Figure-ing Out the Past: A Transcendent Embodiment of Ancient Mexican Art by Jason Osborne

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8.5”x11” Magazine Page Safe Area Size 8.25”x10.75” Figure-ing Out the Past: Trim Size 8.5“x11” Bleed Size 8.75”x11.25” The Transcendent Embodiment of Ancient Mexico

Figure-ing Out the Past: The Transcendant Embodiment of Ancient Mexico Foreword Amy Kim, MFA Director, Nancy Fyfe Cardozer Gallery Introduction Jason E. Osborne Essays Catharina E. Santasilia, Ph.D Robert Pickering, Ph.D Artwork Photography Jason E. Osborne Text for Artwork Description Catharina E. Santasilia, Bob Pickering, Jason E. Osborne Catalogue Design Melanie Sendejo Amy Kim This exhibition and catalogue is supported by University of Texas Permian Basin (UTPB) Student Services and Odessa Arts September 1, 2021- November 4, 2021. Odessa, Texas

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The Transcendent Embodiment of Ancient Mexico

an exhibition of the

Nancy Fyfe Cardozier Gallery

2021

September 1- November 4, 2021

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Foreward

Amy Kim Director, Nancy Fyfe Cardozier Gallery University of Texas Permian Basin

The Nancy Fyfe Cardozier Gallery is proud to exhibit Figure-ing out the Past: The Transcendent Embodiment of Ancient Mexican Art. One of our Ector county educators, Jason Osborne, treats us with his collection. The collection largely consists of two groups of artwork: selections from the early formative period (1200-900 BCE- 250 CE) artworks from and influenced by Tlatilco (now Mexico City) and works from West Mexico (300 BCE-350 CE). We invite two scholars who helps us understand the life and thoughts of these ancient periods: Dr. Catharina Santasilia contributes to our understanding of the formative period surrounding Tlactilco while Dr. Robert Pickering will take us to ancient West Mexico and its hallmark shaft tomb culture. The Nancy Fyfe Caordozier is especially please to share this curation of ancient works with students and members of the Basin community. We invite all to join our public lectures and engage with these artifacts from ancient Mexico. I thank Odessa Arts and UTPB Student Services for sponsoring this exhibition Special appreciation goes out to collector Jason Osborne, to Texas Tech University Museum for the loan of display cases, to graphic designer Irvin Medrano, and to gallery student assistant Melanie Sendejo.

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Safe Area Size 8.25”x10.75” Introduction Trim Size 8.5“x11” Bleed Size 8.75”x11.25” Jason E. Osborne

The mysteries of ancient Mexican civilizations have intrigued archeologists, explorers, artists, and collectors alike for the last hundred years and more. What was life like? How did the ancient Mesoamerican societies communicate? Why did they choose to sculpt such elaborate figurines? Little is known of any written language from the earliest cultures, and insight to the original processes are limited. Inevitably, most people become fascinated with the character depictions of these intriguing clay figurines and their many poses, such as in dramatic fashion with some wearing elaborate jewelry, possibly signifying royalty (for example see LFM001and LFM009), or holding a rattle as though to communicate to the Gods as companions of the dead in the afterlife (see LFJ001 and LFJ002). American anthropologist and archeologist Michael D. Coe said it well when he expressed that “every archeological site or culture often leaves not only solutions to past mysteries, but also mysteries that still need solving” (Santasilia 2018). In the early 20th century in Central Mexico, ancient art gained increased popularity among collectors. In particular the intriguing work of William Spratling, an exceptional silversmith who combined the ancient craftsmanship and mysteries of Mexican artifacts and immersed them into his jewelry designs which gained interest of collectors in the United States. A close friend of Spratling’s, Mexican artist Diego Rivera, also cherished the expression of ancient Mexican pottery and embedded depictions of these ancient forms into his elaborate murals. Rivera’s wife and fellow artist, Frida Kahlo (see Figure 1), likewise fell in love with the ancient artifacts of Mexico and used similar postures and forms in her paintings. One of Kahlo’s favorite self portraits, My Nurse and I (1937), incorporates a likeness of the figurine style known from West Mexico, at the Late Formative site Jalisco. This image depicts a ceramic female (the nurse) breastfeeding a baby (Frida), while the nurse wears a Late Formative Teotihuacan stone mask (see a similar mask example in Figure 2). An extended description of this painting and others can be found in the book Ancient West Mexico: Art and Archaeology of the Unknown Past, edited by Richard F. Townsend (1998).

Figure 1 Frida Khalo holding an early formative Olmec stone figure from Central Mexico. Image titled “Frida with Idol” Photo by Nickolas Muray; © Nickolas Muray Photo Archives www.NickolasMuray.com. Professional photographer, Nikolas Muray, had a close relationship with Miguel Covarrubias, Diego Riviera, and Frida Kahlo. As a result of their friendship he would often photograph all three (Grimberg 2006).

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Figure 2 MASK, TEOTIUACAN -ca. 200-600 CE, Tlateloco, Mexico - Ex. Los Castillo Family Collection, Central Mexico, Acquired in 1940s-1950s - Ex. Private Estate Collection, Florida, Acquired Before 1970

While artists such as Kahlo and Rivera discovered ways to embed likenesses of ancient Mexican art into their modern creations, anthropologists were making major archeological advances. In the middle 20th century Mexico, José Corona Núñez discovered the shaft tomb chambers at the site Ixtlán Del Reo, Nayarit State, Western Mexico (see Beekman and Pickering 2016; for an example of a Nayarit shaft tomb, see Figure LFN001). Meanwhile, in Central Mexico, anthropologist Miguel Covarrubias led multi-year excavations at the site of Tlatilco (Santasilia 2019). His work at Tlatilco uncovered Olmec objects, changing the previously understood chronology as it meant Tlatilco was contemporary with the Olmec. Around the early 1950s, ancient Mexican art became a hot commodity in the Los Angeles, California art community (Sund 2000), and dealers such as Earl Stendhal showcased exquisite pieces at the Stendhal Galleries (for example EFT0042 and EFT043), selling pieces to collectors such as Jules Berman. Berman saw huge potential in the ancient art as marketing models for the coffee-flavored Mexican liquor, Kahlua (see Figures 3 and 4) paving a new path for modern use of ancient objects.

Introduction I Jason E. Osborne

Figure 3 - Jules Bermas Kahlua advertisement, 1960s

Figure 4 - Jules Bermas Kahlua advertisement, 1960s

Another prominent collector that recognized the beauty and mystery of ancient Mexico art was Proctor Stafford (see a former Stafford collection piece in Figure 5). Stafford, unlike the artists that traditionally coveted ancient Mexico art, was a former WWII Battle of the Bulge soldier who found the ancient pieces intriguing and recognized the high aesthetic quality (Kan, Meighan, and Nicholson 1989). However, similar to the artists mentioned before, Stafford would also often meet in Mexico with a small community of ancient Mexico art collectors such as Diego Rivera, Frida Kahlo, and influential surrealist artist Wolfgang Paalen. Stafford was an active collector of ancient Mexico art from the late 1940s - 1970s and his West Mexico tomb culture collection is now in the permanent archives at the Los Angeles County Museum of Art and featured in the book Sculpture of Ancient West Mexico: Nayarit - Jalisco - Colima.

