DOCSLIB.ORG

435. Miniature Pre-Classic Figure Mexico. Ca. 800-400 B.C. 2-1/4”H

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
435. Miniature Pre-Classic Figure Mexico. Ca. 800-400 B.C. 2-1/4”H 435. Miniature Pre-Classic Figure 436. Chupicuaro Pretty Lady Figure Mexico. Mexico. Ca. 800-400 B.C. Ca. 400-100 B.C. 2-1/4”H. 3-3/8”H. Ex. collection of Jules Berman, (Kahula fame), acquired in the 1950s. Ex. Corinna Reichel collection, NYC., acquired early 1970s. Natural buff solid pottery seated figure with hands held on legs. Wearing a Solid buff pottery, female figure having large, slanted eyes and a doulbe high hairdo with applied striated front ring, wearing ear spools. Perforated lobed hairdo. She holds her hands to her belly, bears exposed genitalia through the center of the ring for suspension. Scattered surface and min- and wears an applique necklace. Right leg glued, else intact. Lucite cube eral deposits, intact. base. Est. $200-$300 Est. $300-$500 Closing: Tuesday, December 3rd, 11:00 A.M. Closing: Tuesday, December 3rd, 11:01 A.M. 438. Mezcala Stone Figures (7) Guerrero, Mexico. 437. Four Mezcala Heads (4) Ca. 400 B.C. Guerrero, Mexico. 2-3/8” to 4-3/4”H. Ca. 400 B.C. From the estate collection of Helena and Ladislas Segy, NYC., acquired 2-1/4” to 2-7/8”H. 1950s - 80s. From the estate collection of Helena and Ladislas Segy, NYC., acquired Group of seven carved stone standing figures. The tallest is depicted with 1950s - 80s. a swollen stomach, probably indicating pregnancy. A medium green-black Four different carved hardstone head pendants, all perforated at the top speckled hardstone example with round breasts. Together with five ad- for suspension. All of various types having simple carved and drilled facial ditional examples of various types, two having Olmecoid influence. The features. The example with drilled eyes, has scattered edge and chin chips, largest example has an ancient chip on her right front leg, otherwise all are otherwise others are intact. All mounted on old wood bases. intact. Individually mounted on old wooden bases. Est. $700-$1,000 Est. $700-$1,000 Closing: Tuesday, December 3rd, 11:02 A.M. Closing: Tuesday, December 3rd, 11:03 A.M. 439. Six Mezcala Carvings (6) Guerrero, Mexico. Ca. 400 B.C. 440. Group of Small Penate and Camawillie (6) 1-1/8”H. to 2-3/8”H. Mexico. From the estate collection of Helena and Ladislas Segy, NYC., acquired Ca. 400 B.C. 1950s - 80s. 2”H. to 2-3/4”H. Group of six various stone carvings including a classic standing figure with From the estate collection of Helena and Ladislas Segy, NYC., acquired squared shoulders and angular features. Weathered surface otherwise in- 1950s - 80s. tact. A face pendant with semi-abstract angular features. Perforated for Group of six small carved stone figures including a classic type penate suspension, intact. Upper portion of a slab figure, holding both hands to and five additional standing figures. One of the standing figures has some his chin, perforated eyes and mouth. A small penate seated figure, intact. ancient loss to the left leg, otherwise all are intact. Individually mounted on Fragmentary pendant front having a relief carved face. Finally, a small tooth old wooden block bases. shape pendant having a simply carved face. Intact. All individually mounted Est. $700-$1,000 on old wood block bases. Closing: Tuesday, December 3rd, 11:05 A.M. Est. $500-$800 Closing: Tuesday, December 3rd, 11:04 A.M. 442. Three Mezcala Jadeite Beaded Necklaces Guerrero, Mexico. Ca. 400-100 B.C. 441. Group of Small Penates and Camawillies (7) 17”, 17” & 18” open. Mexico. Private PA. collection, acquired 45 years ago. Ca. 400 B.C. Three different single strand necklaces including one composed of forty- 1-7/8”H. to 2-5/8”H. three speckled green jadeite beads having a large round bead in the center, From the estate collection of Helena and Ladislas Segy, NYC., acquired various round and cylindrical beads in graduated sizes. Together with a 1950s - 80s. necklace composed of thirty speckled green jadeite beads, with larger ball Group of seven different carved stone figures including five penate types and tubular examples. Finally, a necklace composed of mostly round car- and two camawillie types. One with some ancient loss to the face, other- nelian and speckled jadeite beads, interspersed