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Questions about antiques.com? Call our customer service line at 1-800-ANTIQUES http://www.antiques.com//images/antiques_logo.jpg http://www.antiques.com/ A Helmet Mask, Bobo Tribe, Burkina Faso And Mali http://www.antiques.com/classified/1109047/Antique-A-Helmet-Mask--Bobo-Tribe--Burkina-Faso-and-Mali Wood, nice patina, black and red pigment, covered with intricate geometrical designs, combination of human and animal features, sagital crest, horned, thin nose and small swollen eyes and mouth. boboâs masks symbolize animals or spirits and are worn during ceremonies associated with new crops, initiations and funerals. This genre of helmet mask, known as bolo (pl. Bole), can only be worn by blacksmiths at important rites.Although both farmers and blacksmiths use wooden masks, only the blacksmiths have the power to make the masks. Blacksmiths maintain a unique position in bobo society; they are considered supernatural men who possess associations with spirits and mysterious powers inaccessible to common citizens. Due to their intermediary position between the earthly and spirit realms, only blacksmiths possess the secret knowledge and strength to create a wooden mask and mediate its powerful forces. the bobo have lived in the western region of burkina faso and in mali as far back as 800 a.D. The bobo tribe believes that every act that takes something from nature has a negative impact. Before planting and harvesting their crops they hold rituals to ask permission from the nature spirits and their creator god wuro. They believe wuro is responsible for natureâs equilibrium and for bringing everything into harmony. Their religious system involves restoring order through a series of offerings and rituals. signs of use and damage. h: 37 cm (14 ½ inch). literature: bacquart, jean-baptiste (2010) the tribal arts of africa. for objects sent to european union countries please add sales tax (23%).

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A spiritual Spouse Figure Blolo Bla / Baule, Cte D'ivoire http://www.antiques.com/classified/1109051/Antique-A----Spiritual-Spouse----Figure-Blolo-Bla---Baule--C--te-d--Ivoire Wood, shiny patina, portrayed in a standing position of formal calmness, face and body with scarification marks, elegant coiffure. This figure served as a female spirit spouse, blolo bla, and its representation embody baule ideals of beauty with elegant coiffures, scarification marks, and generous breasts. Baule people believe that every person has a spirit spouse. This spirit spouse has a great influence for good and evil in all spiritual and terrestrial matters. After earthly marriage, one night of the week is kept for sleeping with the spirit spouse, and earthly spouses may not sleep together. The carvings are kept very private, and are rarely seen. fragmentary legs, missing parts, slight traces of abrasion., on wooden base. h: 26,5 cm (10 1/2 inch) literature: bacquart, jean-baptiste (2010) the tribal arts of africa. for objects sent to european union countries please add sales tax (23%).
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A Fine Mukishi Wa Cihongo, Chokwe, Angola/d.r. Congo http://www.antiques.com/classified/1109052/Antique-A-Fine-Mukishi-Wa-Cihongo--Chokwe--Angola-D-R--Congo Wood, fine aged surface and patina, vegetal fibbers, scarification marks on the cheeks and forehead, broad pierced oval mouth baring pointed teeth, with pierced, and fan-shaped headdress composed of rattan and feathers and fixed by a fiber braid, a woven fiber headdress attached to the reverse. some damage and losses. the cihongo mask represents a male spirit. It symbolizes power, virility, wealth and is sometimes used as a judgment mask. In ancient times cihongo was danced only by the chief, one of his sons or nephews (son of the chiefâs sister). h: 34 cm (13 1/3 inch) with coiffure. literature: bourgeois, arthur and rodolitz, s. (2003) remnants of ritual: selections from the gelbard collection of african art. bacquart, jean-baptiste (2010) the tribal arts of africa. de areia, rodrigues e laranjeira, manuel (2003) chokwe and their bantu neighbours. for objects sent to european union countries please add sales tax (23%).