Figure 5 STANDING FEMALE FIGURINE, TLATICO - Central, Mexico -Early Formative ca. 1200-900 BCE - Accession #: EFT012 - Type: D4 PROVINANCE -Ex. Ron Normandeau Collection, Los Angeles, California, Acquired 1980s -Ex. Proctor Stafford Collection, Los Angeles, California, Acquired 1964

As a result of the increased attention and exposure of the Mexican antiquities, competition for the mysterious and exquisite ancient art also increased. Looting of tombs and ancient ruins for the sale of artifacts often became more profitable than the average job (Santasilia 2018). In addition, the Jules Bermas Kahlua advertisements exposed ancient Mexican art to a new generation of collectors. Sales of these artifacts increased which in turn also increased forgeries, many of which are in museums and private collections today. All these factors have an impact on the value of excavations of in-situ artifacts. With the expansion of cities, continuous looting, and the introduction of forgeries, the mysteries of ancient Mexico are becoming more difficult to solve. Well curated and legally acquired private and public collections are becoming a valuable resource for scientific and historical research. Michael D. Coe once again proved why he is the father of Mesoamerican archaeology, as he suggested that, “(...) we examine museums and private collections in the same way that archaeologists look at the remains of the past: as assemblages of artifacts positioned in determined physical spaces” (Matsuda 1992). The collection featured in this exhibition, Figure-ing out the Past: A Transcendent Embodiment of Ancient Mexican Art, focuses on artifacts from ancient Central and Western Mexico. The details of the finely sculpted figures have defied the forces of nature and time and are the representations of their creators’ artistic expression. Although there are many mysteries yet to be solved, these amazing examples share clues of life and community in ancient Mexico. -

Bibliography

Acknowledgements: I would like to thank Amy Kim, Melanie Sendejo, Odessa Arts, Texas Tech University Museum, and the University of Texas of the Permian Basin; without their support, this exhibition and catalog would not have been possible. I’d like to share my sincere gratitude to Joaquin Blanco, Ron Normandeau, Chris Stanley, Robert Pickering, and Catharina Santasilia for their amazing support, mentorship, and guidance throughout this project. Thank you, Mimi Muray, for your generosity and history lesson on Nickolas Muray and Frida Kahlo. And I would like to thank my wife, Ashley Osborne. I’m forever grateful for your support in all my crazy projects and adventures.

Bibliography: Beekman, Christopher S. and Robert B.Pickering. 2016. Shaft Tombs and Figures in West Mexican Society: A Reassessment. Thomas Gilcrease Institute of American History and Art. Coe, Michael D. 1965. The Jaguar’s Children: Pre-Classic Central Mexico. The Museum of Primitive Art. Grimberg, Salomon. 2006. I will Never Forget You: Frida Kahlo and Nickolas Muray. Chronicle Books. Kan, Michael, Clement Meighan, and H. B. Nickolson. 1989. Sculpture of Ancient West Mexico: Nayarit, Jalisco, Colima. Los Angeles County Museum of Art and University of New Mexico Press. Matsuda, David J. 1992. “The Looting of Pre-Columbian Artifacts from Latin American Archaeological Sites.” California State University, East Bay. Santasilia, Catharina E. 2019. “Identity, Ceramic Variability, And Sociopolitical Transformation at Early Formative Tlatilco, Mexico.” University of California, Riverside. Santasilia, Catharina E. 2018. Tlatilco Uncovered. Ambient Light in Association with the Riverside Museum Press. Sund, Judy. 2000. “Beyond the Grave: The Twentieth-Century Afterlife of West Mexican Burial Effigies.” The Art Bulletin (College Art Association), 82:4 (December). Townsend, Richard F. 1998. Ancient West Mexico: Art and Archeology of the Unknown Past. Art Institute of Chicago.

Tlatilco: 85 Years Later… Catharina E. Santasilia, Ph.D.

Tlatilco: 85 Years Later…

Tlatilco [Tla-teel-ko] Tlatilco means “The Place Where things are hidden;” the word is Nahuatl and was translated by Covarrubias. Upon the arrival of the Spaniards, Nahua-speaking people lived in the nearby village they had named Tlatilco, and the name passed through the Spanish friars who were recording Mexican history. The earliest reference to “Tlatilco” is from 1612, mentioning a chocolate seller, Maria Lopez, who had come to Tlatilco to make a home for herself.

It is my pleasure to introduce the mesmerizing world of Tlatilco, an Early Formative community dating back to 1200-900 BCE. When many people think about Ancient Mexico, they often think of the Aztec, and maybe the Maya and Zapotec. However, long before the Aztecs, there were flourishing communities in Mesoamerica. In the Basin of Mexico, along the shores of the ancient Lake Texcoco, Tlatilco was located. It was a flourishing and complex community that contributed to the rise of civilizations in the Americas. Tlatilco was discovered in the 1930s when brickyardworkers quarried the area, and in 1936, Miguel Covarrubias, who had heard about uncovered treasures, would frequent the premises collecting objects. Unlike at Cuicuilco, Teotihuacan, and Tenochtitlan, the Tlatilcans did not build any monumental architecture. Therefore, the site is today immersed into modern-day Mexico City and has long ago been covered by freeways and factories. Tlatilco had some famous contemporaries, among them the Olmec from San Lorenzo, in Veracruz. There is extensive evidence of contact between these two regions, as well as from Capacha in West Mexico (see EFT043), San Pablo in Morelos (see EFT009), and other sites in between, such as Xochipala (see EFX001 and EFX002), Las Bocas (see EFOL002), and Tlapacoya (see EFTL003). These early cultures traded and exchanged goods and ideas, influenced each other, and adopted and adapted new traditions often to fit their shifting ideological world views. Shared concerns for enough crops, water, sunshine, and high mortality rates made these communities collaborate and incorporate beliefs that perhaps could explain circumstances and help secure survival. Figure 1. Map of Mesoamerica Cultural Regions

Formative Mesoamerica In Mexico, the time between 2000 BCE – 250 CE is considered the Formative period. c. 2000-900 BCE is the Early Formative period, where Tlatilco and the Olmec belonged, while the materials in this exhibition from West Mexico date to around the Middle Formative (900-400 BCE) and Late For mative (400 BCE – 250 CE).

Tlatilco: 85 Yeas Later… I Catharina E. Santasilia, Ph.D.

Figure 2. Timeline Mesoamerica

Tlatilco is known for its very distinct ceramic figurine style. Where the style Miguel Covarrubias originated is debatable, but it is often attributed to Tlatilco even though it has been detected in other areas in the Basin and the states of Morelos and Puebla. Nonetheless, Covarrubias (1904-1957) was a Mexican art historian and these figurines represent a diverse socio-cultural tradition and generate a narrative of archaeologist who discovered the their identities and an apparent necessity to manufacture crafts. These complex objects importance of Tlatilco. In 1936, testify to a surplus of resources where not everybody contributed to food gathering and he encountered objects from the workers who had turned the area production. Tlatilcans had figurines in poses for any occasion, and they vividly paint a where Tlatilco was located into a brickyard. It took him years to picture of the diverse rituals and daily life activities they engaged in. the government to fund As is evident from the artifacts on display in this exhibition Figure-ing out convince proper archaeological excavations the Past: The Transcendent Embodiment of Ancient Mexican Art at the Nancy Fyfe and to preserve the site, which Cardozier Gallery, lent by collector Jason Osborne, the human shape was essential finally commenced in 1942 under his supervision. His work to the people of Mexico. Among the objects on display are some stunning examples, uncovered hundreds of ancient particularly the large, hollow D3 figures often depicted with a red slipped-paint (e.g., burials with their accompanying EFT001 and EFT002). While the D3 are commonly standing, variations have been grave goods. Among these objects were vessels, stamps, tools, and, detected, and EFT008 is a unique example of not only being seated but also appears to not least, highly detailed female have been created without arms, perhaps to be used as a vessel. Additionally, there are a figurines. Covarrubias was the to recognize the correlation few examples of DK figurines commonly from San Pablo, both seated and with double first between Tlatilco and other early spouts emerging from the headdress (see EFT004 and EFT010). In contrast to these cultures, such as the Olmec. large hollow figurines, this collection has a nice representation of the smaller and solid figurines, often referred to as “Pretty Ladies” in the literature. These come with more variation than is possible to summarize in this short essay, but I refer to a diagram I have generated based on the original edition by Covarrubias from 1957.