with fourteen silver shell wise all are intact. Individually mounted on old wood block bases. and floral type pendant beads. All modern strung with silver clasps. Est. $500-$800 Est. $800-$1,200 Closing: Tuesday, December 3rd, 11:06 A.M. Closing: Tuesday, December 3rd, 11:07 A.M. 443. Large Chupicuaro Polychromed Bowl 444. Chupicuaro Polychromed Bowl and Chalice (2) Chupicuaro, Mexico. Chupicuaro, Mexico. Ca. 400-100 B.C. Ca. 400-100 B.C. 10-1/4”D., 4-7/8”H. 6-3/4”D., 2-7/8”H. & 5-3/8”D., 4-3/8”H. Private midwest collection. Private Midwest collection. Large pottery polychrome decorated bowl having a wide exterior band of Two polychrome decorated pottery examples including a bowl and a funnel geometric zigzag decoration. Strong scattered mineral deposits on the sur- form footed chalice. Both have exterior bands of zigzag decoration. The face. Scattered spots of paint loss, mostly on the exterior band and a sta- bowl has some glaze loss and chipping on the rim, otherwise intact. The bilized hairline in the side wall, otherwise intact. chalice has several chips on the foot rim, otherwise intact. Est. $700-$1,000 Est. $800-$1,200 Closing: Tuesday, December 3rd, 11:08 A.M. Closing: Tuesday, December 3rd, 11:09 A.M. 445. Two Nayarit Figures 446. Jalisco Figure and Mezcala Monkey (2) Nayarit, Mexico. Guerrero and Jalisco, Mexico. Ca. 100 B.C. - 200 A.D. Ca. 400 B.C. - 250 A.D. 4-1/2” & 8-1/8”H. 6-3/4”H. & 2-1/2”H. Ex. collection of Dr. Peter Takacs, NY, acquired from Norman Lane, 1980s Private PA. collection, acquired 45 years ago. - 90s. Including a Mezcala carved black stone seated monkey. Perforated at the Both are hollow orangeware seated figures. The larger exhibits a Chinesco top for suspension. Missing the upper tail curl, otherwise intact. Together influence with elongated head, incised ear ornaments, and applied multi with a Jalisco standing female figure having a white slip surface with a few ring type arms. Scattered mineral deposits on the surface. A minor loss to scattered traces of red-brown painted details. Loss to the left tip of foot and the arm, otherwise intact. Together with a small seated figure holding her left hand reattached, small chips on her left ear, otherwise intact. Glued on right arm to the back of her head. Intact. a lucite block base. Est. $600-$900 Est. $500-$800 Closing: Tuesday, December 3rd, 11:10 A.M. Closing: Tuesday, December 3rd, 11:11 A.M. 448. Colima & Partial Michoacan Figure (2) 447. Two Jalisco Pottery Figures Colima, Mexico. Jalisco, Mexico. Ca. 100 B.C.-250 A.D. Ca. 100 B.C. - 250 A.D. 5-3/4”H. & 4-1/4”H. 8” & 7-1/4”H. Private San Francisco, CA. collection, acquired 1960s from Harald J. Private Miami collection, ex. Venezuelan collection, acquired 1960s. Wagner, CA., to current owner by inheritance. Both are hollow pottery examples having short outstretched arms and elon- Both are pottery examples including a Colima standing figure holding his gated heads and wearing headdresses. Tan surface ground with painted erect penis, wearing a disc type helmet with a chin strap. Some remaining reddish-orange details. Both have some minor chips on the headdress ocher surface pigment, scattered mineral deposits and root marks. Front tip spouts, otherwise intact, overall exc. cond. Custom black lucite bases. of left foot reattached and a chip on the front rim of headdress, otherwise Est. $750-$1,000 intact. Together with a Michoacan fragmentary figure wearing an elaborate Closing: Tuesday, December 3rd, 11:12 A.M. necklace and ear ornaments. Missing both lower legs and left arm. Est. $300-$400 Closing: Tuesday, December 3rd, 11:13 A.M. 449. Nayarit Standing Figure 450. Michoacan Decorated Olla Ixtlan del Rio, Nayarit, Mexico. Mexico. Ca. 100 B.C.