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A Fine Pwo Mask, Chokwe, Angola/d.r. Congo http://www.antiques.com/classified/1109055/Antique-A-Fine-Pwo-Mask--Chokwe--Angola-D-R--Congo Wood, fine patina and excellent surface, vegetal fibbers, finely carved, scarification marks on the forehead and face. The name of this mask means "woman" or mwana pwo âyoung womanâ. It represents the ideal of feminine beauty and it is inspired in an ancestor. The mask also symbolizes the importance of the woman in the chokwe tribe but most importantly it is a bond with the spiritual world of their ancestors. The sunken eye sockets and gaunt face are characteristics of this type of mask. It is danced at the end of the initiation ceremonies (mukanda). Its facial scarifications are believed to impart fertility to the spectators during its performance. h: 26, 6 cm (10 ½ inch). literature: bourgeois, arthur and rodolitz, s. (2003) remnants of ritual: selections from the gelbard collection of african art. bacquart, jean-baptiste (2010) the tribal arts of africa. de areia, rodrigues e laranjeira, manuel (2003) chokwe and their bantu neighbours. for objects sent to european union countries please add sales tax (23%).
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Standing Female Sculpture, Fante, Ghana http://www.antiques.com/classified/1109057/Antique-Standing-Female-Sculpture--Fante--Ghana Wood, spotty patina, blackened in parts, standing figure with armless torso, long neck carved with rings, crowned by fours horns arranged in pairs. Fante carve figures to worship living or dead people. slight traces of abrasion, minor damage, on wood base. h: 30,5 cm (12 inch). literature: kunstverein aalen e.V. (hg.): kunst der akan, ausst.Kat., aalen 1995, p. 40, ill. 156. for objects sent to european union countries please add sales tax (23%).
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A Female Bush Spirit Mask, Wee Tribe, Cte D'ivoire/liberia http://www.antiques.com/classified/1109059/Antique-A-Female-Bush-Spirit-Mask--Wee-tribe--C--te-d--Ivoire-Liberia Wood, nice patina, brass, remains of leather from old fur, convex eyes, curved cheek marks, chin with large quantity of old brass bells, powerful smiling mouth and forehead scarification. The wee, located in liberia and ivory coast, use many masks to embody forest spirits, which they believe contact human beings through dreams.In these dreams the spirits demand to be physically manifested as masks, choosing either male or female forms. Wee carvers seem to have focused their skills on carving powerful masks to which objects such as bells, nails, feathers and cowries shells are added to reinforce the power of the masks. signs of use. h: 36,8 cm (14 ½ inch). literature: bacquart, jean-baptiste (2010) the tribal arts of africa. sold
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An Initiation Kholuka Mask ,yaka, D.r. Congo/angola http://www.antiques.com/classified/1109063/Antique-An-Initiation-Kholuka-Mask--Yaka--D-R--Congo-Angola Wood, raffia, white and coloured pigments, kaolin, oval face carved of classical form, exaggerated features, upturned nose, toothy mouth, most areas covered with white pigment, superstructure with raffia ruff, and surmounted by a figure administering an enema. This type of mask, called kholuka , is only used for circumcision and initiation rites, the nkanda. Three months before the ceremony, the carver, muumbwa, is formally invited to conceive the mask. He carves the kholukain a field where offerings are made in honor of the ancestors (yipheesolu). The yipheesolu is strictly off limits for strangers, women, and non initiated males. After the mask is finished, the carver applies a mixture which will confer magic and protective elements to it. pigment loss. h: 59 cm (23 inch) literature: bourgeois, arthur e rodolitz, s. (2003) remnants of ritual: selections from the gelbard collection of african art. bacquart, jean-baptiste (2010) the tribal arts of africa. for objects sent to european union countries please add sales tax (23%).
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A Female Figure, Kaguru/tanznia http://www.antiques.com/classified/1109065/Antique-A-Female-Figure--Kaguru-Tanz--nia Wood, shiny brown patina, depicted standing on a circular stool in a sign of high rank and status, the eyes inset with white miniature glass beads. âthe kaguru live directly west of the luguru, and to the southwest live the hehe. Because they lie midway between these important peoples on the coast and along the lake, and because their land lies astride the major caravan route between lake tanganyika and the swahili coast, the kaguru have benefited for centuries from a cultural mix that has influenced their own cultural traditions.â minor damage to the base. h: 16,5 cm (6 ½ inch). for objects sent to european union countries please add sales tax (23%).
