**Originally Listed At $600**

Central Asia, India, Gangetic Basin, Copper Hoard Culture, ca. 1000 BCE. A heavy copper harpoon terminating in a rounded point with rows of sharp teeth down its sides and a thick mid-rib. Copper artifacts like this harpoon, axes, and adze heads, all with elegant proportions and nice craftsmanship, are all we know of this culture. Some scholars have suggested that the copper and sometimes bronze objects associated with it are evidence of a trade route and culture influence from the Ancient Near East, particularly Luristan. These harpoons were likely made for hunting, but a large number of them have also been excavated from temples, such as those found at the Temple of Somesvar Mahadeva in 1891. They may therefore have had a votive function as well as a utilitarian one. Size: 1.6″ W x 12.95″ H (4.1 cm x 32.9 cm); 13.8″ H (35.1 cm) on included custom stand.

Provenance: ex-private southern California, USA collection, acquired before 2000

**Originally Listed At $500**

Northern Europe, Scandinavia, pre-Viking period (often called Migration period or Germanic Iron Age), ca. 6th to 7th century CE. An elegant bracteate pendant, made from 98% silver. Shaped like a round shield with a raised central boss, one face is studded with incredibly intricate, delicate silver granulated geometric motifs. The other face is undecorated. The top has a folded-over loop, added at some later (but still ancient) date as a repair or addition. A modern cord is through this, making the piece wearable as a necklace today. Pendants like this one were made to be worn around the neck as a type of amulet or sewn onto clothing, and were frequently made of melted down coinage traded north from the Mediterranean. Size: 1.15″ W (2.9 cm); length of modern cord: 20″ L (50.8 cm); silver quality – 98%; 3.8 grams

Provenance: private New York, New York, USA collection; ex-private Kaliningrad (Koenigsberg) and then Latvia collection; found on the Baltic Sea coast prior to 1982

Magna Graecia, Southern Italy, Apulia, ca. 4th century BCE. A lovely trefoil spouted oinochoe, beautifully decorated via the red-figure technique to depict a nude youth who sits while spinning thread and looks back over his shoulder. A large stylized palmette adorns the area below the strap handle, and an egg-and-dart band embellishes the neck, just below the trefoil spout. Finally, white fugitive pigment was used to delineate the thread, headdress, and details in the field as shown. A beautiful example replete with a timeless form, a rare scene, and expert attention to detail! Size: 4″ in diameter x 6.375″ H (10.2 cm x 16.2 cm)

Perhaps the most exciting innovation in Greek vase painting was the red-figure technique, invented in Athens around 525 BCE and beloved by other artists of Magna Graecia. The red-figure technique allowed for much greater flexibility as opposed to the black-figure technique, for now the artist could use a soft, pliable brush rather than a rigid metal graver to delineate interior details, play with the thickness of the lines, as well as build up or dilute glazes to create chromatic effects. The painter would create figures by outlining them in the natural red of the vase, and then enrich these figural forms with black lines to suggest volume, at times perspectival depth, and movement, bringing those silhouettes and their environs to life. Beyond this, fugitive pigments made it possible for the artist to create additional layers of interest and detail as we see in this example.

**Originally Listed At $4500**

Peter Max (American, b. 1937), drawing on verso of Serendipity menu, signed and dated 1971. A true find for any art collector, this incredible drawing and inscription by Pop Art/Neo-Expressionist legend Peter Max was created on the verso of a menu for the historic New York City restaurant “Serendipity” (still known for its famous frozen hot chocolate – listed on this menu for a whopping $1.50). The composition of the drawing features a Surrealist landscape inhabited by a tiny figure running across the groundline with a flower in hand, flowers that are larger than this figure above him at the lower end of a grand hillside, a seascape beyond with sailboats to either side of the hilltop, with an angel standing at the peak and holding a staff. In the skies above are several flying angels surrounded by stars and birds who inhabit rays of the sun – and making a most dramatic impression, a huge profiled head overlaps the sun. Finally, Max’s inscription at bottom left reads, “For Susan – Love Always Peter Max – 1971 N.Y.C.” The piece is set in a red double-sided floating frame, so that both the drawing and menu are visible. Size: 26.5″ W x 18.75″ H (67.3 cm x 47.6 cm); 32.75″ W x 25″ H (83.2 cm x 63.5 cm) framed

A definition of the restaurant’s namesake “Serendipity” at the left side of the menu reads, “… the art of finding the unusual, or the pleasantly unexpected by chance or sagacity …” Indeed Max’s artwork on this menu fits those tenets of Serendipity to a tee!

Peter Max rose to fame in the 1960’s as a visionary Pop artist and developed a dynamic form of Neo Expressionism. His famous Cosmic ’60s style presented a striking form of painting that emphasized line and employed a Fauvist command of color in otherworldly transcendental themes. Some rightfully argue that Peter Max revolutionized visual art of the 60’s the way that the Beatles innovated music during that memorable decade. In addition to being an accomplished artist, Peter Max is an environmentalist as well as a human and animal rights activist, oftentimes creating works for these causes. Furthermore, Max has devoted a branch of his oeuvre to patriotic freedom pieces with his Lady Liberty and the American Flag paintings (one of his Lady Liberty compositions is available at Artemis Gallery as well).

