TREASURES OF THE NORTHERN LANDS - TRESORS DES TERRES DU NORD
75003 PARIS 75003 PARIS
18 - 22 septembre 2024
18 - 22 septembre 2024
Galerie Meyer Oceanic & Arctic Art 17 Rue des Beaux-Arts Paris 75006 France
TEL: + 33 1 71 60 14 71
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ajpm@meyeroceanic.com www.meyeroceanic.art
Welcome to the exhibition "Treasures of the Northern Lands" organized by Galerie Meyer This
Welcome to the exhibition "Treasures of the Northern Lands" organized by Galerie Meyer. This exceptional collection brings together nearly 100 pieces from the Arctic, offering a rare and exceptional collection brings together nearly 100 pieces from the Arctic, offering a rare and fascinating insight into the art and culture of the peoples who inhabit these distant lands Each fascinating insight into the art and culture of the peoples who inhabit these distant lands Each work presented reflects the richness and diversity of artistic traditions in the Far North, work presented reflects the richness and diversity of artistic traditions in the Far North, highlighting the ancestral know-how and ingenuity of Arctic people. highlighting the ancestral know-how and ingenuity of Arctic people
Through this exhibition, we invite you to discover iconic objects and unique artifacts, ranging
Through this exhibition, we invite you to discover iconic objects and unique artifacts, ranging from ivory sculptures to hunting tools to cult objects. Each of these pieces tells a story, that of from ivory sculptures to hunting tools to cult objects Each of these pieces tells a story, that of an intimate relationship between humans and their environment, in a universe where nature an intimate relationship between humans and their environment, in a universe where nature reigns supreme reigns supreme.
"Treasures of the Northern Lands" is a celebration of the cultural heritage of the peoples of the
"Treasures of the Northern Lands" is a celebration of the cultural heritage of the peoples of the Arctic, a tribute to their resilience and adaptability in an ever-changing world. We hope this Arctic, a tribute to their resilience and adaptability in an ever-changing world We hope this exhibition will inspire you and transport you to these icy lands where art and life are one exhibition will inspire you and transport you to these icy lands where art and life are one
Ref : Akulivikchuk: a nineteenth century Eskimo village on the Nushagak River, Alaska. Akulivikchuk site, Alaska Plate 8 Bone and Antler Artifacts VanStone, James W; Williams, Patricia M editor Managing Editor, Scientific Publications [Chicago] Field Museum Press
Ref : Akulivikchuk: a nineteenth century Eskimo village on the Nushagak River, Alaska. Akulivikchuk site, Alaska Plate 8 Bone and Antler Artifacts VanStone, James W; Williams, Patricia M editor Managing Editor, Scientific Publications [Chicago] Field Museum Press
E 248. DRAG HANDLE or TOGGLE
A superb drag handle or toggle carved as a swimming seal The naturalistic head has blue glass trade beads with seal or walrus moustache pupils The face is sensitively carved, offering a marvelous example of early Eskimo carving showing the sense of observation and quality of hand of the artist The joint, rear flippers are pierced through vertically The remains of the walrus or seal skin rope is still attached with its original knot Alaska
Walrus Tusk (Odobenus rosmarus divergens) with a superb patina of age and usage, glass trade beads, skin and whiskers 9,7 cm
18th/19th century
Provenance:
Dr. John Beach Driggs collection. Driggs was an Episcopal missionary physician and educator who served in Point Hope, Alaska, between 1890 and 1910 as the first missionary in the far north Ex private French Collection
A remarkable human head with finely rendered features The eyes are deeply inset under gently arched brows and the face is centered with a powerful large nose with drilled nostrils over an oval mouth The neck is carved as a pierced lug This is probably the head of an effigy doll used in ceremonial or ritual shamanic circumstances or as a child's doll.
