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

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

c. 1961/before c. 1975 – 2008 collection of Thomas Carroll (b. 1919), Chevy Chase, MD (acquired in Latin America while stationed with the Food and Agriculture Organization, UN (1958-1961) or while working on assignment with the Inter-American Development Bank (1961-1984)); 2008 collection of Herbert F. Johnson Museum of Art, Cornell University, Ithaca (gift of Thomas Carroll)

Exhibition Information

Herbert F. Johnson Museum of Art, Cornell University, Ithaca, A New World: Pre-Columbian Art from the Carroll Collection, March 29 – June 15, 2008

Publication Information

Scott, John F. and Laura Johnson-Kelly. A New World: Pre-Columbian Art from the Carroll Collection [an exh. cat.]. (Ithaca: Herbert F. Johnson Museum of Art, Cornell University, 2008); ref. p. 139, color illus. p. 139, cat. no. 236.

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

The donor pledged part of his collection, including this object, to the museum prior to 2008, as per correspondence between the donor and the museum dated 2005, on file. The object was acquired by the donor between the 1960s and early 1970s, while stationed in or on assignment to Latin America.

Provenance Information

Throckmorton Fine Art, New York [date and mode of acquisition unknown]; John G. Bourne, August 11, 2001, by purchase; given to John G. Bourne Foundation, 2001 [1]; given to Walters Art Museum, 2013.

Exhibition Information

Exploring Art of the Ancient Americas: The John Bourne Collection Gift. The Walters Art Museum, Baltimore; Albuquerque Museum of Art & History; Frist Center for the Visual Arts, Nashville. 2012-2013.

Publication Information

Reents-Budet, Dorie. Exploring art of the ancient Americas: The

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

Communications between the Walters Art Museum and the donor of this gift / promised gift began in April 2005.

Provenance Information

Economos Works of Art [date and mode of acquisition unknown]; John G. Bourne, 1990s, by purchase; given to Walters Art Museum, 2013.

Exhibition Information

No known exhibitions.

Publication Information

Reents-Budet, Dorie. Exploring art of the ancient Americas: The John Bourne Collection. Baltimore: Walters Art Museum, 2012.

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

Communications between the Walters Art Museum and the donor of this promised gift began in April 2005.