Provenance Information

By 1993, private collection, Dallas, Texas; thence to Dallas Museum of Art (accession date: December 16, 2011).

Exhibition Information

DMA, September 1993 to May 2001; Los Angeles County Museum of Art, The Road to Aztlan: Art from a Mythic Homeland, May 13, 2001 to April 28, 2002; DMA, May 2002 through the present.

Publication Information

Barbara L. Moulard, Within the Underworld Sky: Mimbres Ceramic Art in Context (Pasadena, California: Twelvetrees Press, 1981), plate 26 (b/w) and text p. 119.

Virginia M. Fields and Victor Zamudio-Taylor, The Road to Aztlan: Art from a Mythic Homeland (Los Angeles: Los Angeles County Museum of Art, 2001), obj. no. 93.

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

This work was illustrated and described in a publication from 1981. It has been on display at the DMA since 1993, except for its loan in 2001 and 2002 to an exhibition at LACMA. This Mimbres bowl has enabled the DMA to show with an actual example the influence of ancient ceramic design (here the motif of repeated stylized feathers) on the work of 20th-century pueblo potters: Plate with radiating feather design, by María Martínez and Popoví Da from the 1960s (DMA accession number 1987.342.FA) and Jar with water serpent and feather motifsI, by Vangie Tafoya, c. 1993 (DMA accession number 1997.47).

Provenance Information

French private collection (reputedly the Compte de Pourtales, 1863-1949); thence to Krimitsas Gallery, Paris; thence c. 1970s to private French collection (Michel Cohen); thence late 1970s to Galerie A La Reine Margot, Paris; thence September 2007 to Royal-Athena Galleries, New York City; thence to Dallas Museum of Art (accession date: December 29, 2011).

ADDITIONAL INFORMATION: As of February 4, 2008, this krater was not listed with the Art Loss Register.

Exhibition Information

DMA, December 2011 through the present.

Publication Information

N/A

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

Although this work has provenance established to c. the 1970s and with good probability back to at least the 1940s, the DMA has been unable to substantiate details due to the death of several previous owners. The DMA does not have many red-figure vases, and only two others are Attic examples. This vase depicts a less-known episode in the early life of Helen (later Helen of Troy), which forms a very suitable inclusion among the prominence of female figures depicted in the DMA’s collection of ancient Mediterranean art.

Provenance Information

Reputedly in a private collection in Thailand by the mid-1990s; thence to John Eskenazi, Ltd., London; thence acquired by Dallas Museum of Art(accession date: June 9, 2011).

Exhibition Information

DMA, October 2011 through the present.

Publication Information

N/A

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

This work has provenance established to June 2011, when the DMA acquired it from John Eskenazi, Ltd., and probable provenance to the mid-1990s. This Shunga-Period vessel, in the style of excavations from Chandraketugarh, in what is now Bengal, shows an early form of the Hindu Great Goddess, or Sri Devi. It is rare in scale and quality. Texts from the Greco-Roman world indicate that the Chandraketugarh area was once a port important in trade between India and the Mediterranean. This vessel is thus significant to the DMA’s ability to exhibit objects linking the Greco-Roman West to the ancient cultures of south Asia, as well as representing a culture directly ancestral to those that produced the later Hindu sculptures displayed in the DMA’s south Asian galleries.

Provenance Information

Reputedly in the collection of the family of Elisabeth Maria Coebergh, the Netherlands, since 1980; thence consigned to Moonsail Ltd.; thence in 2009 to John Eskenazi, Ltd., London; thence acquired by Dallas Museum of Art (accession date: August 23, 2010).

ADDITIONAL INFORMATION: As of February 23 2010, not listed with Art Loss Register.

Exhibition Information

DMA, October 2010 through the present.

Publication Information

Bromberg, Anne R. The Arts of India, Southeast Asia, and the Himalayas at the Dallas Museum of Art. Dallas Museum of Art; New Haven: Yale University Press, 2013.

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

Provenance is reputedly clear to the 1980s. This piece has been exhibited at the DMA since October 2010. This is a superb, and rare, example of later Gandharan art from the Hadda region, a center of a distinctly beautiful school of Gandharan sculpture from the 4th to 6th centuries AD. The intense vitality of the bodhisattva’s pose is unusual among the more severe, upright, treatment of the figure common in Gandharan art, which is exemplified in other sculptures on display in the DMA's galleries. Gandharan pieces significantly illustrate the links between the arts of cultures represented in the Museum’s galleries of ancient Mediterranean and south Asian art.