Figure 3. Covarrubias Chart of Figurines prepared by Catharina Santasilia

Typology At the turn of the century, as archaeologists worked in the Basin of Mexico, it became necessary to arrange the many figurines uncovered in excavations into various types. This method is essential to understand the chronologies and change over time. Building on previous typologies, Covarrubias developed a diagram over the known figurines in and around the Basin of Mexico based on the typologies as they were understood in the 1950s. Since then, a great deal has been revealed, and Santasilia has built on the part of the diagram that included Tlatilco. Additional types have been added, and the arrows, which were indicators of how figurine types developed through time and space, have in some cases been changed. Mostly, the chart is helpful to keep track of the different types when referred to figurines such as D3, D2, and DK.

While the Tlatilcans produced simple daily-ware pottery, they are renowned for their both anthropomorphic and zoomorphic vessels, and animals played a vital part in their lives, such as ducks, fish, frogs, coatimundis/opossums, dogs, and felines, just to mention some. Furthermore, cylindrical seals, flat stamps, elaborate masks, in addition to stonework, attest to the diverse culture and vibrant community. When asked to be involved with this project, I was hesitant to get involved with private collections. However, considering the vast displacement of Tlatilco objects since the 1930s and with little chance of further recovering more. The emphasis now has to be on making sure private collections are incorporated into the corpus of data. Notably, Mr. Osborne has proper provenance of these objects and is not in conflict with the UNESCO convention. It is crucial that these private collections get disseminated and made available to scholars and, more importantly, Mexicans and people of Mexican descent who will now know these precious artifacts.

Tlatilco: 85 Years Later… Suggested Readings Suggested Readings Catharina E. Santasilia, Ph.D. Catharina E. Santasilia, Ph.D.

Suggested Readings Bishop, Ronald L. and Hector Neff. 1989. “Compositional Data Analysis in Archaeology.” Archaeological Chemistry IV (July. American Chemical Society). Coe, Michael D. 1965 The Jaguar’s Children: Pre-Classic Central Mexico. Museum of Primitive Art. Coe, Michael D. and Rex Koontz 2008. Mexico: From the Olmecs to the Aztecs. 6th ed. Thames & Hudson. Covarrubias, Miguel. 1957. Indian Art of Mexico and Central America. Alfred A. Knopf. Gay, Carlo T. E. 1972. Xochipala: The Beginnings of Olmec Art. Princeton University Press. Grove, David. 1970. “The San Pablo Pantheon Mound: A Middle Preclassic Site in Morelos, Mexico.” American Antiquity, 35:1, pp. 62-73. Paradis, Louise I. 2017. “Early Horizon Materials in the Greater Basin of Mexico and Guerrero,” in The Early Olmec and Mesoamerica: The Material Record. Jeffrey P. Blomster and David Cheetham eds. Cambridge University Press, 119-147. Porter, Muriel Noe. 1953. Tlatilco and the Pre-Classic Cultures of the New World. Viking Fund Publications in Anthropology No. 19. Wenner-Gren foundation for Anthropological Research. Santasilia, Catharina E. 2022. “Tlatilco: The People of the Lake,” in Identities and Experience in Early Mexican Villages. Catharina E.Santasilia, Guy D. Hepp, and Richard A. Diehl, eds. University of Florida Press (forthcoming).

Santasilia, Catharina E. 2018. Tlatilco Uncovered. Ambient Light. Taube, Karl A. 1988. The Albers Collection of Pre-Columbian Art (Detroit Institute of Art). Hudson Hills Press. Tolstoy, Paul. 1975. “Settlement and Population Trends in the Basin of Mexico (Ixtapaluca and Zacatenco Phases).” Journal of Field Archaeology, 2:4, pp. 331-349. Tolstoy, Paul. 1989. “Coapexco and Tlatilco: Sites with Olmec materials in the Basin of Mexico,” in Regional Perspectives on the Olmec. Robert J. Sharer and David C. Grove, eds. Cambridge University Press. pp. 85-121. Tolstoy, Paul and Louise I. Paradis 1970. “Early and Middle Preclassic Culture in the Basin of Mexico.” Science, New Series (American Association for the Advancement of Science), 167:3917 (January 23), pp. 344-351. Tolstoy, Paul, Suzanne K. Fish, Martin W. Boksenbaum, Kathryn Blair Vaughn, and C. Earle Smith 1977. “Early Sedentary Communities of the Basin of Mexico.” Journal of Field Archaeology, 4:1 (Spring), pp. 91-106.

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Standing Female Figurine, TLATILCO  Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT022 Type: D2 Height: 5 ¼ Inch

Standing Female Figurine, TLATILCO Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT021 Type: D2 Height: 6 ¾ Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Ex. Joaquin Blanco Collection, San Diego, California - Ex Dr. Sidney and Adeline Newman Collection, Beverly Hills, California, Acquired 1950s-60s

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Standing Female Figurine, TLATILCO  Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT023 Type: D2 Height: 6 ¾ Inch

Standing Female Figurine, TLATILCO Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT024 Type: D2-D4 Height: 6 ¼ Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Artemis Gallery, Erie, Colorado - Ex. P. Davis Collection, Santa Monica, California, Acquired 1985 - Ex. Private Collection, Brentwood, California, Acquired 1965

- Current Collection of Jason Osborne, Texas - Ex. Joaquin Blanco Collection, San Diego, California - Ex. Leonard Kaplan Collection, Laguna Beach, California Acquired 1960s

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Standing Female Figurine, TLATILCO  Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT025 Type: D2-D4 Height: 5 ½ Inch

Standing Female Figurine, TLATILCO-STYLE Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT026 Type: D2 Height: 5 ½ Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Ex. Joaquin Blanco Collection, San Diego, California - Ex Leonard Kaplan Collection, Laguna Beach, California Acquired 1960s

- Current Collection of Jason Osborne, Texas - Ex. Joaquin Blanco Collection, San Diego, California - Ex Artemis Gallery, Erie, Colorado - Ex Scollard Collection, Los Angeles, California Acquired 1960s

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Standing Female Figurine, TLATILCO- STYLE Central Mexico, Los Bocas Early Formative ca. 1200-900 BCE Accession #: EFT030 Type: D2 Height: 4 ½ Inch

Standing Female Figurine, TLATILCO  Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT031 Type: D2 Height: 5 ¾ Inch

PROVENANCE

PROVENANCE - Current Collection of Jason Osborne, Texas

- Current Collection of Jason Osborne, Texas - Ex. Michaan’s Auctions, Alameda, California - Ex. Naomi Lindstrom Collection, California, Acquired 1950s-60s

- Leonard Auctions, Addison, Illinois - Ex Private Collection, Chicago, Illinois, Acquired 1960s

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Standing Female Figurine, TLATILCO- STYLE Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT033 Type: D2 Height: 5 Inch

Standing Female Figurine, TLATILCO- STYLE Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT034 Type: D2 Height: 4 3/16 Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Ex Ron D. Normandeau, Malibu, California - Ex Meza Family Collection, Whittier, California, Acquired in the 1960s - Ex Fernandez Family Collection, Acquired from Grandfather, Dr R. Fernandez MD, 1940s

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Standing Female Figurine, TLATILCO Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT035 Type: D2-K3 merge Height: 4 7/8 Inch

Seated Female Figurine, TLATILCO-STYLE  Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT040 Type: D2 Height: 4 3/4 Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Ex Jim Catalano, Salinas, California - Ex Jim Birth Collection, Punta Gorda, Florida, Pre 1970

- Current Collection of Jason Osborne, Texas - Ex Anthropos Fine Art, Los Angeles, California - Ex Juaquin Blanco, San Diego, California - Ex Leonard Kaplan, Laguna Beach, California, Acquired 1960s

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Standing Female Figurine, TLATILCO Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT001 Type: D3 Height: 14 ¼ Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Ex. Joaquin Blanco Collection, San Diego, CA - Arte Primitivo, New York City, New York - Ex. Cliff Baker Collection, San Diego, CA., 1960s. #D373

