Provenance Information

Ex coll. William (1920-2002) and Carol (1921-2019) Thibadeau, Atlanta, Georgia, purchased 1968.

Exhibition Information

Seeing with New Eyes: Pre-Columbian Art from the Thibadeau Collection, Emory University Museum of Art and Archaeology, March 4 - October 13, 1992
MCCM Permanent Collection Galleries, May 11, 1993 - 2001
MCCM Permanent Collection Reinstallation, September 13, 2002 - June 2012
MCCM Permanent Collection Reinstallation, February 9, 2013 - Present

Publication Information

Rebecca Stone-Miller, Seeing With New Eyes: Highlights of the Michael C. Carlos Museum Collection of Art of the Ancient Americas (Atlanta: Michael C. Carlos Museum, 2002), 160-61, figure 388.
Rebecca Stone, The Jaguar Within: Shamanic Trance in Ancient Central and South American Art (Austin: University of Texas Press, 2011), 144, figure 6.17.
Laura M. Wingfield, "Greenstone Axe to Gold Eagle Pendant: The Sex Change of Costa Rica's Symbol of National Pride," in Dressing the Part: Power, Dress, Gender, and Representation in the Pre-Columbian Americas, ed. Sarahh E.M. Scher and Billie J.A. Follensbee (Gainesville: University Press of Florida, 2017), 326, figure 9.1.

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

Gift or bequest expected or on loan prior to 2008

Explain why the object fits the exception set forth above

Acquired by museum in 1991.

Provenance Information

Ex coll. William (1920-2002) and Carol (1921-2019) Thibadeau, Atlanta, Georgia, purchased from Enrique Vargas (Enrique Vargas Alfaro) (1915-2008), San Jose, Costa Rica, November 1983.

Exhibition Information

Seeing with New Eyes: Pre-Columbian Art from the Thibadeau Collection Emory University Museum of Art and Archaeology, March 4 - October 13, 1992
MCCM Permanent Collection Galleries, May 11, 1993 - 2001
MCCM Permanent Collection Reinstallation, September 13, 2002 - June 2012
MCCM Permanent Collection Reinstallation, February 9, 2013 - March 18, 2019
MCCM Permanent Collection Galleries, July 2, 2019 - Present

Publication Information

Rebecca Stone-Miller, Seeing With New Eyes: Highlights of the Michael C. Carlos Museum Collection of Art of the Ancient Americas (Atlanta: Michael C. Carlos Museum, 2002), 160-61, figure 385.
Michael C. Carlos Museum: Highlights of the Collections (Atlanta: Michael C. Carlos Museum, 2011), 75.
Rebecca Stone, The Jaguar Within: Shamanic Trance in Ancient Central and South American Art (Austin: University of Texas Press, 2011), 144, figure 6.18.
Laura M. Wingfield, "Greenstone Axe to Gold Eagle Pendant: The Sex Change of Costa Rica's Symbol of National Pride," in Dressing the Part: Power, Dress, Gender, and Representation in the Pre-Columbian Americas, ed. Sarahh E.M. Scher and Billie J.A. Follensbee (Gainesville: University Press of Florida, 2017), 326, figure 9.1.

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

Gift or bequest expected or on loan prior to 2008

Explain why the object fits the exception set forth above

Acquired by museum in 1991.

Provenance Information

Ex coll. William (1920-2002) and Carol (1921-2019) Thibadeau, Atlanta, Georgia, purchased from Enrique Vargas (Enrique Vargas Alfaro) (1915-2008), San Jose, Costa Rica, November 20, 1980.

Exhibition Information

MCCM Permanent Collection Galleries, May 11, 1993 - September 1994;
MCCM Permanent Collection Reinstallation, September 13, 2002 - June 2012;
'For I am the Black Jaguar': Shamanic Visionary Experience in Ancient American Art, Michael C. Carlos Museum, September 5, 2012 - January 5, 2013;
MCCM Permanent Collection Reinstallation, February 9, 2013 - February 6, 2017;
MCCM Permanent Collection Gallery, February 13, 2017 - March 13, 2019;
MCCM Permanent Collection Galleries, July 2, 2019 - Present

Publication Information

Michael C. Carlos Museum Handbook (Atlanta: Michael C. Carlos Museum, 1996), 83.;
Rebecca Stone-Miller, Seeing With New Eyes: Highlights of the Michael C. Carlos Museum Collection of Art of the Ancient Americas (Atlanta: Michael C. Carlos Museum, 2002), 167, figure 396.;
Michael C. Carlos Museum: Highlights of the Collections (Atlanta: Michael C. Carlos Museum, 2011), 76.;
"Engaging the New: the Creative Tradition of the Modern Guna Cutwork Blouse Panel (Dulemola)," Threads of Time: Tradition and Change in Indigenous American Textiles, 2017, http://threads-of-time.carlos.emory.edu/exhibits/show/essays/engagingnew.