Provenance Information

March 27, 1991, sold to private collection, New York, by Sotheby's, New York City, sale 6146, lot 160; thence gift to Dallas Museum of Art (accession date: April 26, 2010).

Exhibition Information

DMA, December 2002 through the present.

Publication Information

Bromberg, Anne R. The Arts of India, Southeast Asia, and the Himalayas at the Dallas Museum of Art. Dallas Museum of Art; New Haven: Yale University Press, 2013.

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 was on long-term loan to the DMA beginning in January 2007, prior to its acquisition in April 2010. The donor's intention to donate it dates from October 2007.

Provenance Information

Prior to 1970, collection of Mr. and Mrs. Paul E. Mannheim; thence on September 23, 2009, via Christie's, New York, sale 2195, lot 758, to private collection, New York City, from which acquired by Dallas Museum of Art (accession date: April 23, 2010).

Exhibition Information

DMA, October 2010 through the present.

Publication Information

Bromberg, Anne R. The Arts of India, Southeast Asia, and the Himalayas at the Dallas Museum of Art. Dallas Museum of Art; New Haven: Yale University Press, 2013.

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

Although this work’s provenance is established to before 1970, according to the Christie’s catalogue in which it was published in 2009, the DMA has not yet been able to substantiate the precise date of acquisition by Mr. and Mrs. Paul E. Manheim. This piece is a major addition, exceptionally well carved and preserved, to the DMA’s collection of art that reveals the myths and cults of Shiva.

Provenance Information

Previously with the family of Roderick A. Rawlins; thence given to Dallas Museum of Art (accession date: December 23, 2009).

Exhibition Information

N/A

Publication Information

N/A

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

Although provenance is alleged to at least 1960, the DMA has been unable to substantiate the precise date of its departure from its probable country of origin because a previous owner is deceased. The Rawlins family lived in southern Peru during the 1950s, when they acquired objects representing ancient south coast Peruvian cultures such as Nasca and Ica. According to Myrtie R. Rice (phone conversation with Carol Robbins/DMA, 2/1/2012), her parents acquired the textile during the 1950s. Mrs. Rawlins (her mother) died in Peru in 1960, after which the family returned to Dallas. The textile is unusual, but it offers greater potential for study than for exhibition. The extensive shedding of fibers from the individual bands suggests that the textile may date from Middle Horizon or earlier rather than the Late Horizon, as it was conservatively catalogued originally.

Provenance Information

By 1994, private collection, New York, NY. Given by David T. Owsley to DMA (accession date: December 23, 2009).

Exhibition Information

Dallas Museum of Art, January 1995 through the present.

Publication Information

N/A

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 was on long-term loan to the DMA beginning in June 1994, prior to its acquisition in 2009. The donor's intention to donate it dates from October 2007.

Provenance Information

Purchased in 1983 by Mr and Mrs. Lawrence S. Pollock, Jr., from Peter Wray, Scottsdale, Arizona; bequeathed by Mrs. Pollock to Dallas Museum of Art (accession date: October 7, 2009)

Exhibition Information

DMA, April 2009 through the present.

Publication Information

N/A

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 was an intended bequest to the DMA since 2000 and was acquired by bequest in October 2009. Provenance is established to 1983. This flint was reputedly found at the same site as another eccentric flint, the latter shaped as a crocodile canoe with passengers, which was acquired in 1983 by The Eugene and Margaret McDermott Art Fund, Inc. for the DMA. Both flints were acquired from the collection of Peter Wray and are on display at the DMA. They were reputedly associated as early as the 1970s with the collection of Sr. Castillo of Guatemala, and Spencer Throckmorton, New York, reputedly sold the flints to Peter Wray in 1979. This flint is stylistically different from the McDermott flint, and the stone differs in appearance between the two. The two examples are aesthetically complementary, and if, indeed, they were part of the same cache originally, they are reunited in the DMA’s galleries.

Provenance Information

c. 1970s in the collection of Jerry L. Abramson, Dallas, Texas; lent to the Dallas Museum of Art since July 2005; given to DMA by Mr. Abramson's estate (accession date: January 30, 2009).

Exhibition Information

DMA, July 2006 through the present.

Publication Information

N/A

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 was on long-term loan to the DMA beginning in July 2005, prior to its acquisition in 2009. Although the collector from whose estate the DMA acquired this work began collecting in the 1960s or '70s, the DMA has been unable to substantiate the precise date of acquisition because of the death of the former owner. The DMA's collection contains only four scarabs or scaraboid seals or amulets, all donated by the same collector or his estate, which fill what would otherwise be a gap in the collection of Egyptian funerary art.