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A Fine Ngaady Amwaash/ / Kete, Kuba, Congo http://www.antiques.com/classified/1109067/Antique-A-Fine-Ngaady-Amwaash----Kete--Kuba--Congo Wood, fine patina, white kaolin, remains of pigments, cowrieshells, hammered coper, beads, fur, large bell-shaped mask, hallowed eyes with one small see slit, geometric patterns. kuba peoples call themselves âchildren of wootâ in honor of their founder. kuba art is characterized by its use of geometric patterns and cowrie shells. Three types of mask have been associated with dances that take place within the royal compound. The first, called mwaashamboy represents woot, founder of the bushoong tribe. The second, known as ngaady amwaash, personifies wootâs incestuous sister-wife. The third mask, the bwoom, represents a pygmy and is associated with wootâs evil brother. âthis mask, ngaady amwaash portrays mweel, woot's beautiful sister and wife (alternatively, mother), and who represents women in general. The mask is striking with its strong pattern of white and black triangles painted on the face, which are said to represent hearthstones and domesticity. Lines painted down the cheeks represent tears and recall the pain of death, for royal masks often appear in funerary contexts. The tears also denote the hardship of a woman's life as a "pawn" of male authority befitting the mask's name (ngaady amwaash), which means "pawn woman of mwaash," her husband/brother king. The ngaady amwaash and moshambwooy masks dance together on ceremonial occasions with great dignity and prideâ.University of virginia, african masks signs of use. h: 48 cm (19 inch). literature: bacquart, jean-baptiste (2010) the tribal arts of africa. for objects sent to european union countries please add sales tax (23%).
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A Ngaady Amwash Mask, Kuba, Congo http://www.antiques.com/classified/1109069/Antique-A-Ngaady-Amwash-Mask--Kuba--Congo Lightweight wood, brown patina, white kaolin, remains of black paint, of elongated form, hallowed eyes with small see slits, two elongated piercing in the cheek area, incised triangular pattern at the chin, geometric scarification marks. the kuba call themselves "the children of wootâ after their founding ancestor (vansina 1964) kuba art is characterized by its use of geometric patterns and cowries shells. Three types of mask have been associated with dances that take place within the royal compound. The first, called mwaashamboy represents woot, founder of the bushoong tribe. The second, known as ngaady amwaash, personifies wootâs incestuous sister-wife. The third mask, the bwoom, represents a pygmy and is associated with wootâs evil brother. âthis mask, ngaady amwaash portrays mweel, woot's beautiful sister and wife (alternatively, mother), and who represents women in general. The mask is striking with its strong pattern of white and black triangles painted on the face, which are said to represent hearthstones and domesticity. Lines painted down the cheeks represent tears and recall the pain of death, for royal masks often appear in funerary contexts. The tears also denote the hardship of a woman's life as a "pawn" of male authority -- befitting the mask's name (ngaady amwaash), which means "pawn woman of mwaash," her husband/brother king. The ngaady amwaash and moshambwooy masks dance together on ceremonial occasions with great dignity and prideâ.University of virginia, african masks signs of abrasion, traces of insect caused damage. h: 22,5 cm (8.8 inch). literature: bacquart, jean-baptiste (2010) the tribal arts of africa. for objects sent to european union countries please add sales tax (23%).
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A Fine Anthropomorphic Prestige Adze, Kuba, D.r. Congo http://www.antiques.com/classified/1109071/Antique-A-Fine-Anthropomorphic-Prestige-Adze--Kuba--D-R--Congo Wood, iron, nice patina from age and use, fine human figure with blade placed in mouth indicating a tongue. signs of use. figure: 51 cm (20 inch) blade: 28 cm (11inch). for objects sent to european union countries please add sales tax (23%).
