Null PAPYRUS ANI BM 10.470. Vollständige Facs.-Ausg. Im Originalformat des Toten…

Description

PAPYRUS ANI BM 10.470. Vollständige Facs.-Ausg. im Originalformat des Totenbuches. Komm. E. Dondelinger. Graz, 1978. 1 portfol. w. 37 facs. plates & 1 vol. of explanat. text. Lge-fol.-obl. & 8°. Ocl. & owrps. (Neat annot. in pencil). -- (2).

651

PAPYRUS ANI BM 10.470. Vollständige Facs.-Ausg. im Originalformat des Totenbuches. Komm. E. Dondelinger. Graz, 1978. 1 portfol. w. 37 facs. plates & 1 vol. of explanat. text. Lge-fol.-obl. & 8°. Ocl. & owrps. (Neat annot. in pencil). -- (2).

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A CARVED WOOD ANCESTOR FIGURE Indonesia, North Sumatra, Toba-Batak, 19th c. H. 58,5 cm (o.S.) This statue is part of a former pair of figures that embodies a pair of prehistoric ancestors and can become the temporary seat of the ancestors as part of rituals and by introducing magical substances. It is carved from very heavy, hard wood. The raised head is typical of the male figures; the female figures have a small suggestion of breasts. It remains unclear whether this head shape is based on the magical horns or embodies ‘masculinity per se’; in any case, no references to hair or headdresses can be identified. The generic term debata for powerful figures comes from the Sanskrit devata or deva, which means deity. A rectangular opening is placed in the chest into which pupuk, the magical, energising substance of the datu, could be inserted, which the datu produced from substances charged with a lot of tondi, soul substance. These contained the components of human bodies, which were fermented and mixed with plant substances. Most tondi contained the brain, blood and liver of people killed under special circumstances. The body parts were processed into a magical substance that was itself sacrificed in order to maintain its power. The figure remains in a squatting position on a small plinth and has its hands around its knees. The eyes are made of patinated metal (probably pewter) inlaid or glued in with resin. A thick organic patina indicates multiple ‘feeding’ with organic substances. The sculpture has a strangely powerful appearance and focuses on the viewer or its counterpart in a calm but very forceful way that makes it almost impossible not to approach it with due respect, almost with caution From an old German private collection, assembled since the 1950s - Minor traces of age, partly hairline cracks Publ.: IFICAH (2018): Die Verwandtschaft im Nacken, Wohlesbostel, page 56

Estim. 200 - 300 EUR

Charpentier, François-Philippe (1734 Blois - 1817 ibid., French inventor and engraver) probably, after del Colle, Raffaello (1490 Sansepolcro - 1566 ibid.), "Jesus Christus im Kreis der Apostel",(1734 Blois - 1817 ibid., French inventor and engraver) probably, after del Colle, Raffaello (1490 Sansepolcro - 1566 ibid.), "Jesus Christus im Kreis der Apostel", etching and aquatint on paper, probably trimmed, watermark visible, 27.5 x 20 cm (BM), framed under glass.

Estim. 800 - 1 000 EUR

Askos of the Gaudo culture with silver cross. Chalcolithic, 1st half 3rd mill. H 12.1cm, l 17.4cm. Dark brown impasto. Rectangular vessel with small bow handle and large spout. Incised decoration on the handle, spout and the ring below the spout. Two silver stripes in a cross-shaped arrangement on the front. With certificate of authenticity from Galerie Günter Puhze, Freiburg im Breisgau! Published in: S. Cassani (ed.), The Art of the Italic Peoples from 3000 to 300 BC. Exhibition Geneva (1993) p. 286 no. 181 (copy enclosed). The Gaudo culture in southern Campania from the Copper Age shows influences from the Aegean and even Anatolia, particularly in the area of pottery and weapons. It is assumed that they were predominantly nomadic shepherds, as hardly any settlements are known, but necropolises are. Metal finds, especially those made of silver, are extremely rare, see Cassani op. cit. Most of the handle and a small part of the spout replaced, surface partially rubbed and retouched in some places, otherwise unbroken. Provenance: From the R. L. Collection, Lower Saxony, acquired in 2009 from Galerie Puhze, Freiburg im Breisgau; from the D.C.A. Collection, Geneva.

Götze, Moritz Help. 1993. Farbserigraphie auf leichtem Velinkarton. 83,5 x 118,5 cm. Signiert, datiert, nummeriert und im Druck betitelt. - Kanten angestoßen. Vereinzelt leicht griffspurig. Teils etwas angeschmutzt, auch verso. Insgesamt sehr gut. Ausge

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