-250 A.D. Post-classic, ca. 800-1200 A.D. 7-1/2”H. 5”H. Private San Francisco, CA. collection, acquired 1960s from Harald J. Private San Francisco, CA. collection, acquired 1960s from Harald J. Wagner, CA., to current owner by inheritance. Wagner, CA., to current owner by inheritance. Small red-brown pottery standing male figure wearing a conical hat with a Small brownware pottery olla intricately decorated with a fine-ine applied thick brim, large ear ornaments and a hook type nose ornament. Holding a relief decoration depicting seated chiefs and attendants wearing elaborate rattle and a fan in his hands. Black painted details and highlights, scattered costumes and animals. Upper shoulder and necks bands of geometric dec- mineral deposits on the surface. Nose ornament restored and top of fan oration. A few remaining traces of surface pigment and scattered mineral reattached, otherwise intact. deposits. Intact. A lovely example of a rare technique. Est. $750-$1,000 Est. $600-$900 Closing: Tuesday, December 3rd, 11:14 A.M. Closing: Tuesday, December 3rd, 11:15 A.M. 451. Veracruz Carved Rattling Bowl Veracruz, Mexico. Ca. 600-900 A.D. 7-7/8”D. x 3-3/8”H. 452. Aztec Standing Chief Private San Francisco, CA. collection, acquired 1960s from Harald J. Mexico. Wagner, CA., to current owner by inheritance. Ca. 1000-1425 A.D. Grayware pottery bowl having a flared rim. Decorated with an exterior 9”H. carved wide band of stepped elements. Rattle incorporated in the base of Private San Francisco, CA.
Load more

Recommended publications
  • 7 Great Pottery Projects
    ceramic artsdaily.org 7 great pottery projects | Second Edition | tips on making complex pottery forms using basic throwing and handbuilding skills This special report is brought to you with the support of Atlantic Pottery Supply Inc. 7 Great Pottery Projects Tips on Making Complex Pottery Forms Using Basic Throwing and Handbuilding Skills There’s nothing more fun than putting your hands in clay, but when you get into the studio do you know what you want to make? With clay, there are so many projects to do, it’s hard to focus on which ones to do first. So, for those who may wany some step-by-step direction, here are 7 great pottery projects you can take on. The projects selected here are easy even though some may look complicated. But with our easy-to-follow format, you’ll be able to duplicate what some of these talented potters have described. These projects can be made with almost any type of ceramic clay and fired at the recommended temperature for that clay. You can also decorate the surfaces of these projects in any style you choose—just be sure to use food-safe glazes for any pots that will be used for food. Need some variation? Just combine different ideas with those of your own and create all- new projects. With the pottery techniques in this book, there are enough possibilities to last a lifetime! The Stilted Bucket Covered Jar Set by Jake Allee by Steve Davis-Rosenbaum As a college ceramics instructor, Jake enjoys a good The next time you make jars, why not make two and time just like anybody else and it shows with this bucket connect them.
    [Show full text]
  • Inkjet Printing-A Revolutionary Ecofriendly Technique for Textile Printing
    Indian Journal of Fibre & Textile Research Vol. 26. March-June 2001. pp. 156-161 Inkjet printing-A revolutionary ecofriendly technique for textile printing Sanjay Gupta" National In stitute of Fash ion Technology. Hauz Khas, Ne w Dcl hi 110016, India Some of thc aspects of inkjct or di gital printing, such as com pari son bctwecn conventional and di gita l printing. di git al printing systcms, suitablc inks bascd on dyes and pi gments, colour man agc ment software, application and iuture scope of digit al printing, arc brieny discussed in view of the demand-activated manufac turing architect to satisfy th e chan gin g fa shi on trends and new market requ irements. Keywords: Inkjet printing, Rotary scrcen printing, Textile printing 1 Introduction has been pushing the print production towards th e In ITMA 1999, an array of diffe rent technologies developing countries. As a result, Far East has the fo r di gital printing on fabric was presented. Though major share of 50% with the USA hav ing only II % the idea had been around for nearly IS years, it was and the EU, 15 %. A major reason for thi s shift is th e not until now th at equipment adequate enough for long, polluting and capital intensive nature of production on tex til es was show n. However, th e conventional tex tile printin g. Di gital printing has the 'different competing technologies th at were di splayed potential to reverse this trend. showed a lack of clear-cut direction and served onl y Changing fas hion trend s an d new market to confuse buyers, most of wh om were un exposed and requirements are also pushing th e dri ve for digital un ed ucated about the capabilities of these printing.