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A Nkanu Initiation Wall Panel, Yaka, D.r. Congo/angola http://www.antiques.com/classified/1109072/Antique-A-Nkanu-Initiation-Wall-Panel--Yaka--D-R--Congo-Angola Wood, fine patina from age, bright pigments, gesso like undercoating, geometric patterns on the foreground, centred by a female figure finely carved in such high relief that it seems about to step out from the background. the nkanu initiation art combine human and animal images with dimensional floral and geometric patterns that convey meaning through color and symbolic imagery. The panels were displayed inside the enclosure called kikaku. The kikaku and its contents - wall panels, guardian figures, head posts, sculptures, formed the stage for the public celebration marking the end of the initiation cycle. Each panel tells its own story. Together the wall panels and figural sculpture function as a visual language that can be read only by those educated within nkanda. These images speak of rebirth, emotional and sexual maturity, death and the spirit world, and community values. signs of use, some damage. h: 63 cm (24 3/4 inch).
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A Fine Female Statue, Ashanti, Ghana http://www.antiques.com/classified/1109074/Antique-A-Fine-Female-Statue--Ashanti--Ghana Wood, patina, covered with mineral pigments and ancient glass beads, young female portrayed standing with knees flexed, one hand covering on her private parts showing modesty and the other hand on the breast showing maternity, muscular and wide legs showing that the woman depicted is young and healthy. h: 39 cm (15 1/3 inch). for objects sent to european union countries please add sales tax (23%).
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A Magic Ritual Figure, Toba Batak Tribe, Sumatra, Indonesia http://www.antiques.com/classified/1109076/Antique-A-Magic-Ritual-Figure--Toba-Batak-Tribe--Sumatra--Indonesia Wood, blackened, figure of closed contours with serene stylized facial features, hands joined in ornamental design showing some asiatic influence. such figures were used in manipulative magic. slightly damaged, paint rubbed off. h: 38 cm (15 inches). literature: batak, kunst aus sumatra, museum fur volkerkund, frankfurt 2000, p. 90. for objects sent to european union countries please add sales tax (23%).
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A Toba Batak Ritual Figure, Sumatra, Indonesia http://www.antiques.com/classified/1109077/Antique--A-Toba-Batak-Ritual-Figure--Sumatra--Indonesia Wood, blackened, figure of closed contours with serene stylized facial features, hands joined in ornamental design showing some asiatic influence. such figures were used in manipulative magic by the toba batak tribe. slightly damaged, paint rubbed off. h: 37 cm (14 ½ inches). literature: batak, kunst aus sumatra, museum fur volkerkund, frankfurt 2000, p. 90. for objects sent to european union countries please add sales tax (23%).
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Pair Of Protective Figures, Zigua (wazigua), Tanzania http://www.antiques.com/classified/1109078/Antique-Pair-of-Protective-Figures--Zigua--Wazigua---Tanzania Wood, dark brown encrusted patina, a male and a female figure in nearly identical posture, closely wrapped in cloth bandages, just the faces left free, showing concave vaulted face, eyes with inserted red miniature glass beads. these statues were believed to protect its owners. The figures were carved from hard wood then carefully wrapped around with strips of cloth saturated with magical liquid by the village spiritualist. slight traces of abrasion, minor damage, on metal base. h: 35 cm (13 ¾ inch) and 35,5 cm (14 inch).
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Ndop Figure Of King Bope Mabinshe (ruled 1939-1969) / Kuba, D.r. Congo http://www.antiques.com/classified/1109079/Antique-Ndop-figure-of-King-Bope-Mabinshe--ruled-1939-1969----Kuba--D-R--Congo Wood, nice patina, residues of red powder, showing king bope mabinshe (ruled 1939-1969), holding a ceremonial knife in his left hand, head crest and shoulder rings as signs of royal dignity. Each ndop depicts a particular king who is identified by a particular object associated to his reign. The king is always portrayed in the prime of life with no physical imperfections, since it was believed that the king's health and well-being reflected the state of the nation. During the kingâs life his ndop served as his double. The statues were kept in the living quarters of the royal wives who took care of the ndop as if it were the king himself. They provided fertility and substituted the king during times of absence. When a royal woman was about to give birth the statue was placed next to her to ensure the save delivery of the baby. When a king died, his "ndop" figure was brought to his deathbed in order to transfer his vital force on the statue. slightly damaged, fissures, slight traces of abrasion. h: 60,5 cm (24 inch). for objects sent to european union countries please add sales tax (23%).