Originally came with a bone finger rest in the shape of a polar bear head, both in an early collection box marked “INUIT” Acquired at auction from John Nicholson's auctioneers, UK 2020
A very unusual figure representing Sedna, the goddess of the marine world She is shown standing and slightly bent forward with truncated arms Her breasts have drilled out nipples which were once probably inlaid with seal or walrus whiskers. The head is powerfully rendered with a strong face, high relief ears and the typical female topknot rising above the rear of her head Ammassalik (Angmagsalik) Eskimo, South-Eastern Greenland Walrus tusk (Odobenus rosmarus rosmarus) with a patina of age and use. 15,5 x 4,5 x 4 cm (19,5 cm on base) 19th century, collected before 1897
A black painted inscription on the rear of the left leg : Eskimo Bt Webster, FEB, 1897, P 1424
Mounted on a 19th century black wood base typical of the Pitt Rivers typology and inscribed on the front in yellow paint by either Harold St George Gray (1872-1963) assistant to General Pitt-Rivers or possibly Leonard Halford Dudley Buxton of the museum staff : “ESQUIMAUX ?
FIGURE OF FEMALE, IN WALRUS HORN”
Charles Heape, UK prior to Jan 30, 1897 W D Webster, Bicester, UK Stock number 63, acquired Jan 30, 1897, from Charles Heape for the price of 1ÂŁ/1s and sold to General Pitt Rivers on February 11, 1897 for 2ÂŁ/10s
Augustus H Lane Fox Pitt Rivers, Farnam, Dorset, acquired from Webster February 11, 1897, N° P 1424
He records having paid 2ÂŁ/7s/6p Pitt Rivers Museum, Farnham, Dorset as of January 1, 1898, Room, case 02. Christie's, London - Tribal Art, 4 Dec 1990, Lot 186
Eugene Manning, New York
Ill : Pitt-Rivers, Augustus H Lane Fox : inventory ledger book, top of p 1424, two watercolor views Cambridge University Library and Rethinking Pitt-Rivers analysing the activities of a nineteenthcentury collector
Ill : Pitt-Rivers, Augustus H Lane Fox : inventaire haut de la page 1424, deux vues aquarelle Cambridge University Library et Rethinking Pitt-Rivers analysing the activities of a nineteenth-century collector
Rivers
E 149. H SHAMANIC FIGURE
Exceptional and massive head of a shamanic figure showing signs of wear due to weathering, fonctional usage and age
Tête massive et exceptionnelle d'une figure chamanique montrant des traces d’usure dues aux conditions climatiques, a l’usage fonctionnelle et a l’âge
A remarkably sensitive and naturalistic human head carved as a pendant or ornament The open and deeply carved mouth - as if engaged in a long scream - is not unusual in the Eskimo corpus of carving
Mid to late Thule culture, Western Greenland or Eastern Canada (Newfoundland)
Mineralized walrus tusk (Odobenus rosmarus rosmarus) with a fine crackled patina. The surface has been professionally stabilized 3,4 cm
Rare and large representation of an ancestor composed of an imposing ovalized head on a stylized torso The face is finely shaped with imposing eyebrows, protruding cheekbones, a straight nose and a grimacing mouth whose chin is adorned with a large labret made of walrus ivory Thule Culture, Eskimo, Western Alaska. Wood (cedar, driftwood?) and an insert in walrus defense Burial patina in the permafrost with wear and lacunae 14 4 cm 10th/19th century.
The present centerpiece is possibly in the form of a stylized vulva, however the incised decor of concentric chevrons does have a very definite and bellicose downward spear-point in the middle. The lateral edges of the object are pierced three times along their length.