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

Gift or bequest expected or on loan prior to 2008

Explain why the object fits the exception set forth above

Gifted to museum in 1990.

Provenance Information

Ex coll. William (1920-2002) and Carol (1921-2019) Thibadeau, Atlanta, Georgia, purchased July from Kenneth Klassen, Burnaby, British Columbia, July 22, 1983.

Exhibition Information

Seeing with New Eyes: Pre-Columbian Art from the Thibideau Collection, Emory University Museum of Art and Archaeology, March 4 - October 13, 1992;
MCCM Permanent Collection Galleries, May 11, 1993 - 2001;
MCCM Permanent Collection Reinstallation, September 13, 2002 - June 2012;
MCCM Permanent Collection Reinstallation, February 9, 2013 - February 6, 2017;
MCCM Permanent Collection Gallery, February 13, 2017 - March 13, 2019;
MCCM Permanent Collection Galleries, July 2, 2019 - April 6, 2025

Publication Information

Karen M. O'Day, "Preserved Permeability: A Study of the Formal Rule System of the Conte and Macarcas Styles of Polychrome Ceramics from the Central Region of Ancient Panama" (MA thesis, Emory University, 1996), plate 20.;
Rebecca Stone-Miller, Seeing With New Eyes: Highlights of the Michael C. Carlos Museum Collection of Art of the Ancient Americas (Atlanta: Michael C. Carlos Museum, 2002), 171, figure 409.

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

Gift or bequest expected or on loan prior to 2008

Explain why the object fits the exception set forth above

Gifted to museum in 1990.

Provenance Information

Ex coll. William (1920-2002) and Carol (1921-2019) Thibadeau, Atlanta, Georgia, by September 1982 or purchased November 1983.

Exhibition Information

MCCM Permanent Collection Galleries, May 11, 1993 - September 1994;
Intricate Explorations: Cocle Ceramics from the Permanent Collection, Michael C. Carlos Museum, September 24 - December 18, 1994;
MCCM Permanent Collection Reinstallation, September 13, 2002 - June 2012;
'For I am the Black Jaguar': Shamanic Visionary Experience in Ancient American Art, Michael C. Carlos Museum, September 5, 2012 - January 5, 2013;
MCCM Permanent Collection Reinstallation, February 9, 2013 - February 6, 2017

Publication Information

Mary W. Helms, Creations of the Rainbow Serpent: Polychrome Ceramic Designs from Ancient Panama (Albuquerque: University of New Mexico Press, 1995).;
Karen M. O'Day, "Preserved Permeability: A Study of the Formal Rule System of the Conte and Macarcas Styles of Polychrome Ceramics from the Central Region of Ancient Panama." (MA thesis, Emory University, 1996), plate 2.;
Rebecca Stone-Miller, Seeing With New Eyes: Highlights of the Michael C. Carlos Museum Collection of Art of the Ancient Americas (Atlanta: Michael C. Carlos Museum, 2002), 164, figure 390.;
Rebecca Stone, The Jaguar Within: Shamanic Trance in Ancient Central and South American Art. (Austin: University of Texas Press, 2011), 71, figure 4.1.

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

Gift or bequest expected or on loan prior to 2008

Explain why the object fits the exception set forth above

Gifted to museum in 1990.

Provenance Information

Sotheby's New York, May 13, 2011, lot 121; Paul and Alice Baker Collection, ca 1980s–90s; The Rubin-Ladd Foundation, to 2018; Yale University Art Gallery, New Haven, Conn.

Exhibition Information

N/A

Publication Information

"Jane Stevenson Day, Precolumbian Art from the Collection of Paul L. & Alice C. Baker, ed. Robert Yassin, exh. cat. (Tucson, Ariz.: Tucson Museum of Art, 1996), 43, no. 39, ill.

Sotheby's, New York, African, Oceanic and Pre-Columbian Art: Including Property from the Pierre and Tana Matisse Foundation, sale cat. (May 13, 2011), 21.;;""Acquisitions July 1, 2017–June 30, 2018,"" https://artgallery.yale.edu/sites/default/files/files/bulletin/Pub-Bull-acquisitions-2018.pdf (accessed December 1, 2018)."