Serendipity is a historic New York City restaurant founded in 1954. According to the restaurant’s website, “Serendipity has been enchanting millions of patrons since its inception. It’s an enchanting place where artists got their inspiration and actors fulfilled their cravings. Beginning with Marilyn Monroe, Andy Warhol, Grace Kelly and Cary Grant in the 1950’s continuing with a celebrity following that includes Cher, Candice Bergen, Melanie Griffith and Ron Howard, the restaurant continues to attract the newest crop of hot young celebrities such as Beyonce, Ryan Reynolds, Selena Gomez and Kim Kardashian. In addition, the restaurant has been the setting of three major Hollywood productions, One Fine Day (1996) with George Clooney and Michelle Pfeiffer, Serendipity (2001) with John Cusack and Kate Beckinsale, and Trust The Man (2005) with Julianne Moore and David Duchovny.” (https://serendipity3.com/history/)

Provenance: ex-private Los Angeles, California, USA estate collection

The Legendary Finest Known 1854-S Half Eagle
The F.C.C. Boyd Specimen
Last Offered in the 1982 Eliasberg Sale
1854-S Liberty Head Half Eagle. AU-58+ (PCGS). CAC.

Southeast Asia, Thailand, Ayutthaya Period, ca. 17th to early 18th century CE. A life-sized, cast-brass head of Buddha with a hollow interior and sensuous facial details. Buddha presents a meditative countenance with downcast eyes filled with red pigment beneath wispy brows, full lips with indented corners, a sharply crested, aquiline nose, and tall ears bearing the tops of each lobe. Topping his head is an intricate crown with raised floral and foliage motifs beneath a flaming upper periphery, applied red pigment, and opulent gilding in 54.7% gold (equivalent to 12K+) which still retains its original yellow hue on the verso. Above the crown are a pair of tiered, conical ushnishas that flank the upper casting hole. An extraordinary head replete with expert detailing and lustrous brown patina. Size: 7.9″ W x 11.375″ H (20.1 cm x 28.9 cm); quality of gold: 54.7% (equivalent to 12K+).

The head of Buddha is perhaps the most significant element of the deity as it represents his immense body of knowledge and wisdom along with the tranquil nature that emanates from its expression. The prominent elongated ears are a physical feature symbolic of the Buddha’s time as a prince when he wore elaborate ear ornaments to demonstrate wealth and prosperity. Of course, the prince stopped wearing them when he left the palace to become an ascetic; however, his earlobes remained stretched signifying a renunciation of the material world. Beyond the multi-layered meaning embodied in the iconography of this piece, the technique executed to create the meticulously delineated curls of his coiffure and the absolute smoothness of the contours of that face is very impressive.

A silver box with 8 Chinese jade square plaques dating to the Ming dynasty. The bottom of the box is stamped: Edward I. Farmer, New York, Sterling. The jade plaques feature dragons among ruyi and floral tracery.

Dimensions are: 3 1/4 in. tall X 6 1/2 in. wide X 3 3/4 in. deep; 8.3 cm tall X 16.5 cm wide X 9.5 cm deep. All measurements are approximate.

Condition: A few small chips are small areas with evidence of repair.

Provenance: From a collector in Southern California.

High resolution photos can be found at: https://oag.smugmug.com/Asian-Decorative-Arts-March-2020

Joe Descomps
(French, 1869-1950)
sculpture
bronze and marble
signed
19″h x 23″w

Provenance:June and Larry Greenwald collection

Condition:

Signed Joe Descomps. Foundry mark Etling Paris. Excellent original condition. Dramatic design, excellent detail. Very nice original patina. Very decorative.

The Invisible Man (Universal, 1933). Very Fine on Linen. One Sheet (27″ X 41″) Style B. Karoly Grosz Artwork.
Heritage is excited and pleased to present this first time offer to this gorgeous stone litho poster to one of the classics of Universal horror. One of only a small handful of this style poster known to exist! By 1933 Universal Studios had scored a tremendous success with their push into the horror arena with films based on classics such as Dracula (1931) and Frankenstein (1931), both relying on horrific makeup and gore. With The Invisible Man they turned their eye toward special effects as the fright factor in this glorious adaptation of the H. G. Wells novel. The studio brought in the director who made the “Frankenstein Monster” so exciting, James Whale. He brought to the horror film a tongue-in-cheek element which almost 85 years after the film’s release makes it so very enjoyable. Claude Rains, who only appears on camera briefly in the film but whose voice is the epitome of pure evil, is brilliant in the role of a scientist whose work drives him mad. Yet it is the special effects that are the stars of this film. Though appearing somewhat primitive by today’s CGI standards one can only imagine the jaw-dropping impact the effects of wizard John Fulton and his team produced in 1933. This beautiful poster has been professionally conserved. The stone litho one sheet no longer shows some slight fold wear and separation, a few very minor chips, small tears, and bits of surface wear above the studio text at the bottom. There has been professional touchup applied to parts of the borders, some of which shows small cracks. The poster shows a few thin mat shadows, from when it was once displayed. This is a once in a lifetime opportunity to get this magnificent image.

Steuben
vase
Corning, NY
acid cut back glass
11.5″h x 8″dia

Provenance:June and Larry Greenwald collection

Condition:

Minor flakes to high points of body which is normal with this technique. Very nice surface iridescence. Overall very good original condition. Striking art deco design.