A superb toggle or drag handle carved in the form of a stylized whale. There are what appear to be a series of tally marks incised on the undecorated edge of the toggle The individual ornamental design motifs do not relate to any formal representation of the whale-form yet when taken as an imbricated and total design they offer a subtle reading of the whales features: the concentric circle and dot at the head, the central concentric ovals and dot, the body and the sweeping motifs highlighted with dots at the extremity figuring the tail flukes Punuk Culture, Punuk Islands, Saint Lawrence Island, Bering Strait, Alaska
Exp & Pub : Arctic Ivory - Two Thousand Years of Alaskan Eskimo Art and Artifacts, Norman Hurst Gallery, Cambridge, Mass , 1998, n ° 17
E 262. EFFIGY OF DUCK
A magnificently carved duck which was once part of a drag handle or toggle The bird is superbly rendered with a natural grace and regal attitude
The eyes are deeply drilled and were originally inset with baleen Ducks other than the stylized versions represented in the aviform gaming pieces are rarely represented by the early Eskimo.
Late Punuk to early Thule Culture, Saint Lawrence Island (?), Bering Strait, Alaska
An effigy of bowhead whale (Balaena mysticetus) carved in a naturalistic but stylized way. The way in which the eyes, mouth, lateral fins and lack of caudal fin as well as the general morphology are represented makes it possible to identify the species The back of the whale is drilled vertically through with four holes: the two forward serving for an attachment link and the two posterior holes still carry the remains of studs. Whale effigies of this type are used to indicate the number of whales taken by the individual or group and also serve as a lure/amulet to improve hunting These effigies are found in large numbers on the ceremonial boxes and containers including the buckets used by the wife of the whaler captain to ceremonially pour fresh water into the air vent of the dead whale. Eskimo, Western Alaska Walrus tusk (Odobenus rosmarus divergens) with a beautiful patina of age and use
6 8 x 2 4 x 1 3 cm 18/19th century.
Ex Emilio Rodriguez Larrain, Lima/Paris (artist).
See the ceremonial bucket from Alaska at the Ethnographic Museum of Geneva, Inv N° ETHAM 025852
A rare and archaic so-called snow-knife or panaujaq with a cold-hammered, native-copper blade The handle is decorated with incised radiating lines and the fan-shaped pommel is inserted and riveted twice with copper rivets in place and then bound with a spiral hide wrap The blade of leaf shape is hammered into its form with a thick protruding rib separating the thin cutting edges.
Copper Eskimo, Central Northern Canada & the Arctic circle in general Native copper, bone, and sinew
45,1 cm
18th/19th century
Ex collection Bjorn Wandal, Pakhuset Krik, Denmark. Native-Copper in its natural state is often found on the surface or in running water where it is uncovered by nature The pure, unadulterated copper nodules or sheets can be hammered with stone mauls into desired shapes without heating – this is known as cold-hammering The edges of copper blades made in this fashion retain a sharper and more durable edge than the stone ones. The Copper-Eskimo and other local populations used the hammered copper for utensils and ceremonial objects such as knives, spoons, rattles, and masks Copper was widely traded and used as far west as the Tlingit and Haida tribes of coastal British Columbia or southward to the Plains Indians
Ref.: Cadzow, Donald A.: Native copper objects of the Copper Eskimo. Museum of the American Indian, Heye Foundation, New York, 1920
A very fine « eye » catch for a « hook and eye » buckle or belt fastener The body is profusely decorated with very fine engraved geometric motifs Bering Straits, Alaska Walrus tusk (Odobenus rosmarus divergens) with a superb patina of age and use.
7,2 x 2,1 x 1 cm
OBS cultures 200 – 600 A D
Ex Van den Dries, Belgium
E 353. SMALL TOGGLE
FIGURE
A fine small toggle figure representing a stylized human. The body is pierce through laterally
Thule culture, Alaska
Mineralised walrus tusk (Odobenus rosmarus divergens) with a superb patina of age and use
A very large and well preserved fishing gorget probably used to catch halibut or other wide mouth fish
Punuk/Thule Culture, Alaska or Canada
Walrus tusk (Odobenus rosmarus divergens) with a superb patina of age and use
9,4 cm.
