enchri par crit ou ont t reprsents, est, nonobstant son
exigibilit immdiate, considr comme ntant pas en retard sa rception
dans les 10 jours suivant la date de la facture. Les virements bancaires se font
uniquement en euro. Nous nacceptons pas les chques. Tout demande de
rcriture dune facture un autre nom de client que celui de lenchrisseur
doit se faire directement aprs la n de la vente aux enchres. Lempertz eectue la ralisation de cette nouvelle facture.
11. Pour tout retard de paiement, des intrts hauteur de 1 % du prix brut
seront calculs chaque moins nouvellement entam. En cas de retard de paiement, Lempertz peut son choix exiger lexcution du contrat dachat ou,
aprs xation dun dlai, exiger des dommages-intrts pour non excution.
Les dommages-intrts pourront dans ce cas aussi tre calculs de la sorte que
la chose soit vendue une nouvelle fois aux enchres et que lacheteur dfaillant
rponde du revenu moindre par rapport la vente aux enchres prcdentes
et des frais pour une vente aux enchres rpte, y compris lagio.
12. Les adjudicataires sont obligs de recevoir leur acquisition directement
aprs la vente aux enchres. Le commissaire-priseur nest responsable des
objets vendus quen cas de prmditation ou de ngligence grossire. Les
objets achets aux enchres ne seront toutefois livrs quaprs rception du
paiement intgral. Lexpdition a lieu exclusivement aux frais et aux risques de
ladjudicataire. Lempertz a le droit de mettre des objets non enlevs en entrept et de les assurer au nom et pour le compte de ladjudicataire chez un
commissionnaire de transport quatre semaines aprs la vente aux enchres.
En cas de mise en entrept par Lempertz mme, 1% du prix dadjudication sera
factur par an pour les frais dassurance et dentreposage.
13. Le lieu dexcution et le domicile de comptence - sil peut tre convenu
- est Cologne. Le droit allemand est applicable. Les prescriptions du CISG ne
sont pas applicables. Au cas o lune des clauses serait entirement ou partiellement inecace, la validit des dispositions restantes en demeure inaecte.
Henrik Hanstein, commissaire-priseur dsign et asserment.
(Membre de la Chambre Royale Belgo-Luxembourgeoise de
commissaires-priseurs)
Takuro Ito, commissaire-priseur.
FILIALEN
BRANCHES
REPRSENTANTEN
REPRESENTATIVES
Berlin
Karl-Sax Feddersen
Christine Grlipp M.A.
Irmgard Canty M.A.
Poststrae 22 (Ecke Mhlendamm)
D-10178 Berlin
Tel 030/27 87 60 80
Fax 030/27 87 60 86
berlin@lempertz.com
Frankfurt/Main
Dr. Petra von Trott zu Solz
Tel 069/15 05 48 01
Fax 069/15 05 48 03
trott@lempertz.com
Brssel
Christine de Schaetzen
Dr. Hlne Mund
Victor Teodorescu M.A.
Lempertz AG
Wolstraat 1, rue aux Laines
B1000 Bruxelles/Brussel
Tel 0032/2/5 14 05 86
Fax 0032/2/5 11 48 24
brussel@lempertz.com
Schweiz
Nicola Grn zu Stolberg
Tel 0041/44/4 22 19 11
Fax 0041/44/4 22 19 10
stolberg@lempertz.com
Mag. Alice Jay von Seldeneck
Tel 0041/78/8 81 88 39
New York
Drs. Dieuwke Eijer
Tel 001/917/4 46 75 20
eijer@lempertz.com
So Paulo
Martin Wurzmann
Tel 0055/11/38 16 58 92
Fax 0055/11/38 14 49 86
Mnchen
Emmarentia Bahlmann
Helen Dalhuisen M.A.
Hans-Christian von Wartenberg M.A.
St.-Anna-Platz 3
D-80538 Mnchen
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 identiable 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. Smtliche Gegenstnde in diesem Katalog,
sofern sie eindeutig identizierbar sind und einen
Schtzwert von mind. 2.500 haben, wurden vor der
Versteigerung mit dem Datenbankbestand des Registers individuell abgeglichen. Lempertz orientiert sich
an den Grundstzen der Washingtoner Konferenz.
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 Kln (Germany)
Tel. +49/221/9257290
Fax +49/221/9257296
info@lempertz.com
Absentee Bid Form auction 984

Auftrge fr die Auktion 984
Katalog Nr. Lot
Pre-Columbian Art
Prkolumbische Kunst
June 18, 2011, Cologne

18. Juni 2011, Kln
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.
Die Gebote werden nur soweit in Anspruch genommen, als andere Gebote berboten
werden mssen. Die Auftrge 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.
Name Name
Adresse Adress
Telefon Telephone
Fax
Evtl. Referenzen und Identikation bei Neukunden References and identication may be required for new clients
Datum Date
Unterschrift Signature
E-Mail
SHIPPING INSTRUCTIONS
VERSANDANWEISUNG
Kunsthaus Lempertz is prepared to instruct Packers and

