Provenance Information

By 20 May 1970, Alan C. Lapiner, New York; 20 May 1970-2018, private New York collection (object #149)

Exhibition Information

Long-term loan, PUAM (L.1990.34.3)

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, the Princeton University Art Museum can make an informed judgment that the object was outside its probable country of modern discovery before 14 November 1970. The collector maintained a sequential inventory of their collection with the year of each acquisition specified. The accuracy of the list is demonstrated by a number of works in the inventory that were either published in other collections prior to the collector’s acquisition date or published or exhibited shortly after the acquisition, in each instance with the appropriate ownership history documented. According to the inventory, the collector acquired this work on 20 May 1970 from Alan C. Lapiner, a New York art dealer.

Provenance Information

By 20 May 1970, Alan C. Lapiner, New York; 20 May 1970-2018, private New York collection (object #149)

Exhibition Information

Long-term loan, PUAM (L.1990.34.4)

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, the Princeton University Art Museum can make an informed judgment that the object was outside its probable country of modern discovery before 14 November 1970. The collector maintained a sequential inventory of their collection with the year of each acquisition specified. The accuracy of the list is demonstrated by a number of works in the inventory that were either published in other collections prior to the collector’s acquisition date or published or exhibited shortly after the acquisition, in each instance with the appropriate ownership history documented. According to the inventory, the collector acquired this work on 20 May 1970 from Alan C. Lapiner, a New York art dealer.

Provenance Information

Reportedly collection of Dr. Franz Ebstein until 1968 ; Ernst Barash (New York, 1968-2017) ; [ David Bernstein Pre-Columbian Art by 2017]

Exhibition Information

None

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

This work was reportedly in the collections of Dr. Franz Ebstein and Ernst Barash before 1970, but the Metropolitan Museum has not been able to independently verify this information. Dr. Ebstein was a collector of pre-Columbian art in the 1960s. Although this work was not included he is among the lenders to is a 1969 exhibition Selections from Private Collections at the Museum of Primitive Art in New York. Before Dr. Ebstein’s death in 1977, Mr. Barash acquired much of his collection, including this work. A photographic slide of the work that is automatically time stamped 1968 with a Kodak logo of that era also suggests that the work was in an American collection by that date.
 

Provenance Information

Collection of Dr. and Mrs. Ernest Barash, by 1985 to 2016; Gift of Dr. and Mrs. Ernest Barash to The Metropolitan Museum of Art, 2016.

Exhibition Information

On loan to The Metropolitan Museum of Art and in display in 1985. The work was subsequently returned to its owner until 1995, when it was exhibited in Ancient Peruvian Mantles, 300 B.C.-A.D. 200, at The Metropolitan Museum of Art, from February 24, 1995 to August 13, 1995. After the exhibition, the work was converted into a long-term loan and has remained on view in Gallery 357.

Publication Information

Frame, Mary. 1995, Ancient Peruvian Mantles, 300 B.C.-A.D. 200. New York, The Metropolitan Museum of Art. Cat. 6.

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

This work has provenance confirmed to 1985, when it was first placed on temporary loan at The Metropolitan Museum of Art. The work was again exhibited, and published, as part of a Metropolitan Museum special exhibition in 1995, and it has remained on long term loan at the Metropolitan since that time. The Metropolitan’s collections are strong in South Coast textiles, both from the Paracas cultures and later Ica featherworks. The Metropolitan has no textile false faces in its collection, and this gift fills an important gap in the Metropolitan’s display of South Coast art.

Provenance Information

Before 1978, father of Joseph Espinoza, Brazil; 1978, by descent to his son, Joseph Espinoza, Toronto, Canada; between 2004 and 2007, sold by Espinoza to Arte Xibalba, Osprey, Florida; 2007, sold by Arte Xibalba to Douglas Deihl, Northampton, Massachusetts; 2010, gift of Deihl to the MFA. (Accession Date: September 22, 2010)

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

It is likely, but not documented, that Espinoza's father acquired this in Brazil in the 1950s or 1960s, when he built up his collection.

Provenance Information

In the collection of Mr. and Mrs. Morris A. Long of Colorado since the 1980's.

Exhibition Information

None known prior to DAM acquisition.

Publication Information

None known prior to DAM acquisition.

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

The Denver Art Museum's encyclopedic pre-Columbian collection includes several Paracas ceramics, but only a few Paracas textiles. This tradition is especially well known for beautifully colored, elaborately embroidered sets of garments, often decorated with images of supernatural beings. Most Paracas textiles entered the market in the first half of the twentieth century, but this specific object cannot be documented before the 1980's. Its acquisition by the Denver Art Museum will help the public appreciate the artistic and technical mastery of the ancient Andean weaving tradition.