Provenance Information

Floyd L. Whittington (1910–1999), Camano Island, Washington, and Sun City, Arizona, {potentially ca. 1966-67 while Economic Counselor at the American Embassy in Korea}; Virginia and Bagley Wright, Seattle, Washington

Exhibition Information

None known

Publication Information

None known

Section of the AAMD Guidelines relied upon for the exception to 1970

Informed judgement that works were outside of the country of modern discovery before 1970

Explain why the object fits the exception set forth above

Based on the results of provenance research, as well as cumulative facts and circumstances, this Korean vessel was likely outside its country of origin by 1970. Research indicates that Floyd L. Whittington, a diplomat, collected while overseas during his time in Indonesia, Japan, and Korea. Whittington was appointed in Korea ca. 1966-67 as Economic Counselor at the American Embassy. Further provenance research will be ongoing, but the Seattle Art Museum can conclude, based on the aforementioned facts, that the work was likely purchased before 1970.

Provenance Information

[Possibly Merrin Gallery, New York]; Private Collection, New York; [Sotheby’s, New York, Pre-Columbian Art, Nov. 23, 1998, sale no. 7224, lot no. 22, reproduced]; purchased by Assen and Christine Nicolov, Seattle, Washington

Exhibition Information

None known

Publication Information

None known

Section of the AAMD Guidelines relied upon for the exception to 1970

Cumulative facts and circumstances

Explain why the object fits the exception set forth above

Today utilitarian and domestic objects such as textiles, wooden objects, and baskets—like this Tiwanaku basket—are rare because of the arid western Andean climate in which they were made. This coiled basket is an exceptionally well-preserved example. However, due to their materials and relatively low historical value, it is difficult to trace the provenance of such pieces. This basket cleared a search conducted by the Art Loss Register. The acquisition adds to the Seattle Art Museum’s collection of basketry from the Americas, and is the first basket in the Ancient Americas collection. It could be nicely shown with several of the museum’s Tiwanaku textile fragments, forging a connection between the two genres.

Provenance Information

Private collection, Belgium, possibly by the late 1950s; purchased by Samuel Pascasio, New York, by the early 1970s; [Alphonse Jax, New York], by the early 1970s; purchased by Assen and Christine Nicolov, Seattle, Washington, May 27, 2000

Exhibition Information

None known

Publication Information

None known

Section of the AAMD Guidelines relied upon for the exception to 1970

Informed judgement that works were outside of the country of modern discovery before 1970

Explain why the object fits the exception set forth above

Based on the results of provenance research, as well as cumulative facts and circumstances, this Aztec seated figure was outside its probable country of modern discovery (Mexico) by 1970. Per email correspondence with previous owner Alphonse Jax, the piece was purchased from Samuel Pascasio, who Jax remembers having documents confirming its placement in a private Belgian collection by the late 1950s. While there is no documentation to corroborate, photographs of the work received from Jax bear labels on their verso that indicate they were taken in Belgium. Further provenance research will be ongoing, but the Seattle Art Museum (SAM) can conclude, based on the aforementioned facts, that the work was likely in Belgium before 1970. This work cleared a search conducted by the Art Loss Register. SAM has in its collection a smaller example of an Aztec standing figure, representing a priest-follower of the god Tlaloc (god of fertility). Exhibited together, these works provide an opportunity to present visual components of complex Aztec cosmology and a range of stylistic variables in this art form.

Provenance Information

Collection of Paul Arany, New York, probably by the late 1960s; [Throckmorton Fine Art, Inc., New York]; purchased by Assen and Christine Nicolov, Seattle, Washington, Oct. 27, 1998

Exhibition Information

None known

Publication Information

None

Section of the AAMD Guidelines relied upon for the exception to 1970

Informed judgement that works were outside of the country of modern discovery before 1970

Explain why the object fits the exception set forth above

Based on the results of provenance research, this labret was outside its probable country of modern discovery (Mexico) by the late 1960s. Per email correspondence with Throckmorton Fine Art employee Dimitri Treantafilos, Spencer Throckmorton confirmed that this labret (plus eleven others) came to the gallery from the collection of Paul Arany, who collected them while working in Mexico for the oil industry during the 1960s, thus placing them outside their country of modern discovery before 1970. The labret cleared a search conducted by the Art Loss Register. The Seattle Art Museum’s collection includes a few pieces of adornment—ear spools, pendants, necklaces—but not labrets. With this acquisition the museum can look cross-culturally at the practice of wearing lip plugs and other bodily adornments.

Provenance Information

Collection of Paul Arany, New York, probably by the late 1960s; [Throckmorton Fine Art, Inc., New York]; purchased by Assen and Christine Nicolov, Seattle, Washington, Oct. 27, 1998

Exhibition Information

None known

Publication Information

None known

Section of the AAMD Guidelines relied upon for the exception to 1970

Informed judgement that works were outside of the country of modern discovery before 1970

Explain why the object fits the exception set forth above

Based on the results of provenance research, this labret was outside its probable country of modern discovery (Mexico) by the late 1960s. Per email correspondence with Throckmorton Fine Art employee Dimitri Treantafilos, Spencer Throckmorton confirmed that this labret (plus eleven others) came to the gallery from the collection of Paul Arany, who collected them while working in Mexico for the oil industry during the 1960s, thus placing them outside their country of modern discovery before 1970. The labret cleared a search conducted by the Art Loss Register. The Seattle Art Museum’s collection includes a few pieces of adornment—ear spools, pendants, necklaces—but not labrets. With this acquisition the museum can look cross-culturally at the practice of wearing lip plugs and other bodily adornments.