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Seated Female Figurine, TLATILCO Central Mexico Early Formative aa. 1200-900 BCE Accession #: EFT002 Type: D3 Height: 13 Inch

PROVENANCE

- Current Collection of Jason E. Osborne, Texas - Michael Cichon, Michael Cichon Tribal Arts, Bradenton, Florida - Artemis Gallery, Louisville Colorado, August 2017 - Ex. Bismarck college foundation collection, Bismarck North Dakota - Whelan Fine Arts, Santa Fe NM, 1999 - Ex. Chris Webster collection Santa Fe, NM since pre-1970

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Seated Female Figurine, TLATILCO Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT003 Type: D3 Height: 10 ½ Inch

Standing Female Figurine, TLATILCO  Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT005 Type: D3 Height: 10 ½ Inch

PROVENANCE

- Current Collection of Jason E. Osborne, Texas - Ex. Joaquin Blanco collection, San Diego, California - Ex. estate of the late Richard Bellak, New York City, New York Purchased before catalog date July 15th 1965

- Current Collection of Jason E. Osborne, Texas - Michael Cichon, Michael Cichon Tribal Arts, Bradenton, Florida - Ex. Barney G. Malone collection, Texas, since 1963

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Standing Female Figurine, TLATILCO-STYLE Central Mexico Early Formative 1200-900 BCE Accession #: EFT006 Type: D3 Height: 8 Inch

Standing Female Figurine, TLATILCO Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT007 Type: D3 Height: 10 ½ Inch

PROVENANCE

- Current Collection of Jason E. Osborne, Texas - Michael Cichon, Michael Cichon Tribal Arts, Bradenton, Florida - Ex. Barney G. Malone collection, Texas, since 1963

- Current Collection of Jason E. Osborne, Texas - Ex. Joaquin Blanco Collection, San Diego, California - Arte Primitivo, New York City, New York - Ex. Estate of Hannelore Schulhof, collection of Rudolph B. and Hannelore B. Schulhof, Kings Point, New York, 1950s-1960s.

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Seated Female Figurine, TLATILCO-STYLE Morelos State, Mexico Early Formative ca. 1200 BCE - 900 BCE Accession #: EFT008 Type: D3 Height: 6 ¾ Inches

Standing Female Figurine, SAN PABLO-STYLE  Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT004 Type: DK Height: 11 ¼ Inch

PROVENANCE

- Current Collection of Jason E. Osborne, Texas - Ex David DeRoche, Piedmont, California, Inventory #D702WI - Ex Shirley Hanberry Collection, acquired in the 1960s, San Francisco, California

- Current Collection of Jason E. Osborne, Texas - Ex. Jim Catalano, Arte Antigua, Salinas, California - Ex. Ron Normandeau, Anthropos Fine Art, Los Angeles California, 2012 - Ex. Mr Hienz Vaterlaus collection, Belgium 1980 - Ex.Te-Paske & Norman Hurst‘s Gallery, Cambridge, Massachusetts pre-1970

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Standing Female Figurine, SAN PABLO-STYLE Morelos State, Mexico Early Formative ca.1200 BCE - 900 BCE Accession #: EFT009 Type: DK Height: 13 inches

Seated Female Figurine, SAN PABLO-STYLE Central Mexico Early Formative ca. 1200 BCE - 900 BCE Accession #: EFT010 Type: DK Height: 6 5/8 Inch

PROVENANCE

- Current Collection of Jason E. Osborne, Texas - Ex Private Collection, Rome, Italy early 2000‘s - Ex Dick Meijer Galleries, Amsterdam, Netherlands - Ex Old Dutch Collection 1960s

- Current Collection of Jason E. Osborne, Texas - Ex Dr Armin Sadoff, Beverly Hills, California, 1950s - 1960s

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Seated Female Figurine, OLMEC Las Bocas, Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFOL001 Type: C9 Height: 3 1/8 Inch

Bust, OLMEC Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFOL005 Type: C9 Height: 3 3/8 Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Ex. Joaquin Blanco Collection, San Diego, CA - Arte Primitivo, New York, New York - Ex. Albert J. and Monique Grant Collection, New York, New York, Acquired 1950s-60s

- Current Collection of Jason Osborne, Texas - Ex. Private Collection, San Diego California, Acquired Before 1970

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Standing Female Figurine, OLMEC  Las Bocas, Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFOL002 Type: C9 / Pilli Height: 5 3/8 Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Ex. Joaquin Blanco Collection, San Diego, California - Heritage Auctions, Dallas, Texas - Ex. James Silberman Collection, Acquired 1950s

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Bust, OLMEC Los Bocas, Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFOL003 Type: C9 Height: 3 1/2 Inch

Standing Female Figurine, TLAPACOYA-STYLE Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT027 Type: DC9 Height: 5 3/8 Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Ex. Joaquin Blanco Collection, San Diego California - Leonard Auctions, Addison, Illinois - Ex. Private Collection, Chicago, Illinois, Acquired 1960s

- Current Collection of Jason Osborne, Texas - Artemis Gallery, Erie, Colorado - Art for Eternity, New York, New York - Ex. Dr. Saul Tuttman and Dr. Greg Siskind Collection, New York, New York, Acquired 1960s

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Standing Female Figurine, TLAPACOYA Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFTL001 Type: Pilli Height: 6 ¼ Inch

Standing Female Figurine, TLAPACOYA  Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFTL002 Type: Pilli Height: 6 ¾ Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Ex. Ron Normandeau Collection, Los Angeles California - Ex. Proctor Stafford Collection, Los Angeles, California, Acquired 1960s

- Current Collection of Jason Osborne, Texas - De Zwaan, Amsterdam, Netherlands, Catalog #2114 - Ex. Dutch Collection, Amsterdam, Netherlands, Acqured 1960s

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Standing Female Figurine, TLAPACOYA-STYLE Las Bocas, Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFOL004 Type: Pilli Height: 5 3/8 Inch

Standing Female Figurine, TLATILCO Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT016 Type: D1 Height: 4 Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Ex. Joaquin Blanco Collection, San Diego, CA - Ex. Richard Bellak Collection, New York, New York, Acquired Before 1965 #PC_116_LB

- Current Collection of Jason Osborne, Texas - Ex. Joaquin Blanco Collection, San Diego, CA - Arte Primitivo, New York City, New York - Ex. James M. Silberman, Alexandria, Virginia, 1950s - 1960s

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Standing Female Figurine, TLATILCO Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT017 Type: D1 Height: 4 ¾ Inch

Standing Female Figurine, TLATILCO  Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT018 Type: D1 Height: 4 ¼ Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Ex. Joaquin Blanco Collection, San Diego, CA - Ex. Artemis Gallery, Erie, Colorado - Art for Eternity, New York City, New York #12143 - Ex. Private Collection, New York, New York, Acquired 1960s

- Current Collection of Jason Osborne, Texas - Art for Eternity, New York City, New York - Ex. Sidney Berman, New York, New York, Acquired 1960s

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Standing Female Figurine, TLATILCO Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT019 Type: D1 Height: 4 3/8 Inch

Standing Female Figurine, TLATILCO Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT020 Type: D1 Height: 2 5/8 Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Ex. Jim Catalano, Salinas, California - Artemis Gallery, Erie, Colorado - Ex. Private Collection, Ventura County, California, Acquired 1960s

- Current Collection of Jason Osborne, Texas - Arte Primitivo, New York, New York - Ex. Albert J. and Monique Grant, New York, New York, Acquired 1950s-1960s

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Two Faced Female Figurine, TLATILCO Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT032 Type: D1 Height: 4 Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Leonard Auctions, Addison, Illinois - Ex Private Collection, Chicago, Illinois, Acquired 1960‘s

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Early Formative: D4

Standing Female Figurine, TLATILCO-STYLE  Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT037 Type: D1 Height: 4 3/4 Inch