    [Show full text]
  • Woven Silks Glenna Teague North Carolina State University
    International Textile and Apparel Association 2014: Strengthening the Fabric of our Profession, (ITAA) Annual Conference Proceedings Association, Legacy and Friendships! Jan 1st, 12:00 AM Woven Silks Glenna Teague North Carolina State University Follow this and additional works at: https://lib.dr.iastate.edu/itaa_proceedings Part of the Fashion Design Commons Teague, Glenna, "Woven Silks" (2014). International Textile and Apparel Association (ITAA) Annual Conference Proceedings. 115. https://lib.dr.iastate.edu/itaa_proceedings/2014/design/115 This Event is brought to you for free and open access by the Conferences and Symposia at Iowa State University Digital Repository. It has been accepted for inclusion in International Textile and Apparel Association (ITAA) Annual Conference Proceedings by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Charlotte, North Carolina 2014 Proceedings Woven Silks Glenna Teague, North Carolina State University, USA Woven, Silk, Design, Innovative The purpose of this design was to create a modern looking garment by using a fusion of both new and old age textile and apparel design skills. Hand weaving is a lost art form that needs to be revived by students and young textile professionals, thus being part of the inspiration for this garment. Inspiration was also drawn from a colorful piece of artwork at the North Carolina Museum of Art. Frank Philip Stella’s Raqqa II is a fusion of bright, vibrant colors that seamlessly intertwine, following the curves and edges of the canvas. I believe that the shapes formed by the bands of color, mirror the shape of the model’s body because of the form fitting dress.
    [Show full text]
  • History of Weaving
    A Woven World Teaching Youth Diversity through Weaving Joanne Roueche, CFCS USU Extension, Davis County History of Weaving •Archaeologists believe that basket weaving and weaving were the earliest crafts •Weaving in Mesopotamia in Turkey dates back as far as 7000 to 8000 BC •Sealed tombs in Egypt have evidence of fabrics dating back as far as 5000 BC •Evidence of a weavers workshop found in an Egyptian tomb 19th Century BC •Ancient fabrics from the Hebrew world date back as early as 3000 BC History of Weaving (continued) •China – the discovery of silk in the 27th Century BCE •Swiss Lake Dwellers – woven linen scraps 5000 BCE •Early Peruvian textiles and weaving tools dating back to 5800 BCE •The Zapotecs were weaving in Oaxaca as early as 500 BC Weavers From Around the World Master weaver Jose Cotacachi in his studio in Peguche, Ecuador. Jose’s studio is about two and a half miles from Otavalo. Weavers making and selling their fabrics at the Saturday market in Otavalo, Ecuador. This tiny cottage on the small island of Mederia, Portugal is filled with spinning and weaving. Weavers selling their fabrics at an open market in Egypt. The painting depicts making linen cloth, spinning and warping a loom. (Painting in the Royal Ontario Museum.) Malaysian weavers making traditional Songket – fabric woven with gold or silver weft threads. A local Tarahumara Indian weaving on a small backstrap loom at the train station in Los Mochis. Weavers In Our Neighborhood George Aposhian learned Armenian pile carpets from his father and grandparents who immigrated to Salt Lake City in the early 1900’s.