Provenance Information

Collection of Paul Arany, New York, probably by the late 1960s; [Throckmorton Fine Art, Inc., New York]; purchased by Assen and Christine Nicolov, Seattle, Washington, Oct. 27, 1998

Exhibition Information

None known

Publication Information

None known

Section of the AAMD Guidelines relied upon for the exception to 1970

Informed judgement that works were outside of the country of modern discovery before 1970

Explain why the object fits the exception set forth above

Based on the results of provenance research, this labret was outside its probable country of modern discovery (Mexico) by the late 1960s. Per email correspondence with Throckmorton Fine Art employee Dimitri Treantafilos, Spencer Throckmorton confirmed that this labret (plus eleven others) came to the gallery from the collection of Paul Arany, who collected them while working in Mexico for the oil industry during the 1960s, thus placing them outside their country of modern discovery before 1970. The labret cleared a search conducted by the Art Loss Register. The Seattle Art Museum’s collection includes a few pieces of adornment—ear spools, pendants, necklaces—but not labrets. With this acquisition the museum can look cross-culturally at the practice of wearing lip plugs and other bodily adornments.

Provenance Information

Collection of Paul Arany, New York, probably by the late 1960s; [Throckmorton Fine Art, Inc., New York]; purchased by Assen and Christine Nicolov, Seattle, Washington, Oct. 27, 1998

Exhibition Information

None known

Publication Information

None known

Section of the AAMD Guidelines relied upon for the exception to 1970

Informed judgement that works were outside of the country of modern discovery before 1970

Explain why the object fits the exception set forth above

Based on the results of provenance research, this labret was outside its probable country of modern discovery (Mexico) by the late 1960s. Per email correspondence with Throckmorton Fine Art employee Dimitri Treantafilos, Spencer Throckmorton confirmed that this labret (plus eleven others) came to the gallery from the collection of Paul Arany, who collected them while working in Mexico for the oil industry during the 1960s, thus placing them outside their country of modern discovery before 1970. The labret cleared a search conducted by the Art Loss Register. The Seattle Art Museum’s collection includes a few pieces of adornment—ear spools, pendants, necklaces—but not labrets. With this acquisition the museum can look cross-culturally at the practice of wearing lip plugs and other bodily adornments.

Provenance Information

Collection of Paul Arany, New York, probably by the late 1960s; [Throckmorton Fine Art, Inc., New York]; purchased by Assen and Christine Nicolov, Seattle, Washington, Oct. 27, 1998

Exhibition Information

None known

Publication Information

None known

Section of the AAMD Guidelines relied upon for the exception to 1970

Informed judgement that works were outside of the country of modern discovery before 1970

Explain why the object fits the exception set forth above

Based on the results of provenance research, this labret was outside its probable country of modern discovery (Mexico) by the late 1960s. Per email correspondence with Throckmorton Fine Art employee Dimitri Treantafilos, Spencer Throckmorton confirmed that this labret (plus eleven others) came to the gallery from the collection of Paul Arany, who collected them while working in Mexico for the oil industry during the 1960s, thus placing them outside their country of modern discovery before 1970. The labret cleared a search conducted by the Art Loss Register. The Seattle Art Museum’s collection includes a few pieces of adornment—ear spools, pendants, necklaces—but not labrets. With this acquisition the museum can look cross-culturally at the practice of wearing lip plugs and other bodily adornments.

Provenance Information

Collection of Paul Arany, New York, probably by the late 1960s; [Throckmorton Fine Art, Inc., New York]; purchased by Assen and Christine Nicolov, Seattle, Washington, Oct. 27, 1998

Exhibition Information

None known

Publication Information

None known

Section of the AAMD Guidelines relied upon for the exception to 1970

Informed judgement that works were outside of the country of modern discovery before 1970

Explain why the object fits the exception set forth above

Based on the results of provenance research, this labret was outside its probable country of modern discovery (Mexico) by the late 1960s. Per email correspondence with Throckmorton Fine Art employee Dimitri Treantafilos, Spencer Throckmorton confirmed that this labret (plus eleven others) came to the gallery from the collection of Paul Arany, who collected them while working in Mexico for the oil industry during the 1960s, thus placing them outside their country of modern discovery before 1970. The labret cleared a search conducted by the Art Loss Register. The Seattle Art Museum’s collection includes a few pieces of adornment—ear spools, pendants, necklaces—but not labrets. With this acquisition the museum can look cross-culturally at the practice of wearing lip plugs and other bodily adornments.

Provenance Information

Collection of Paul Arany, New York, probably by the late 1960s; [Throckmorton Fine Art, Inc., New York]; purchased by Assen and Christine Nicolov, Seattle, Washington, Oct. 27, 1998

Exhibition Information

None known

Publication Information

None known

Section of the AAMD Guidelines relied upon for the exception to 1970

Informed judgement that works were outside of the country of modern discovery before 1970

Explain why the object fits the exception set forth above

Based on the results of provenance research, this labret was outside its probable country of modern discovery (Mexico) by the late 1960s. Per email correspondence with Throckmorton Fine Art employee Dimitri Treantafilos, Spencer Throckmorton confirmed that this labret (plus eleven others) came to the gallery from the collection of Paul Arany, who collected them while working in Mexico for the oil industry during the 1960s, thus placing them outside their country of modern discovery before 1970. The labret cleared a search conducted by the Art Loss Register. The Seattle Art Museum’s collection includes a few pieces of adornment—ear spools, pendants, necklaces—but not labrets. With this acquisition the museum can look cross-culturally at the practice of wearing lip plugs and other bodily adornments.