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

In the Paul and Alice Baker Collection, ca. 1980-1990s

Provenance Information

From personal communication: Mr. Alan Grinnell purchased the object from individuals or dealers in Panama prior to 1982. No additional provenance information is reportedly available from Mr. Grinnell.

Exhibition Information

N/A

Publication Information

N/A

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

N/D

Explain why the object fits the exception set forth above

According to LACMA and AAMD guidelines, if the provenance of a proposed acquisition does not clearly indicate that the antiquity in question was outside its country of origin prior to 1970, the museum may determine to proceed with the acquisition based on an analysis of the benefits and risks, and in accordance with AAMD’s guidelines for the publication of the object and the provenance information known about it, with an explanation of the basis for the museum’s decision. Generally, LACMA believes that, absent evidence of looting or illegal export of any antiquities, but given incomplete provenance establishing that the objects were outside their source countries prior to 1970 and prior to any applicable foreign patrimony laws, it is in LACMA’s and the public interest to accept such objects for the purpose of bringing them into the public domain, caring for them and publishing them, both for scholarly purposes and for the purpose of providing notice to any party, including source countries, that may have a claim or information relating to the provenance of the objects.
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Provenance Information

From personal communication: Mr. Alan Grinnell purchased the object from individuals or dealers in Panama prior to 1982. No additional provenance information is reportedly available from Mr. Grinnell.

Exhibition Information

N/A

Publication Information

N/A

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

N/D

Explain why the object fits the exception set forth above

According to LACMA and AAMD guidelines, if the provenance of a proposed acquisition does not clearly indicate that the antiquity in question was outside its country of origin prior to 1970, the museum may determine to proceed with the acquisition based on an analysis of the benefits and risks, and in accordance with AAMD’s guidelines for the publication of the object and the provenance information known about it, with an explanation of the basis for the museum’s decision. Generally, LACMA believes that, absent evidence of looting or illegal export of any antiquities, but given incomplete provenance establishing that the objects were outside their source countries prior to 1970 and prior to any applicable foreign patrimony laws, it is in LACMA’s and the public interest to accept such objects for the purpose of bringing them into the public domain, caring for them and publishing them, both for scholarly purposes and for the purpose of providing notice to any party, including source countries, that may have a claim or information relating to the provenance of the objects.

Provenance Information

From personal communication: Mr. Alan Grinnell purchased the object from individuals or dealers in Panama prior to 1982. No additional provenance information is reportedly available from Mr. Grinnell.

Exhibition Information

N/A

Publication Information

N/A

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

N/D

Explain why the object fits the exception set forth above

According to LACMA and AAMD guidelines, if the provenance of a proposed acquisition does not clearly indicate that the antiquity in question was outside its country of origin prior to 1970, the museum may determine to proceed with the acquisition based on an analysis of the benefits and risks, and in accordance with AAMD’s guidelines for the publication of the object and the provenance information known about it, with an explanation of the basis for the museum’s decision. Generally, LACMA believes that, absent evidence of looting or illegal export of any antiquities, but given incomplete provenance establishing that the objects were outside their source countries prior to 1970 and prior to any applicable foreign patrimony laws, it is in LACMA’s and the public interest to accept such objects for the purpose of bringing them into the public domain, caring for them and publishing them, both for scholarly purposes and for the purpose of providing notice to any party, including source countries, that may have a claim or information relating to the provenance of the objects.

Provenance Information

From personal communication: Mr. Alan Grinnell purchased the object from individuals or dealers in Panama prior to 1982. No additional provenance information is reportedly available from Mr. Grinnell.

Exhibition Information

N/A

Publication Information

N/A

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

N/D

Explain why the object fits the exception set forth above

According to LACMA and AAMD guidelines, if the provenance of a proposed acquisition does not clearly indicate that the antiquity in question was outside its country of origin prior to 1970, the museum may determine to proceed with the acquisition based on an analysis of the benefits and risks, and in accordance with AAMD’s guidelines for the publication of the object and the provenance information known about it, with an explanation of the basis for the museum’s decision. Generally, LACMA believes that, absent evidence of looting or illegal export of any antiquities, but given incomplete provenance establishing that the objects were outside their source countries prior to 1970 and prior to any applicable foreign patrimony laws, it is in LACMA’s and the public interest to accept such objects for the purpose of bringing them into the public domain, caring for them and publishing them, both for scholarly purposes and for the purpose of providing notice to any party, including source countries, that may have a claim or information relating to the provenance of the objects.