    [Show full text]
  • Textile Printing
    TECHNICAL BULLETIN 6399 Weston Parkway, Cary, North Carolina, 27513 • Telephone (919) 678-2220 ISP 1004 TEXTILE PRINTING This report is sponsored by the Importer Support Program and written to address the technical needs of product sourcers. © 2003 Cotton Incorporated. All rights reserved; America’s Cotton Producers and Importers. INTRODUCTION The desire of adding color and design to textile materials is almost as old as mankind. Early civilizations used color and design to distinguish themselves and to set themselves apart from others. Textile printing is the most important and versatile of the techniques used to add design, color, and specialty to textile fabrics. It can be thought of as the coloring technique that combines art, engineering, and dyeing technology to produce textile product images that had previously only existed in the imagination of the textile designer. Textile printing can realistically be considered localized dyeing. In ancient times, man sought these designs and images mainly for clothing or apparel, but in today’s marketplace, textile printing is important for upholstery, domestics (sheets, towels, draperies), floor coverings, and numerous other uses. The exact origin of textile printing is difficult to determine. However, a number of early civilizations developed various techniques for imparting color and design to textile garments. Batik is a modern art form for developing unique dyed patterns on textile fabrics very similar to textile printing. Batik is characterized by unique patterns and color combinations as well as the appearance of fracture lines due to the cracking of the wax during the dyeing process. Batik is derived from the Japanese term, “Ambatik,” which means “dabbing,” “writing,” or “drawing.” In Egypt, records from 23-79 AD describe a hot wax technique similar to batik.
    [Show full text]
  • Technology in the Fashion Industry: Designing with Digital Media
    Lindenwood University Digital Commons@Lindenwood University Theses Theses & Dissertations Fall 8-2014 Technology in the Fashion Industry: Designing with Digital Media Adima Cope Follow this and additional works at: https://digitalcommons.lindenwood.edu/theses Part of the Fashion Design Commons TECHNOLOGY IN THE FASHION INDUSTRY: DESIGNING WITH DIGITAL MEDIA A Thesis Submitted to the Faculty of the Art and Design Department in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts at Lindenwood University By Adima Cope Saint Charles, Missouri August 2014 Cope 2 Abstract Title of Thesis: Technology in the Fashion Industry: Designing with Digital Media Adima Cope, Master of Fine Art, 2014 Thesis Directed by: Chajuana V. Trawick, Ph.D., Assistant Professor of Art and Design, Fashion Program Manager The fashion industry has advanced new technologies in the twenty-first century that has made producing apparel more cost effective with faster time-to-market capabilities and greatly reduced steps in the manufacturing process. The reasons for these improvements can be linked to new apparel computer-aided-design (CAD) technologies that have come about in the market as computers have advanced and grown in processing power and reduction in size since the 1980s. Computers are revolutionizing many industries and the way business is conducted in today’s modern workplace. The fashion industry has yet to convert all processes to digital means but advancements have been growing in popularity over the years and are certain to increase as the technologies available become better and more reliable. This raises the need for research to take place to survey the market and determine what types of software are available and the capabilities of the technologies.
    [Show full text]
  • “Direct Pattern on Loom”-An Innovative Method of Garment Construction
    Science ile & xt Ukey et al., J Textile Sci Eng 2013, 3:2 e E T n f g i DOI: 10.4172/2165-8064.1000131 o n l e a e n r r i n u Journal of Textile Science & Engineering g o J ISSN: 2165-8064 Research Article OpeOpen nAccess Access “Direct Pattern on Loom”-An Innovative Method of Garment Construction Pravin Ukey*, P V Kadole and Sarika Borikar Department of Textiles (Fashion Technology) DKTE’s Textile & Engineering Institute, Ichalkaranji, (M.S) India Abstract The impact of the fast fashion phenomenon is seen both in apparel and textile manufactures since the manufacturing time of apparels is considered as the most potential factor in reducing the overall time of the fashion cycle. In addition to the need for reduction in lead time, there is an increase in levels of quality expectations, resulting in higher cost of manufacture. Hence, in the present scenario, for high fashion garments, there is a need for technology which can minimize lead time and fabric losses, in addition to the production of garments as per the requirement of the customers in a short span of time. A DPOL (Direct Pattern on Loom) method for weaving fabric in the shape of garment panels (pieces) finished at the edges that could considerably reduce fabric loss and lead time is developed by using the electronic jacquard weaving machine. The main aim of the project is to study the feasibility of the production of Direct pattern on Loom especially on jacquard and to check the lead time required with conventional and this modern method.