600 – 1500 A D
Ex Van den Dries, Belgium
E 361. HARPOO
A superbly carved harpoo with two bear or two sea incised linear and circle m Saint Lawrence Island, Be Mineralised walrus tusk ( divergens) with a superb
6,5 x 3 x 1,4 cm
Old Bering Sea Period, 20 Field collected in the sum Kenneth Pushkin
A fine small toggling harpoon point carved in the form of a stylized bird head The point is decorated with incised linear and circle motifs. Okvik Culture, Saint Lawrence Island, Bering Strait, Alaska.
Mineralised walrus tusk (Odobenus rosmarus divergens) with a superb patina of age and use
8 x 1,9 x 12,1 cm
200 BC – 200 A D
Field collected in the summer of 1978 by Kenneth Pushkin
Exceptional pivoting harpoon point for whaling and walrus hunting This classically shaped example is adorned on the lower side with a series of open half-moon cutouts that appear to be unique and without any obvious function other than symbolic Punuk Culture, Bering Strait, Alaska
Mineralized walrus bone (Odobenus rosmarus divergens)
An archaic and very fine bucket, bag, or box handle carved with the heads of stylized animals (possibly wolves or foxes) to both extremities The body of the handle is decorated with intricate carved and incised geometric motifs. The handle is pierced three times for attachment. Originally found in the 20th century by the Eskimo inhabitants of St Laurence Island the handle was incorporated into their present day usage and turned into a necklace by adding a braided string and three blue paste-glass trade-beads Punuk Culture, Saint Laurent Island, Bering Strait, Alaska
Mineralised walrus tusk (Odobenus rosmarus divergens), cord and glass with a fine patina of age and use
10 x 2 cm (length mounted 32 cm).
c 400 – 900 A D
Provenance:
Collected on Saint Laurent Island by Kenneth Pushkin in the summer of 1978
Bag or box handle with an engraved decoration of twelve stylized whale tails and two attachment holes
Punuk culture, Alaska.
Caribou antler (Rangifer tarandus) with a superb patina of use
14 cm
400 - 900 A D
Ex Thierry Boutemy Collection, Avranches/Brussels.
E 372. FINGER REST
A very finely carved finger rest for a hunting harpoon carved in the effigy of a polar bear's raised head The animal is depicted in a life-like pose as if sniffing the air in search of prey
A harpoon (unaaq) for walrus and seal hunting, decorated on the handle with a sculpted miniature seal bust and decorated with inlays. It is the beautiufully carved walrus ivory pointed tip that indicates that this sublime, and very rare harpoon, was intended for hunting from the ice floe, unlike those designed for hunting from a kayak The walrus ivory tip was of course used to test the thickness of the ice as the hunter progressed but more important it was destined to be used as a defense against the attack of a polar bear. The smooth and channeled point could be easily used to repeatedly stab the bear as the harpoon had no restraining barbs to the long point The three channels allowed the wound to bleed profusely and evacuate the blood causing the animal to tire and die At the front of the harpoon, where the main and barbed hunting point was fit, there is a magnificent whalebone foreshaft carved with rigor and great mastery, with three finely sculpted superimposed relief rings. The refinement of the sculpture, right down to the inlays of the seal's eyes, nostrils and ears, its beauty, and the quality of the manufacture of each of the elements making up this harpoon, bear witness to an era and an art where hunting and the sacred were still intimately entwined
Thule Culture, Eskimo, Alaska Wood, walrus ivory (Odobenus rosmarus divergens), one inlay on the right ear missing, whale bone, leather, and sinew, all with a very beautiful and old patina of age and use
A hunting harpoon with complete dec Atlatl is rimmed an strips pegged to th four copper rivets votive motifs are c pegged to the outs organized fashion fifteen seal effigies has two, bone-rimm attachment of the storage The atlatl with an iron peg T augment both the spear/harpoon as to the leverage of made of a length o cross-section that square The harpo section of narwhal and beveled, bone strap The distal ex beveled catch poin the two long bone are three projectin the shaft to serve harpoon to the atl (Angmagsalik) Eski South-Eastern Gre Wood (cedar or pin narwhal tusk (Mon hide, a lead counte rivets and a metal and conservative r Harpoon : 200 x 6 Atlatl : 55 x 8,5 x 2, c. 1920 – 1940.