Standing Female Figurine, TLATILCO Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT011 Type: D4 Height: 3 Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Artemis Gallery, Erie, Colorado - Arte Primitivo, New York, New York - Ex R. Pearson, Denver, Colorado - Ex Rudolph B. and Hannelore Schulhof, Kings Point, New York, Acquired 1950s – 1960s

- Current Collection of Jason Osborne, Texas - Ex. Joaquin Blanco Collection, San Diego, CA - Ex. Richard Bellak, New York, New York, acquired in 1960s, Collection #PC.129.T

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Standing Female Figurine, TLATILCO Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT012 Type: D4 Height: 3 Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Ex. Ron Normandeau Collection, Los Angeles, California, Acquired 1980s - Ex. Proctor Stafford Collection, Los Angeles, California, Acquired 1964 - #14-64

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Standing Female Figurine, TLATILCO Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT036 Type: D4 Height: 2 7/8 Inch

Standing Female Figurine, TLATILCO  Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT013 Type: K1 var. B Height: 5 ¼ Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Ex. Joaquin Blanco Collection, San Diego, CA - Artemis Gallery, Erie, Colorado - Arte Primitivo, New York City, New York - Ex. Private Collection, Long Island, New York, Acquired in 1960s

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Standing Female Figurine, TLATILCO Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT014 Type: K1 var. A Height: 4 Inch

Standing Female Figurine with Baby, TLATILCO Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT015 Type: K1 var. A Height: 4 Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Ex. Joaquin Blanco Collection, San Diego, CA - Ex. Gina Manio, York City, New York - Ex. Abner Weisman, New York, New York, Acquired 1950s – 1960s

- Current Collection of Jason Osborne, Texas - Ex. R. Pearson, Denver, Colorado - Arte Primitivo, New York City, New York - Ex. Albert J. and Monique Grant, New York, New York, Acquired 1950s-1960s

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Anthropomorphic Vessel, TLATILCO Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT041 Type: D-style Height: 6 ½ Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Ex. Joaquin Blanco, San Diego, CA - Ex Richard Bellak Collection, New York, New York, Acquired Before 1965

All images should be 300 dp i All text should be 1/8” from the Trim Lin e All images near the trim should extend 1/8” for bleed

Anthropomorphic Rattle, TLATILCO  Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT046 Type: D-style Height: 4 Inch

Anthropomorphic Rattle, TLATILCO- STYLE Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFOL006 Type: D-style Height: 3 1/8 Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Ex. Joaquin Blanco Collection, San Diego, CA - Ex. G. Manio Collection, New York, New York - Ex. Abner Weisman Collection, New York, New York, Acquired 1950s-60s

- Current Collection of Jason Osborne, Texas - Ex. Joaquin Blanco Collection, San Diego, CA - Ex. Abner Weisman Collection, New York, New York, Acquired 1950s-60s

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Xochipala Standing Figurine, OLMEC-STYLE Xochipala, Guerrero, West Mexico Early Formative ca. 1200-900 BCE Accession #: EFX001 Height: 8 ½ Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Ex. Joaquin Blanco Collection, San Diego, California - Arte Primitivo, New York, New York - Ex. Private Midwestern Collection, Acquired 1960‘s

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Bust, XOCHIPALA Xochipala, Guerrero, West Mexico Early Formative ca. 1200-900 BCE Accession #: EFX002 Height: 2 Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Arte Primitivo, New York, New York - Ex. Private Midwestern Collection, Acquired 1960‘s - Ex. Albert J. and Monique Grant Collection, New York, New York, Acquired 1950‘s-60‘s

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Bottles Incised and Slipped Bottle, TLATILCO  Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT042 Height: 11 ½ Inch

Bottle, TLATILCO Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT045 Height: 11 ¼ Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Arte Primitivo, New York, New York - Ex Ronald Dammann of Stendahl Galleries, Hollywood,California, 1960s

- Current Collection of Jason Osborne, Texas - Arte Primitivo, New York, New York - Ex. Robert and Marianne Huber, New York, New York, Acquired 1960s

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Stamps

Incised Double Stacked Vessel, CAPACHA-STYLE Central or West Mexico Early Formative ca. 1200-900 BCE Accession #: EFT043 Height: 9 ¾ Inch

Roller Stamps, TLATILCO Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT038 (Left) & EFT039 (Right) Height: 3 ½ Inch (Left) and 1 ½ Inch (Right)

PROVENANCE

- Current Collection of Jason Osborne, Texas - Arte Primitivo, New York, New York - Ex Ronald Dammann of Stendahl Galleries, Hollywood, California, 1960s

- Current Collection of Jason Osborne, Texas - Ex Private Collection, Le Lindois, Nouvelle Aquitaine, France, Acquired 1960s

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West Mexico: An Introduction Bob Pickering, Ph.D.

West Mexico: An Introduction The Olmec, Aztec, and Maya are the best-known peoples of ancient Mesoamerica, a diverse and expansive region extending from northern Mexico to Central America. Mesoamerican cultures share some cultural practices. Within this area, other cultures also flourished but they are less well known. Ancient western Mexico is a primary example. More than 2,000 years ago, vibrant societies grew in West Mexico between the Pacific Coast and what is now the city of Guadalajara, an area that includes most of the modern Mexican states of Nayarit, Jalisco, and Colima (Pl.1—map). Pl. 1. Map outlining the traditional shaft tomb region.

We don’t know what these people called themselves—their languages and

Wesst Mexico: An Introduction I Bob Pickering, Ph.D.

written records are lost. In finely crafted ceramic figures and model, they left enigmatic and powerful images and scenes from their daily lives. The region was home to a group of cultures that shared many similarities of subsistence, social organization, and tradition. Think of each ritual center as an independent town that controlled smaller towns and farming hamlets. Each was governed by ruling families who competed with each other and against other towns for power and control. Workshops in these competing centers used their own designs and styles to create distinctive ceramic figures, vessels, clothing, and other types of artifacts. Some styles may have been used in a small area; others may have been traded and used in many towns and villages. The western Mexicans left a permanent record of themselves, their rituals, and their culture in the form of ceramic figures. Human figures adorned with brightly colored clothing, tattoos, and body painting provide an intimate and personal look at the people. The tools, musical instruments, and weapons that are part of the ceramic figures hint of their work and rituals. Elaborate ceramic models depict ceremonies and dances. A wide variety of ceramic animals, birds, and other life forms provide unparalleled views into this complex ancient society. The term Shaft Tomb Culture has been used to label this entire region because of the deep and sometimes elaborate shaft tombs used to bury the dead and objects and offerings for the next life. The tombs and their contents attracted looters and collectors— but relatively few archaeologists—compared to other regions of Mexico. Shaft Tomb Culture is not an accurate term any more than “car culture” describes everyone who drives Sidebar a car. Many cultures lived, traded and probably fought alongside each other. Western Mexico was not one all-encompassing culture or empire. While there are shaft tombs in Context is one of the most important words in archaeology. the region, they represent only a small portion of the burial activities within the region. Artifacts don’t exist in empty space. Very likely, the shaft tombs were created for the elites of society, while most other people Each one is found in a specific place which includes its natural were buried in a variety of other grave forms. geological surroundings and Perhaps more important, the term Shaft Tomb Culture ignores the impressive cultural connections. Large hollow ceramic figures have been found in living sites—well-planned towns and villages that consisted of a circular stepped shaft tombs. However, some have pyramid (Pl. 2—pyramid reconstruction) surrounded by a circular plaza which was then been found in houses or temples on surrounded by a circle of raised platforms for houses and temples (Pl. 3—village plan). living sites. The figures may be the same, but the contexts are different.

Small, solid human figures have been found as groups in tombs, but they are also known from other kinds of sites. Looting destroys the context and the sites and permanently erases the history of ancient people.

Pl. 2. A reconstructed circular pyramid at the Guachimontones Site (300 BCE to 450/500 CE), near Teuchitlán, Jalisco.

Pl. 3. A cross-section view of a typical site in the Teuchitlán tradition of western Mexico.

Pl. 1. Map outlining the traditional shaft tomb region.