    [Show full text]
  • Pottery Pieces Designed & Handmade in Our Ceramic Studios and Fired in Our Kilns
    GLAZES ACCESSORIES FOUNTAINS PLANTERS & URNS OIL JARS ORNAMENTAL PIECES BIRDBATHS INTRODUCTION TERY est. 1875 Gladding, McBean & Co. POT Over A Century Of Camanship In Clay INTRODUCTION artisan made This catalog shows the wide range of pottery pieces designed & handmade in our ceramic studios and fired in our kilns. These pieces are not only for the garden, but also for general use of decoration indoors and out. Gladding, McBean & Co. has been producing this pottery for 130 years. Its manufacture began in the earliest years of the company’s existence at a time when no other terra cotta plant on the Pacific Coast was attempting anything of the sort. Gladding, McBean & Co. therefore, has pioneered in pottery-making. The company feels that it has carried the art to an impressive height of excellence. In every detail but color the following photographs speak for themselves. Each piece is glazed in one of our beautiful proprietary glazes. A complete set of glaze samples can be seen at our retail showrooms. This pottery is on display at, and may be ordered from, any of the retail showrooms listed on our website at www.gladdingmcbean.com. In photographing the pieces, and in reproducing the photographs for this catalog, the strictist care was taken to make the pictures as faithful as possible to the objects themselves. We are confident that in every instance the pottery will be found lovelier than its picture. The poet might well have had this pottery in mind when he wrote: “A thing of beauty is a joy forever.” BIRDBATHS no. 1099 birdbath width: 15.5” height: 24.5” base: 10” Birdbath no.
    [Show full text]
  • Reflecting Noble Luxury and Refinement, New Lightweight Wool Materials Are of Key Interest to Designers, Retailers and Bespoke Tailors
    Reflecting noble luxury and refinement, new lightweight wool materials are of key interest to designers, retailers and bespoke tailors. Beyond demanding perfected fits and wool’s signature aesthetic, discerning consumers expect emotional, sensorial tactility in garments. Responding to luxury market demands, leading Italian and English spinners and weavers are introducing exclusive fine-micron yarns and fabrics, derived from rare Australian merino. Stylesight explores Baruffa Group’s finest wool yarns for first-class sweater knits, cut-and-sew jersey, and wovens. Vogue Australia December 2012 / Elizabeth Debicki in wool, on location at Haddon Rig, a Merino wool farm in New South Wales. With seductive, magnetic charm, lighter weight but often still densely constructed wovens and knits are key on men and women's runways and at textile trade shows. Wool—traditionally a winter fiber—evolves with cutting-edge superfine qualities from 150s and 180s up to 250s. Offering noble refinement and unique trans-seasonal possibilities, wool moves beyond its pastime connotations. Gossamer knits / Posh mesh / Lightweight jerseys / Dense, hefty yet lightweight wools Finest wool Fabrics F/W 13 Dormeuil Limited Edition - finest wool yarns Zegna Baruffa Lane Record Bale - finest wool fabric Loro Piana Borgosesia Finest wool Fabrics Taylor & Lodge Meticulous fiber selection from choice breeds, along with revolutionary spinning and weaving technologies, is core to new noble wool productions. Wools characterized by strength, elasticity, fluidity, low pilling and
    [Show full text]
  • Ch. 4. NEOLITHIC PERIOD in JORDAN 25 4.1
    Borsa di studio finanziata da: Ministero degli Affari Esteri di Italia Thanks all …………. I will be glad to give my theses with all my love to my father and mother, all my brothers for their helps since I came to Italy until I got this degree. I am glad because I am one of Dr. Ursula Thun Hohenstein students. I would like to thanks her to her help and support during my research. I would like to thanks Dr.. Maysoon AlNahar and the Museum of the University of Jordan stuff for their help during my work in Jordan. I would like to thank all of Prof. Perreto Carlo and Prof. Benedetto Sala, Dr. Arzarello Marta and all my professors in the University of Ferrara for their support and help during my Phd Research. During my study in Italy I met a lot of friends and specially my colleges in the University of Ferrara. I would like to thanks all for their help and support during these years. Finally I would like to thanks the Minister of Fournier of Italy, Embassy of Italy in Jordan and the University of Ferrara institute for higher studies (IUSS) to fund my PhD research. CONTENTS Ch. 1. INTRODUCTION 1 Ch. 2. AIMS OF THE RESEARCH 3 Ch. 3. NEOLITHIC PERIOD IN NEAR EAST 5 3.1. Pre-Pottery Neolithic A (PPNA) in Near east 5 3.2. Pre-pottery Neolithic B (PPNB) in Near east 10 3.2.A. Early PPNB 10 3.2.B. Middle PPNB 13 3.2.C. Late PPNB 15 3.3.