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Pr-columbian Art, Chupicuara, Michoacan, Mexico (ca. 200 B.c.) http://www.antiques.com/classified/1109080/Antique-Pr---Columbian-Art--Chupicuara--Michoacan--Mexico--Ca--200-B-C-- A group of 32 terracotta miniature heads from figures which depicted pregnant women. The figures were planted with seeds as a votive offering to the goddess of agriculture. Most bear applique eyes typical of the area, applique details and some bear traces of red pigment. normal damages and losses. Mounted in a box frame. size: ½â â 1 ¾â (1,3 - 4,4 cm). provenance: collected in 1950´s. Each with individual certificate of authenticity dated 1963. the chupicuara belonged to a village that was located on the banks of the rio lerma, an area at the state of guanajuato, mexico. Little is known of the history of this pre-columbian town. The first encounter with the objects and sites of the chupicuara happened after 1946 , due to the construction of a dam. Currently this area is completely flooded due to the dam. according to several authors, it is estimated that this village flourished between 500 a. C. And 300 d. C. The inhabitants were farmers who lived along the river. They also practiced hunting, and fishing. chupícuaro was a major center of pottery recognized as one of the best in mesoamerica. Its ceramic artifacts had multiple colors and shapes, some with geometric designs. The main theme were deities, motherhood, people, and her ornaments, animals and plants. the inhabitants of chupícuaro practiced a cult of the dead marked by graves with trophy skulls, obsidian points, figures, shell ornaments, necklaces and beads, bone tools and musical instruments. All these artifacts were discovered during excavations in 1950.
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Mummy Mask, Egypt (roman Period, Ca. 1st Century A.d.) http://www.antiques.com/classified/1109081/Antique-Mummy-Mask--Egypt--Roman-Period--ca--1st-century-A-D-- Carved wood mummy mask with angular features, the ears, eyes and mouth painted in black over a pink ground. A few traces of polychrome ornament on the wig. masks were a very important aspect of ancient egyptian burials. Together with the anthropoid coffin they provided the dead with a face in the afterlife. In addition they also enabled the spirit to recognize the body. mummy masks had more than one purpose. They were a part of the elaborate precautions taken by the ancient egyptians to preserve the body after death. The protection of the head was of primary concern during this process. Thus, a face covering helped preserve the head, as well as providing a permanent substitute, in an idealized form presenting the deceased in the likeness of an immortal being. Specific features of a mask, including the eyes, eyebrows, forehead and other features, were directly identified with individual divinities, as explained in the book of the dead, spell 151b. This allowed the deceased to arrive safely in the hereafter, and gain acceptance among the other divine immortals in the council of the great god of the dead, osiris. Though such masks were initially made for only the royalty, later such masks were manufactured for the elite class for both males and females. the masks of both men and women had over-exaggerated eyes and often enigmatic half smiles. These objects were then framed by long, narrow, tripartite wigs held securely by a decorated headband. normal stable age splits and some minor losses. Black lucite plaque mount. h: 22 cm (8-3/4inch) provenance: ex. Sothebys, nyc, sale 5788, lot 342, dec. 2nd, 1988.
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A Red-figure Oenochoe, Magna Graecia, Apulia, 4th Century B.c http://www.antiques.com/classified/1109082/Antique-A-Red-Figure-Oenochoe--Magna-Graecia--Apulia--4th-Century-B-C A red-figure oenochoe, magna graecia, apulia, 4th century b.C. terracotta, red-figure, highlighted with white, painted with head of a woman, floral motifs. This oenochoe, also spelled oinochoe, used as wine jug was made and decorated in the pottery workshops of apulia in southern italy. h: 33,5 cm (13 /18 inch) for objects sent to european union countries please add sales tax (23%).