Archaeology in West Mexico parallels advances in Mexico and the United States. This generation of Mexican, American, and French archaeologists is bringing new research questions, techniques, and strategies to western Mexico, yet, in other ways, research in western Mexico is still fixated on the enigmatic and finely made ceramic figures and the shaft tombs from which they come. Past attempts to interpret the figures through ethnographic analogy provided some important insights yet failed to include broader contextual information. Words have power. They help us communicate and guide our ideas about people of the past. Words direct our thinking, but they can point us in the wrong direction, too. Words and ways of thinking about western Mexico began with the conquest of Mexico. This legacy reflects the terms and perspective of the time. When Hernán Cortéz landed on the Caribbean coast of Mexico, he encountered sophisticated cultures that traded, formed alliances, and fought to dominate each other. The Spaniards were overwhelmed by the spectacular towns, the wealth, and the large populations about which they knew nothing. Early Spanish writers favorably compared Tenochtitlán, the Aztec capital, to Venice, Italy. These encounters established the European benchmark for understanding American cultures. As Spanish entradas explored north and west of the Valley of Mexico, Cortéz followed stories of other wealthy countries, expansive populations, and refined cultures— not all of the stories were true but they were believed enough to launch new entradas, with the hope of finding even greater wealth. The words and perceptions resulting from the encounter with the Aztecs colored interaction with more distant peoples. When Cortez’ conquistadores came to western Mexico, they followed rumors of yet another great and rich country – the Purépecha or Tarascan empire. Spanish diseases and brutality

Sidebar Type names are an effective shorthand method for describing ceramic styles. These are some of the most common: -Colima -Tuxcacuesco-Ortices (Colima/ Jalisco) -Coahuayana (Colima/ Michoacán) -Comala (Colima) -Capacha (Colima) - circa 15001200 BCE -Pihuamo (Regional variant between Jalisco and Colima styles) -Jalisco -Ameca Grey (Jalisco) -Ameca-Etzatlán (Jalisco) -El Arenal Brown (Jalisco) -Tala-Tonalá (“Sheep-faced”) (Jalisco) -Zacatecas (regional development of Jalisco) -San Juanito (Jalisco) -San Sebastián Red (Jalisco and Nayarit) -Nayarit

destroyed the empire and most of its people. When Cortéz conquered the Aztecs, the term Mesoamerica was unknown. The term “Mesoamerica” was proposed by Paul Kirchhoff in 1943 to define a massive area held together by shared cultural characteristics that transcended geography and ecological adaptations. Defined in this way, the region extended from northern portions of Central America through northern Mexico. Since then, Mesoamerica has been redefined based on shared religious concepts and worldview (Carrasco 1998), maize farming adaptations (Sanders and Price 1968), or political and economic links forged through interaction (Blanton and Feinman 1984). In the 1960s, Mesoamerica was redefined as those societies that owed their origins to the Gulf Coast Olmec, who were promoted as a “Mother Culture” to all of Mesoamerica (Bernal 1969:143). Today, the idea that all Mesoamerican cultures grew from Olmec roots appears simplistic and naive (Lesure 2003). Western and northern Mexico have been especially problematic in this debate. Even though these areas share many cultural practices, they are physically distant from the Basin of Mexico and have been generally ignored. Much of the problem lies in the failure to recognize the diversity of cultures under the Mesoamerican umbrella. Cultures of this region, even while connected at various times to cultural forces and events elsewhere in Mesoamerica, have their own patterns of growth and change. Today, the term Mesoamerica seems to mask separate cultures and their individual developments, and perhaps more important, tends to view these cultures through a late historic/early contact period lens. Gorenstein and Foster (2000) present an excellent discussion of northern and western Mexico’s place in Mesoamerica. Beekman (2010) provides a detailed discussion of the region’s geology and environmental settings, and of the differing definitions of western Mexico’s cultural boundaries. N=1073

-Ixtlán del Río (Nayarit) -Lagunillas - Styles A through E (“Chinesco”) (Nayarit) -Chupícuaro (Michoacán/ Guanajuato)

Bibliography

Bibliography Blanton, Richard E. and Gary M. Feinman. 1984. “The Mesoamerican World System.” American Anthropologist, 86:3, pp. 673682.

Bernal, Ignacio. 1969. The Olmec World. University of California Press, Berkeley. Carrasco, David 1998. Religions of Mesoamerica: Cosmovision and Ceremonial Centers. Waveland.

Gorenstein, Shirley and Michael S. Foster. 2000. Greater Mesoamerica: The Archaeology of West and Northwest Mexico. The University of Utah Press.

Kirchhoff, Paul 1943. “Mesoamérica: Sus limites geográphicos, composición, étnica y caracteres culturales.” Acta Americana, 1, pp. 92-107

Lesure, Richard G. 2003. “Shared Art Styles and Long-Distance Contact in Early Mesoamerica.” In Mesoamerican Archaeology: Theory and Practice. Julia A. Hendon and Rosemary Joyce, eds. Blackwell Publishers. pp.73-96.

Sanders, William and Barbara Price 1968. Mesoamerica: The Evolution of a Civilization. Random House.

Late Formative Chupicuaro : Chupicuaro

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Standing Female Figurine, CHUPICUARO  El Zapote Site, Guanajuato, Western Mexico Late Formative ca. 300-100 BCE Accession #: LFCU002 Type: H4 Height: 4 ¼ Inch

Standing Male Figurine, CHUPICUARO El Zapote Site, Guanajuato, Western Mexico Late Formative ca. 300-100 BCE Accession #: LFCU001 Type: H4 Height: 4 ¼ Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Current Collection of Jason Osborne, Texas - Ex. Joaquin Blanco collection, San Diego, CA - Arte Primitivo, New York, New York - Ex. Albert J. and Monique Grant collection, New York, New York, Acquired 1950s-1960s

- Current Collection of Jason Osborne, Texas - Ex. Joaquin Blanco collection, San Diego, CA - Arte Primitivo, New York, New York - Ex. Albert J. and Monique Grant collection, New York, New York, Acquired 1950s-1960s

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Standing Female Figurine, CHUPICUARO El Zapote Site, Guanajuato, Western Mexico Late Formative ca. 300-100 BCE Accession #: LFCU003 Type: H4 Height: 3 ¾ Inch

Standing Female Figurine, CHUPICUARO  El Zapote Site, Guanajuato, Western Mexico Late Formative ca. 300-100 BCE Accession #: LFCU004 Type: H4 Height: 3 ¾ Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Ex. Joaquin Blanco collection, San Diego, CA - Arte Primitivo, New York, New York - Ex. Meza Family collection,Whittier, California, Acquired 1960s

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Standing Female Figurine, CHUPICUARO El Zapote Site, Guanajuato, Western Mexico Late Formative ca. 300-100 BCE Accession #: LFCU005 Type: H4 Height: 4 ½ Inch

Cradle With Baby, CHUPICUARO Guanajuato, Western Mexico Late Formative ca. 300-100 BCE Accession #: LFCU010 Height: 2 ¾ Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Arte Primitivo, New York, New York - Ex. Susan Pines collection, New York, New York, Acquired 1960s

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Standing Female Figurine, CHUPICUARO Guanajuato, Western Mexico Late Formative ca. 300-100 BCE Accession #: LFCU006 Height: 3 5/8 Inch

Standing Female Figurine, CHUPICUARO Guanajuato, Western Mexico Late Formative ca. 300-100 BCE Accession #: LFCU007 Height: 3 5/8 Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Ex. Joaquin Blanco collection, San Diego, CA - Anthropos Fine Art, Los Angeles, California - Ex. Mr. and Mrs. Lionel Steinberg collection, Palm Springs, California, Acquired 1968 - Ex. Ramon Ramirez collection, Los Angeles, California, Acquired 1960s