Provenance: This harpoon was Greenlandic hunte Pierre Coignerai a Coignerai-Deviller to Greenland in th Ex collection Isabe
A rare ancient, thin and expressive mask representing an ancestral spirit, or a shaman Realistic features are relatively unusual in the corpus of Eskimo masks of the Far North, as most of the more recent examples are quite stylized The sensitive face offers an open and smiling expression with a subtle shaping of the cheeks, chin and forehead. The inside of the mask shows marks and traces made with non-metallic tools. The inside of the face is actually reminiscent of a human skull, perhaps for the purpose of displaying the duality of life and death The outer edge is pierced regularly either for the insertion of feathers or for the stick supports for a movable structure forming a frame around the mask The side edges are leveled, perhaps due to the direction of the wood grain causing structural fragility The teeth are carved from marine ivory in the realistic shape of human incisors and carefully implanted in the lower lip. The mask has a dispersed layer of thick, salt-like deposits inside and out The front of the mask has several perforations as if large birds had pecked it, which may have occurred during the long exposure of the mask as it can be displayed on the grave of a shaman as is the norm
Inupiak (Inupiaq) language group, Point Hope, northern Alaska
Alaskan yellow cedar altered by time and exposure to the elements (Cupressus nootkatensis) and marine ivory with a thick granular substance resembling paint and salt and sand deposits.
A very finely carved and well modeled hunting applique from either a visor or anorak in the fo of a beluga whale The grooved edges are pier times for attachment (one with old break durin drilling).
An extremely rare Okvik shaman's figure in cedar wood with a typical whale-tail motif to the face Okvik culture, Saint Lawrence Island, Bering Strait, Alaska
7,5cm
200 B.C. – 300 A.D.. Ex private European collection
E 111. FIGURE OKVIK
Très rare figure de chaman Okvik en bois de cèdre avec un motif typique de queue de baleine au visage
Exceptional arrow shaft straightener carved as a stylized human figure The front side is incised with circle dot motifs connected by engraved lines suggesting the morphology of the ancestral figure and its costume The top end appears to represent two long beaked bird heads; while the two oval openings, which were probably for a thong, can represent a stylized bear head.
Old Bering Sea Culture, Bering Strait
Mineralized walrus tusk The surface has been professionally stabilized 11,9 cm
Exceptional and realistic representation of a shaman in full transcendental transformation. He/she is shown with two walrus tusks jutting from his/her mouth. The body is sculpted in an anatomically correct manner with the legs and arms flexed in the animated position of a dance step The face is expressive with the elements carved in a naturalistic manner The shaman wore a headband in walrus or seal leather (now missing) and another band or belt across the chest (now missing)
A tuft of hair springs from the back of the head forming a coif. Eskimo of the Northwest Coast of Alaska
Walrus bone, tusk & whisker (Odobenus rosmarus divergens), and dog hair
18,7 x 6,1 x 3,6 cm
Late 19th/early 20th century
Collected during the "5th Thule Expedition" of the Dane Knud Rasmussen (1921– 1924) by the expedition photographer Leo Hansen in 1924 His son by descent Ex David Utzon-Frank, Copenhagen
An exceptionally fine and large harpoon head with a pierced center for the attachment of the line. The harpoon head is flanged at the front and waisted in the center so to represent the stylized body and head of a breaching whale It is superbly decorated with a spare, incised, linear and dot design all over The fore-end is slit to receive a slate blade. The rear end is pierced to receive the fore-shaft.