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A Horse, Tang Dynasty (618-906 Ad) http://www.antiques.com/classified/1109083/Antique-A-Horse--Tang-Dynasty--618-906-AD- Unglazed earthenware. Tang horses are among the most famous works of chinese art. Figures like this one were used as tomb figures for prominent members of tang society. Statues of horses, camels, ladies, warriors were included in the tomb so they could serve the deceased in the after life. damaged. l: 28 cm (11 inches) thermoluminescence test by lab. Ralf kotalla
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A Horse And Female Rider, Tang Dynasty (618-906 Ad) http://www.antiques.com/classified/1109084/Antique-A-Horse-and-Female-Rider--Tang-Dynasty--618-906-AD- Unglazed earthenware, original bright paint in red yellow and black, female rider on four square standing horse supported on a rectangular plinth, head facing forwards. tang horses are among the most famous works of chinese art. Figures like this one were used as tomb figures for prominent members of tang society. Statues of horses, camels, ladies, warriors were included in the tomb so they could serve the deceased in the after life. damaged, restored. h: 42 cm (16.5 inch) w: 35 cm (13.7 inch) thermoluminescence test by lab. Ralf kotalla n 05k130510 dated 24/05/2010 for objects sent to european union countries please add sales tax (23%).
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A Qilin, China, Wei Dynasty (386-557 Ad) http://www.antiques.com/classified/1109085/Antique-A-Qilin--China--Wei-Dynasty--386-557-AD- An asian mythical creature that appears on rare occasions to announce the birth or death of an illustrous person. unglazed earthenware, traces of pigment. glued at tail. l.: 42 cm (16 1/2inch). thermoluminescence tested. for objects sent to european union countries please add sales tax (23%).
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Egyptian Large Sarcophagus Mask, Late Period, Ca. 700-30 B.c http://www.antiques.com/classified/1109266/Antique-Egyptian-Large-Sarcophagus-Mask--Late-Period--ca--700-30-B-C Polychrome wood mummy mask, wearing a broad beaded collar and striped tripartite wig surmounted by a scarab. The brownish-red face with black eyebrows and cosmetic lines. Two plank reverse construction, with gesso covered linen surface, polychrome painted. masks were a very important aspect of ancient egyptian burials. Together with the anthropoid coffin they provided the dead with a face in the afterlife. In addition they also enabled the spirit to recognize the body. mummy masks had more than one purpose. They were a part of the elaborate precautions taken by the ancient egyptians to preserve the body after death. The protection of the head was of primary concern during this process. Thus, a face covering helped preserve the head, as well as providing a permanent substitute in an idealized form presenting the deceased in the likeness of an immortal being. Specific features of a mask, including the eyes, eyebrows, forehead and other features, were directly identified with individual divinities, as explained in the book of the dead, spell 151b. This allowed the deceased to arrive safely in the hereafter, and gain acceptance among the other divine immortals in the council of the great god of the dead, osiris. Though such masks were initially made for only the royalty, later such masks were manufactured for the elite class for both males and females. the masks of both men and women had over-exaggerated eyes and often enigmatic half smiles. These objects were then framed by long, narrow, tripartite wigs held securely by a decorated headband. mostly stable surface cracks with some areas of small losses. h: 51cm (20 inch) provenance: sothebys, nyc, sale 5788, lot 341, dec. 2nd, 1988. for additional information please contact s.A. Gallery.
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An Equestrian Figure, Tang Dynasty (618-906 Ad) http://www.antiques.com/classified/1109267/Antique-An-Equestrian-Figure--Tang-Dynasty--618-906-AD- Unglazed earthenware, original bright paint in red yellow and black, female rider on moving horse supported on a rectangular plinth, head facing forwards. tang horses are among the most famous works of chinese art. Figures like this one were used as tomb figures for prominent members of tang society. Statues of horses, camels, ladies, warriors were included in the tomb so they could serve the deceased in the after life. restored. h: 46 cm (18 inch) w: 37,5 cm (14 ¾ inch). thermoluminescence test by lab. Ralf kotalla n 09k210607 dated 02/07/2007. for additional information please contact s.A. Gallery.
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