Shippers on your behalf and at your risk and expense upon
receipt of payment and instructions.
Der Versand der ersteigerten Objekte wird auf Ihre Kosten

und Gefahr nach Zahlungseingang auf Ihre Anweisung
vorgenommen.
For information: Linda Kieven

Phone +49/(0)2 21/92 57 29-19
shipping@lempertz.com
Bei Rckfragen: Linda Kieven

Tel +49/(0)2 21/92 57 29-19
shipping@lempertz.com
Post
Post (versichert)
Courier Service
Spedition
Shippers/Carriers
mit Versicherung
with insurance
ohne Versicherung
without insurance
Abholung persnlich
I will arrange collection
Pictures framed under glass cannot be sent by mail.
Bilder unter Glas knnen nicht mit der Post versandt

werden.
Lots to be packed and shipped to:
Versand an:
Name:
Name:
Street:
Strasse:
City:
Stadt:
Country:
Land:
Telephone/Fax/email:
Telefon/Fax/E-mail:
Date and signature:
Datum und Unterschrift:
F ROM
G ERMAN
PRIVATE COLLECTION OF EARLY
C HINESE
PORCELAIN
LEMPERTZ
A SI A N A RT
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
L UBA , S TOOL
WITH
C ARYATID F IGURE . Wood, H 37 cm. Prov.: Hessberg Coll., Essen
LEMPERTZ
A U C T I O N T R I B A L A RT
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

Pre Columbian Art Including Selection of Lempertz

Hochgeladen von

Dokumentinformationen

Originalbeschreibung:

Copyright

Verfügbare Formate

Dieses Dokument teilen

Dokument teilen oder einbetten

Freigabeoptionen

Stufen Sie dieses Dokument als nützlich ein?

Sind diese Inhalte unangemessen?

Copyright:

Verfügbare Formate

Pre Columbian Art Including Selection of Lempertz

Hochgeladen von

Copyright:

Verfügbare Formate

L E M PE RT Z

Rue aux Laines 1 Wolstraat

PRECOLUMBIAN ART FROM

Bernoulli Collection, Basel, 1949

Ferdinand Anton, Alt -Peru und seine Kunst,

CHAVIN BLACKWARE VESSEL

CHAVIN STONE MACE HEAD

The stylized conch shell with truncated end and

Star-shaped with six tapering projections, in ne green stone.

Hans-Dietrich Disselho, Leben im alten

Bernoulli Collection, Basel, 1949

Bernoulli Collection, Basel, 1930-1949

Zurich, Alt-Peru aus Schweizer Sammlungen,

CHAVIN GREYWARE VESSEL

VICUS ZOOMORPHIC VESSEL

Of distinctive arched form with the rectangular

The whistling vessel of unusual conguration, the

Ferdinand Anton, Alt-Peru und seine Kunst, Leipzig,

VICUS DOUBLEBODIED VESSEL

VICUS DOUBLEBODIED VESSEL

Ferdinand Anton, Alt -Peru und seine Kunst, Leipzig,

VICUS ZOOMORPHIC VESSEL

VICUS FELINE VESSEL

The robust coati standing on tubular legs with

The spotted jaguar clenching in its jaws a monkey

Cf. for a coati vessel, Vicus, Disselho, pl. 27D

Dr. Ernst Hauswedell Auction, Hamburg,

VICUS FIGURAL VESSEL

VICUS FIGURAL VESSEL

The naked male gure seated with hands resting

The kneeling naked gure, probably a captive,

Cf. Vicus, Disselho, pl. 39

Bernoulli Collection, Basel, 1949

MOCHICA BLACKWARE VESSEL

EARLY/MIDDLE MOCHICA VESSEL

Ca. 100 B. C. -A. D. 500

The cylindrical vessel molded with a stepped curl

The expanding round walls incised and painted

Ferdinand Anton, Alt -Peru und seine Kunst, Leipzig,

Cf. For such fruits, Spirit of Peru, pl. 44

MIDDLE MOCHICA VESSEL

MIDDLE MOCHICA PAINTED VESSEL

Of unusual form with a horizontal hole running

In cream and reddish brown with bold swirling

Bernoulli Collection, 1949

Chirstopher Donnan and Donna McClelland,

Bernoulli Collection, Basel, 1949

In cream and reddish brown with two mythical

Bernoulli Collection, Basel, 1949

Alan Lapiner, Pre-Columbian Art of South America,

Whatever their meaning, beans are a design

Istvan Racz, Perun Taide, Helsinki, 1975, pl. 20

Ca. 100 B. C.-A. D. 500

Ca. 100 B. C. 200 A. D.

EARLY/MIDDLE MOCHICA VESSEL

Bernoulli Collection, Basel, 1949

EARLY MOCHICA OWL VESSEL

EARLY MOCHICA FROG VESSEL

The standing avian with wings tightly folded at

The crouching amphibian with feet rmly planted,

Zurich, Alt-Peru aus Schweizer Sammlungen,

Istvan Racz, Perun Taide, Helsinki, 1975, pl. 25

EARLY MOCHICA FELINE VESSEL