Provenance Information

Charles B. Benenson, New York, before 2004. Yale University Art Gallery, New Haven.

Exhibition Information

N/A

Publication Information

"Acquisitions, July 1, 2005–June 30, 2006," Yale University Art Gallery Bulletin (2006): 222.

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

Partial interest received prior to 2008

Explain why the object fits the exception set forth above

N/A

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

by 1845- collection of Thomas Ayling, R.N. (1815-1860), England (acquired while in Sandwich Islands); c. 1878 collection of Miss Ayling (late 19th century), Chichester, England (probably by descent from Thomas Ayling). -1975 collection of Dr. Kiyoshi Hosoi (d. 1975), Cornell Medical School Class of 1924, Honolulu; (1975 with Sotheby Parke-Bernet, New York, property of the late Dr. Kiyoshi Hosoi); 1975 - 1983 private American collection (purchased through Sotheby Parke-Bernet 1975 sale); (1983 with Sotheby's, New York, American Indian and Pacific Islander sale); 1983 - 2005 collection of Frieda (1921-2008) and Milton (1914-2005) Rosenthal, New York (purchased through Sotheby's 1983 sale); 2005 - 2008 collection of Frieda Rosenthal (1921-2008); (2008 with Sotheby's, New York, Collection of Frieda and Milton Rosenthal sale); 2008 - 2010 collection of Tambaran Gallery, New York (purchased through Sotheby's 2008 sale); 2010 collection of Herbert F. Johnson Museum of Art, Cornell University, Ithaca (purchased from Tambaran Gallery)

Exhibition Information

Sotheby Parke Bernet Inc., New York, African, Oceanic, Pre-Columbian and American Indian Art Exhibition, December 6 - December 12, 1975 [lot no. 180]

Sotheby Parke Bernet Inc., New York, Sotheby's American Indian, African and Oceanic Art Exhibition, April 23 - April 28, 1983 [lot no. 108]

Sotheby's, New York, The Collection of Frieda and Milton Rosenthal: African and Oceanic Art Exhibition, October 31 - November 13, 2008 [lot no. 121]

Tambaran Gallery, New York, Adornment, Fall 2010

Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York, "This is no Less Curious": Journeys Through the Collection, January 24 - April 12, 2015

Publication Information

Sotheby Parke Bernet Inc. African, Oceanic, Pre-Columbian and American Indian Art, 13 December 1975, Sale N03824 [an auction cat.]. (New York: Sotheby Park Bernet, 1975); lot no. 180, b&w illus. no. 180.

Sotheby Parke Bernet Inc. Sotheby's American Indian, African and Oceanic Art: 29 -30 April 1983, Sale N05036 [an auction cat.]. (New York: Sotheby Parke Bernet, 1983); lot no. 108, b & w. illus, no. 108.

Sotheby's. The Collection of Frieda and Milton Rosenthal: African and Oceanic Art, 14 Nov 2008, Sale N08510 [an auction cat.]. (New York: Sotheby's, 2008); lot no. 121, color illus. no. 121.

Zarember, Maureen. Adornment [an exh. cat.]. (Syracuse: Eastwood Litho, Inc. for Tambaran Gallery, 2010); ref. n.p., cat. no. 12, color illus. p. 12.

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 necklace was out of the country of origin (the Sandwich Islands, now Hawai'i) by 1845, according to a carte de visite (dated c. 1878), which was attached to the necklace and details the acquisition. The carte and additional documentation are on file.

Provenance Information

Before 1975: Jorge Nuñez, la Paz
1975-1990 William Siegal, Santa Fe
1990-2013 Edward Harris, Chicago

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

The Nunez collection of Bolivia was formed in the 1960's, and therefore the Nasca tunic probably left Peru before 1970.

Provenance Information

Inherited by the donor from Dr. Richard Levine in 2007. Sold to Levine by Jim Blackmon of San Francisco in the early 1990's. Blackmon acquired them from Ernie Martin, who is believed to have obtained them in the mid to late 1970's.

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

The basket donation was discussed with Chilean archaeologist Dr. Mario Rivera; information was also sent to Dr. Ivan Munoz of the archaeological museum in Arica, Chile. Baskets and textiles from the Alto Ramirez culture of far northern Chile are extremely rare. These two baskets will be an important resource for researchers studying the art and material culture of this early people. Future research may focus on plant materials, dye sources, motifs and patterns, and dating.

Provenance Information

Inherited by the donor from Dr. Richard Levine in 2007. Sold to Levine by Jim Blackmon of San Francisco in the early 1990's. Blackmon acquired them from Ernie Martin, who is believed to have obtained them in the mid to late 1970's.

Exhibition Information

None known prior to Denver Art Museum acquisition

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

The basket donation was discussed with Chilean archaeologist Dr. Mario Rivera; information was also sent to Dr. Ivan Munoz of the archaeological museum in Arica, Chile. The arid north coast region of Chile permits excellent preservation of organic materials, including baskets. Only a limited number of baskets have been studied or published, however. These five examples will be an important resource for researchers on the art and archaeology of the Atacama region. Future research may focus on plant materials, dye sources, motifs and patterns, and dating.

Provenance Information

Inherited by the donor from Dr. Richard Levine in 2007. Sold to Levine by Jim Blackmon of San Francisco in the early 1990's. Blackmon acquired them from Ernie Martin, who is believed to have obtained them in the mid to late 1970's.

Exhibition Information

None known prior to Denver Art Museum acquisition.

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

The basket donation was discussed with Chilean archaeologist Dr. Mario Rivera; information was also sent to Dr. Ivan Munoz of the archaeological museum in Arica, Chile. Baskets in the Tiwanaku style are exceptionally rare because of the climate in the Bolivian altiplano, where Tiwanaku is located. These six baskets are believed to have been preserved in the arid north coast region of Chile. They will be an important resource for researchers studying the Tiwanaku civilization, as well Andean art and archaeology more broadly. Future research may focus on plant materials, dye sources, motifs and patterns, and dating.

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.

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 dozen examples of Nasca ceramics, including early pieces with incised decorations, and later slip-painted specimens. Holdings of Nasca textiles are limited, however, making it difficult to provide the public with a complete picture of the Nasca artistic production. Andean textiles are regarded as one of the world's greatest weaving traditions. This unusually constructed bag, with typical Nasca coloration, will help the public appreciate the artistic and technical mastery of this tradition.

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.