    [Show full text]
  • A Comparative Study of the Swennes Woven Nettle Bag and Weaving Techniques
    Karoll UW-L Journal of Undergraduate Research XII (2009) A Comparative Study of the Swennes Woven Nettle Bag and Weaving Techniques Amy Karol Faculty Sponsors: Dr. Connie Arzigian and Dr. David Anderson, Department of Sociology and Archaeology ABSTRACT During recent years, the Mississippi Valley Archaeology Center (MVAC) has acquired permission to look at a beautifully preserved bag from 47Lc84, a rockshelter located in La Crosse County, Wisconsin. The bag is tentatively dated to the Oneota cultural tradition (A.D. 1250-1650) based on pottery sherds associated with it. Nothing of its kind has been found archaeologically in this region before, owing mostly to poor preservation conditions. Due to its uniqueness, there is nothing to compare it to within the Oneota tradition. Therefore, to gain a better understanding of this bag, a cross-cultural study was undertaken. This paper examines separate sites in the American Midwest, as well as textile impressions that are preserved on pottery, the ethnohistoric and early historic record, and modern hand-weaving techniques to determine the textile tradition from which the bag may have emerged as well as how it was constructed. INTRODUCTION Textiles in the archaeological record are poorly preserved in the American Midwest. Only in very few sites are they actually found, and in even fewer are the fragments large enough to be studied in depth. Detailed studies conducted on textiles are not numerous. Lacking in these studies is a cross-cultural comparison of types and materials from sites that do have better preserved textiles to try and determine similarities and differences in textile manufacture.
    [Show full text]
  • Outdoor Pottery Sculpture in Ife Art School
    E-ISSN 2281-4612 Academic Journal of Interdisciplinary Studies Vol 4 No 3 ISSN 2281-3993 MCSER Publishing, Rome-Italy November 2015 Outdoor Pottery Sculpture in Ife Art School Moses Akintunde Akintonde1 Toyin Emmanuel Akinde2 Segun Oladapo Abiodun3 Michael Adeyinka Okunade4 1,2,3 Department of Fine and Applied Arts, Ladoke Akintola University of Technology, Ogbomoso, Nigeria 4Department of Fine Arts, Obafemi Awolowo University, Ile-Ife, Nigeria; [email protected] [email protected], [email protected], [email protected] Doi:10.5901/ajis.2015.v4n3p219 Abstract The rich public outdoor sculpture practice of the Southwest of Nigeria still lacks scientific and empirical experimentation of non- conventional material for the production of outdoor sculpture, particularly pottery images. Although scholarship on public outdoor sculpture in the Southwest of Nigeria is becoming steady in growth, yet a reconnaissance study of the pottery sculpture in art practice and historical perspective has not been made. A study of this type of art, erected in the garden of Ife art school is exigent and paramount now that many of the works are not being maintained. The study underscores the inherent values in the genre of the art; and examined pottery sculpture types, its uses in public sphere and its development in morphology, iconic thematic and stylistic expressions. The study observed that outdoor pottery sculptures are impressive, apparent in sculpture multiplicity of type and dynamics; it is rare in occurrence in Southwestern Nigeria. Keywords: Ife Art School; outdoor sculpture, pottery sculpture; handbuilt pottery; Yoruba pottery. 1. Introduction The praxes of outdoor sculpture in Nigeria, beginning from the first quarter of twentieth century presented different latitudes.
    [Show full text]