Punuk Culture, Saint Lawrence Island (?), Alaska, USA
Tiny effigy of an Aleutian hunter wearing his bentwood hunting visor Objects of this type are thought to be finger rests that protrude laterally from the harpoon handle, helping to ensure the catch in cold, wet conditions of hunting from a sitting position and forcefully throwing a harpoon with an atlatl from a Baidarka type kayak. The thick, square section under the figure would have been inserted into a slot in the wooden handle of the harpoon. The figure is shown wearing the large waterproof parka made of seal or walrus intestines and its prominent visor or hat The longbilled visor is essential for the hunter in his kayak, not only protecting his eyes from the glare of the sun, but functioning as a tribal identifier and an indicator of clan and social rank. As the hat is festooned with carved ivory hunting amulets, the visor is paramount in enticing the prey to submit to the hunter
Late Punuk to mid-Thule period, Aleutian Islands, Bering Sea Mineralized walrus tusk with a fine patina of age and use
5,3cm. c 800 – 1500 A D
The best-known example of this type of object is the one from the Menil collection published under N° 286 of the catalog of the superb exhibition “La Rime et la Raison - Les Collections Menil Houston - New York” at the Galeries nationales du Grand Palais in Paris in 1984 It is interesting to note that in the published photograph, the Menil example is not shown with the insertion section exposed
An exceptional whale hunter's votive wallet containing a pair of snow goggles, and three whale effigy silhouettes cut from thinned sections of baleen The “figure 8” shaped goggles are carved from a thick section of baleen which has been cut through twice for the oval, ocular apertures. There is a hole pierced at either extremity for the attachment of the head band The three whale effigies are cut from exceedingly thin pieces of baleen and represent two “ square - head” whales which would appear to represent bowhead whales; while the remaining effigy is tail-less and round-headed and might represent a grey whale The flattened wallet which originally contained the goggles and whale effigies is made of several sections of baleen carefully joined together with sewn edges. While early archaic baleen goggles are recorded (see the pair from the Leo Hansen collection c 1921/1924 in the collection of Dominique Arcadio, Lyon, Ex Gal Meyer) ; complet wallets and votive whale effigies of this sort are exceedingly rare from both sides of the Bering Strait
Chukotka Eskimo population, Eastern coast of Siberia, Bering Sea, Russia
Baleen (either bowhead whale (Balaena mysticetus) or gray whale (Eschrichtius robustus) with a patina of age and erosion due to long term exposure in permafrost (wear, loss and friability).
A superb miniature shaman figure representing a spiritual ancestor The figure, with its almond-shaped head set low on the shoulders, is decorated with a series of engraved crossed linear tattoos on the torso The facial features are carefully engraved to enhance the spirituality of the ancestral image Okvik Culture, Saint Lawrence Island, Bering Strait, Alaska
An extremely rare reclining figure carved with its head and torso tilted back The lower section of the body is stylized to form a flattish, oval, beavertail-like form The face is highly expressive with the eyes and mouth suggested by three oval depressions anchored by the pointed nose. The shape of this effigy is most unusual and so far, no others are known The function remains to be discerned, but it can be surmised that the oval flattened area was inserted into a lodging or tightly bound to some larger object possible a harpoon for which this figure could be a finger rest or it is a figure meant to be inserted into a minute model kayak or possibly a central ornament from a hunting hat or visor
Punuk culture, Saint Lawrence or Punuk Islands, Bering Strait, Alaska
Mineralized walrus tusk (Odobenus rosmarus divergens) with a superb patina of age and use
5,5 x 2,2 cm
400 - 1000 AD
Provenance : Ex ALASKA ON MADISON, New York; Daniel and Martha Albrecht, Scottsdale, Arizona
Provenance : Ex ALASKA ON MADISON, New York; Daniel and Martha Albrecht, Scottsdale, Arizona
E 387. ARCHERS WRIST GUARD
A superb archer's wrist guard carved as an open work and pierced curved shield The motifs join together to form a subtle stylized mask The extreme refinement of this object exhibits the maestria of the carver and the quest for beauty that prevailed in the early archaic period. Punuk culture, Saint Lawrence Island, Bering Strait, Alaska
Marine mammel bone with a superb dark patina of age and use
11 x 3,2 cm
400 - 600 A.D..