- Current Collection of Jason Osborne, Texas - Ex. Joaquin Blanco collection, San Diego, CA - Anthropos Fine Art, Los Angeles, California - Ex. Mr. and Mrs. Lionel Steinberg Collection, Palm Springs, California, Acquired 1968 - Ex. Ramon Ramirez collection, Los Angeles, California, Acquired 1960s

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Standing Female Figurine, CHUPICUARO  Guanajuato, Western Mexico Late Formative ca. 300-100 BCE Accession #: LFCU008 Height: 3 5/8 Inch

Standing Male Figurine, CHUPICUARO Guanajuato, Western Mexico Late Formative ca. 300-100 BCE Accession #: LFCU009 Height: 3 ½ Inch

PROVENANCE

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Standing Female Figurine, CHUPICUARO Guanajuato, Western Mexico Late Formative ca. 300-100 BCE Accession #: LFCU011 Height: 3 3/8 Inch

Standing Female Figurine, CHUPICUARO  Guanajuato, Western Mexico Late Formative ca. 300-100 BCE Accession #: LFCU012 Height: 3 3/8 Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Arte Primitivo, New York, New York - Ex. Albert J. and Monique Grant collection, New York, New York, Acquired 1950s-1960s

All images should be 300 dp i All text should be 1/8” from the Trim Lin e All images near the trim should extend 1/8” for bleed

8.5”x11” Magazine Page Safe Area Size 8.25”x10.75” Trim Size 8.5“x11” Bleed Size 8.75”x11.25”

Standing Female Figurine, CHUPICUARO Guanajuato, Western Mexico Late Formative ca. 300-100 BCE Accession #: LFCU013: Height: 2 ¾ Inch

Seated Female Figurine, CHUPICUARO Guanajuato, Western Mexico Late Formative ca. 300-100 BCE Accession #: LFCU014 Height: 3 Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Arte Primitivo, New York, New York - Ex. Albert J. and Monique Grant collection, New York, New York, Acquired 1950s-1960s

- Current Collection of Jason Osborne, Texas - Ex. Ron Normandeau collection, Malibu California - Arte Primitivo, New York, New York - Ex. Donald Brenwasser collection, Acquired 1950s-1960s

All images should be 300 dp i All text should be 1/8” from the Trim Lin e All images near the trim should extend 1/8” for bleed

8.5”x11” Magazine Page Safe Area Size 8.25”x10.75” Trim Size 8.5“x11” Bleed Size 8.75”x11.25”

Anthropomorphic Standing Polychrome Figurine, CHUPICUARO Guanajuato, Western Mexico Late Formative ca. 300-100 BCE Accession #: LFCU015 Height: 3 Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Ex. Dave DeRoche, Piedmont, California, #W24TX - Ex. Ann Nisenson collection, Southern California, Acquired 1960s

All images should be 300 dp i All text should be 1/8” from the Trim Lin e All images near the trim should extend 1/8” for bleed

8.5”x11” Magazine Page Safe Area Size 8.25”x10.75” Trim Size 8.5“x11” Bleed Size 8.75”x11.25”

Polychrome Bowl, CHUPICUARO  Guanajuato, Western Mexico Late Formative ca. 300-100 BCE Accession #: LFCU016 Height: 3 ½ Inch High Diameter: 10 Inch Diameter

PROVENANCE

- Current Collection of Jason Osborne, Texas - Arte Primitivo, New York, New York - Ex. Susan Pines collection, New York, New York, Acquired 1960s

All images should be 300 dp i All text should be 1/8” from the Trim Lin e All images near the trim should extend 1/8” for bleed

Polychrome Bowl, CHUPICUARO Guanajuato, Western Mexico Late Formative ca. 300-100 BCE Accession #: LFCU017 Height: 4 ½ Inch High Diameter: 9 ½ Inch Diameter

PROVENANCE

- Current Collection of Jason Osborne, Texas - Hillard & Co, Madison, Virginia - Ex. Private New England collection, Acquired Before 1970

8.5”x11” Magazine Page Nayarit Nayarit Late Formative,

Safe Area Size 8.25”x10.75” Trim Size 8.5“x11” Bleed Size 8.75”x11.25”

Seated Female Figurine, Nayarit Lagunillas-style “Chinesco” Western Mexico Late Formative ca. 100 BCE-250 CE Accession #: LFN001 Type: C Height: 7 Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Arte Antiqua, Salinas, California - Ex. Renate DeSoto collection, 1960s - Sotheby’s, New York, New York

All images should be 300 dp i All text should be 1/8” from the Trim Lin e All images near the trim should extend 1/8” for bleed

LateJalisco Formative, Jalisco Figurine

Seated Male Figurine with Rattle, JALISCO Jalisco, Western Mexico Late Formative ca. 100 BCE-300 CE Accession #: LFJ001 Type: Ameca-Etzatlan Height: 12 1/8 Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Ex. Joaquin Blanco collection, San Diego, CA - Ex. Artemis Gallery, Erie, Colorado - Arte Primitivo, New York, New York - Ex. Cliff Baker collection, San Diego, California, Acquired 1960s

64 62

8.5”x11” Magazine Page Safe Area Size 8.25”x10.75” Trim Size 8.5“x11” Bleed Size 8.75”x11.25”

Standing Male Figurine with Rattle, JALISCO Jalisco, Western Mexico Late Formative ca. 100 BCE-300 CE Accession #: LFJ002 Type: Ameca-Etzatlan Height: 10 Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Ex. Joaquin Blanco collection, San Diego, CA - Ex. Joan Spencer Cook collection, Kansas - Sotheby’s, New York, New York

73 65 63

All images should be 300 dp i All text should be 1/8” from the Trim Lin e All images near the trim should extend 1/8” for bleed

Crouching Male Figurine, JALISCO  Jalisco, Western Mexico Late Formative ca. 100 BCE-300 CE Accession #: LFJ003 Type: Ameca-Etzatlan Height: 9 ½ Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Michael Cichon Fine Arts, St. Petersburg, Florida - Ex. Marc Schmitt collection, Evansville, Indiana - Ex. Walt Knox collection, Scottsdale, Arizona - Ex. Private collection, Phoenix, Arizona, Acquired 1990s - Ex. Private collection, California, Acquired 1970s - Ex. Meza Family collection, Los Angeles, California, Acquired 1950s

8.5”x11” Magazine Page Safe Area Size 8.25”x10.75” Trim Size 8.5“x11” Bleed Size 8.75”x11.25”

Seated Male War Figurine, JALISCO Jalisco, Western Mexico Late Formative ca. 100 BCE-300 CE Accession #: LFJ004 Type: Ameca-Etzatlan Height: 11 ½ Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Anthropos Fine Arts, Los Angeles, California - Ex. Dr. Armin Sadoff collection, Beverly Hills, California, Acquired 1960s

All images should be 300 dp i All text should be 1/8” from the Trim Lin e All images near the trim should extend 1/8” for bleed

Seated Female Figurine, JALISCO Jalisco, Western Mexico Late Formative ca. 100 BCE-300 CE Accession #: LFJ005 Type: Ameca-Etzatlan Height: 11 Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Anthropos Fine Arts, Los Angeles, California - Ex. Private collection, San Diego, California - Ex. Carlos Osuna collection, Santa Barbara, California, Acquired 1969

8.5”x11” Magazine Page JaliscoJalisco Mace Mace Head Late Formative,

Jalisco Vase Late Formative, Jalisco Vase

Safe Area Size 8.25”x10.75” Trim Size 8.5“x11” Bleed Size 8.75”x11.25”

Vase, JALISCO Jalisco, Western Mexico Late Formative ca. 100 BCE-300 CE Accession #: LFJ006 Type: Height: 3 ½ Inch

Mace Head, JALISCO  Jalisco, Western Mexico Late Formative ca. 100 BCE-300 CE Accession #: LFJ007 Type: Height: 1 ¾ Inch Diameter: 2 ½ Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Ex. Brad Cowan collection, Ontario, Canada - Ex. Floyd Ritter collection, Collinsville, Illinois, Acquired 1950s - 1960s