Provenance :
Ex Emile & Lin Deletaille, Bruxelles
Jean-Claude Mocellin, Nice before 2006
Ex Frank Marcelin, Aix en Provence
Ill.: ART DU GRAND NORD, Gal. Marcelin, 2023, N° 55.
Ill. : ART DU GRAND NORD, Gal. Marcelin, 2023, N° 55.
E 327. OVERBOOTS
Rare pair of male Kamik, or overboots used to walk in the extreme conditions of the Arctic winter
Composed of seal skins for the upper part and walrus skins for the lower, the Kamik are as much indicators of rank, sex and origin as useful protection The vertical decoration here is an indicator of gender: men wear the usually vertical patterns and women horizontal This negative decoration is made of a piece of dark grey seal skins cut into a line of squares and incorporated into a blond sealskin Everything is carefully sewn together with tendons and with specific sewing methods making the assembly waterproof The making of Kamik is a work specific to women.
Eskimo, Greenland
Bearded seal skins (Erignathus barbatus) Patina of age and use
54 x 35 x 30 cm (on base)
Early 20th century.
Ex private collection, Netherlands. Ex Hugo Bregeau, Nantes
These enigmatic objects have long been thought to be the counterweight for the spear-thrower or Atlatl and are so described in the literature. However none have been found in that context nor showing the remains of some form of attachment to a section of what could be described as a spear-thrower There are several different types of bird-stones which vary from the " pop-eye " model shown here through a variation of styles descending to a highly stylized and overly simplified silhouette All are pierced with bi-conical holes on the underside either through the ends of the bottom slab or through raised ridges (two-bar type) They are found within burial sites or in relation to water or near humid ground. A new theory is developing that they were related in some way to water and to the preparation of reeds growing in the marsh lands for weaving Only a handful of them have been found during the excavation of burials Two-bar style bird-stones are reported to have been found in the head area of a single adult on the Baker II Late Archaic site in Sandusky County, Ohio The Baker II site dates to the terminal Late Archaic period at 2,820 years ago A popeyed style bird-stone is also reported to have been found during the excavation of an Early Woodland burial containing three individuals on the Danbury site in northern Ohio dating to around 2,500 years ago Bust type bird-stones have also been reported from Early Woodland Adena mounds Bird-stones are also associated with Glacial Kame sites
Mississippian people, Moundbuilders cultures, North America
Black and white granite with remains of earth
8 x 3,2 x 3,5 cm (w/o base) 8 x 9 x 5,2 cm (w/base).
1st Millennium B C – 1500 A D
Ex Private collection, USA
See similar object: Daytona Art Institute, N° 1965 118
I thank all the gallery team members for their dedication and agreeable collaboration : Gisele Bertin, my apprentice Vairea Anania, and our interns Ranihei Prokop and Shahin Cherif as well as Manuel Benguigui, Mael Revaillot and Thomas Charpentier Our restorer Serge Dubuc, our base-makers Manuel Do Carmo, Jacques Lebrat and Atelier Punchinello, the Atelier François Lunardi as well as our friends at Art & Lumiere are thanked for their essential contributions to the presentation of the works Thank you to our shippers Philippe Delmas and Françis Viera as well as David Duarte and his team. Esquisse and Jerome Jacquemin take care of our printing and layouts with great efficency And of course we must thank Gus Adler who with Julie Arnoux and Olivier Auquier founded and organized OPUS ancient arts Thank you to Laurent Dodier and all the friends and clients of Galerie Meyer
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