- Current Collection of Jason Osborne, Texas - Ex. Brad Cowan collection, Ontario, Canada - Ex. Floyd Ritter collection, Collinsville, Illinois, Acquired 1950s - 1960s Found in Sayula Ja, Jalisco, 1953

All images should be 300 dp i All text should be 1/8” from the Trim Lin e All images near the trim should extend 1/8” for bleed

Vessel, NAYARIT Western Mexico Late Formative ca. 100 BCE-250 CE Accession #: LFN002 Type: C Height: 7 Inch

Bottle, COLIMA Colima, Western Mexico Late Formative ca. 100 BCE-250 CE Accession #: LFCOL001 Height: 9 3/8 Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Cordier Auctions, Harrisburg, Pennsylvania - Ex. Mayor Stephen Reed collection, Harrisburg, Pennsylvania, Acquired prior to 1970

- Current Collection of Jason Osborne, Texas - Ex. Joey Martinez collection, San Diego, California - Arte Primitivo, New York, New York - Ex. Robert and Marianne Huber collection, New York, New York, Acquired 1960s

8.5”x11” Magazine Page Safe Area Size 8.25”x10.75” Trim Size 8.5“x11” Bleed Size 8.75”x11.25”

Michoacan Standing Female Figurine, MICHOACAN Lake Cuitzeo Basin, Queréndaro, Western Mexico Classic ca. 50 BCE- 350 CE Accession #: CM001 Height: 7 ½ Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Ex. Joaquin Blanco collection, San Diego, CA - Ex. Dr. Sidney and Adeline Newman collection, Beverly Hills, California, Acquired 1960s

All images should be 300 dp i All text should be 1/8” from the Trim Lin e All images near the trim should extend 1/8” for bleed

8.5”x11” Magazine Page Safe Area Size 8.25”x10.75” Trim Size 8.5“x11” Bleed Size 8.75”x11.25”

Standing Female Figurine, MICHOACAN  Lake Cuitzeo Basin, Queréndaro, Western Mexico Classic ca. 50 BCE- 350 CE Accession #: CM002 Height: 7 ¾ Inch

Standing Female Figurine, MICHOACAN Lake Cuitzeo Basin, Queréndaro, Western Mexico Classic ca. 50 BCE- 350 CE Accession #: CM003 Height: 5 7/8 Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas

- Ex. Joaquin Blanco collection, San Diego, CA - Ken and Barbara Bower, The Lands Beyond, Manhattan, New York - Ex. Private collection, Texas, Acquired 1960s

All images should be 300 dp i All text should be 1/8” from the Trim Lin e All images near the trim should extend 1/8” for bleed

Standing Female Figurine, MICHOACAN  Lake Cuitzeo Basin, Queréndaro, Western Mexico Classic ca. 50 BCE- 350 CE Accession #: CM004 Height: 6 Inch

Standing Female Figurine, MICHOACAN Lake Cuitzeo Basin, Queréndaro, Western Mexico Classic ca. 50 BCE- 350 CE Accession #: CM005 Height: 3 ½ Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Ex. Joaquin Blanco collection, San Diego, CA - Ken and Barbara Bower, The Lands Beyond, Manhattan, New York - Ex. Private collection, Texas, Acquired 1960s

8.5”x11” Magazine Page Safe Area Size 8.25”x10.75” Trim Size 8.5“x11” Bleed Size 8.75”x11.25”

Standing Female Figurine, MICHOACAN Lake Cuitzeo Basin, Queréndaro, Western Mexico Classic ca. 50 BCE- 350 CE Accession #: CM006 Height: 5 1/16 Inch

Standing Female Figurine, MICHOACAN  Lake Cuitzeo Basin, Queréndaro, Western Mexico Classic ca. 50 BCE- 350 CE Accession #: CM007 Height: 4 ¾ Inch

PROVENANCE

All images should be 300 dp i All text should be 1/8” from the Trim Lin e All images near the trim should extend 1/8” for bleed

8.5”x11” Magazine Page Safe Area Size 8.25”x10.75” Trim Size 8.5“x11” Bleed Size 8.75”x11.25”

Kneeling Female Figurine, MICHOACAN Lake Cuitzeo Basin, Queréndaro, Western Mexico Classic ca. 50 BCE- 350 CE Accession #: CM008 Height: 3 3/16 Inch

Seated Female Figurine, MICHOACAN Lake Cuitzeo Basin, Queréndaro, Western Mexico Classic ca. 50 BCE- 350 CE Accession #: CM009 Height: 6 1/8 Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Arte Primitivo, New York, New York - Ex. Susan Pines collection, New York, New York, Acquired 1960s

All images should be 300 dp i All text should be 1/8” from the Trim Lin e All images near the trim should extend 1/8” for bleed

8.5”x11” Magazine Page Safe Area Size 8.25”x10.75” Trim Size 8.5“x11” Bleed Size 8.75”x11.25”

Standing Female Figurine, MICHOACAN Lake Cuitzeo Basin, Queréndaro, Western Mexico Classic ca. 50 BCE- 350 CE Accession #: CM010 Height: 4 5/8 Inch

Standing Female Figurine Playing a Flute, MICHOACAN  Lake Cuitzeo Basin, Queréndaro, Western Mexico Classic ca. 50 BCE- 350 CE Accession #: CM011 Height: 4 1/8 Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Arte Primitivo, New York, New York - Ex. Susan Pines collection, New York, New York, Acquired 1960s

- Current Collection of Jason Osborne, Texas - Ex. Jamie Lee collection, Hillsboro, New Mexico - Ex. Private collection, Santa Fe, New Mexico, Acquired 1940s - 1950s

All images should be 300 dp i All text should be 1/8” from the Trim Lin e All images near the trim should extend 1/8” for bleed

8.5”x11” Magazine Page Safe Area Size 8.25”x10.75” Trim Size 8.5“x11” Bleed Size 8.75”x11.25”

Standing Female Figurine, MICHOACAN Lake Cuitzeo Basin, Queréndaro, Western Mexico Classic ca. 50 BCE- 350 CE Accession #: CM012 Height: 5 5/8 Inch

Standing Female Figurine, MICHOACAN Lake Cuitzeo Basin, Queréndaro, Western Mexico Classic ca. 50 BCE- 350 CE Accession #: CM013 Height: 5 Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Ex. Jamie Lee collection, Hillsboro, New Mexico - Ex. Private collection, Santa Fe, New Mexico, Acquired 1940s - 1950s

- Current Collection of Jason Osborne, Texas - Artemis Gallery, Erie, Colorado - Ex. David Harner collection, Springdale, Arkansas, Acquired 1950s - 1960s

All images should be 300 dp i All text should be 1/8” from the Trim Lin e All images near the trim should extend 1/8” for bleed

8.5”x11” Magazine Page Safe Area Size 8.25”x10.75” Trim Size 8.5“x11” Bleed Size 8.75”x11.25”

Standing Female Figurine, MICHOACAN Lake Cuitzeo Basin, Queréndaro, Western Mexico Classic ca. 50 BCE- 350 CE Accession #: CM014 Height: 3 ½ Inch

Standing Female Figurine, MICHOACAN  Lake Cuitzeo Basin, Queréndaro, Western Mexico Classic ca. 50 BCE- 350 CE Accession #: CM015 Height: 4 ¾ Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Ex. Joaquin Blanco collection, San Diego, CA - Art for Eternity Gallery, New York, New York - Ex. Dr Boyd Stifler collection, Vanderwagen, New Mexico, Acquired 1960s

All images should be 300 dp i All text should be 1/8” from the Trim Lin e All images near the trim should extend 1/8” for bleed

8.5”x11” Magazine Page Safe Area Size 8.25”x10.75” Trim Size 8.5“x11” Bleed Size 8.75”x11.25”

Standing Female Figurine, MICHOACAN Lake Cuitzeo Basin, Queréndaro, Western Mexico Classic ca. 50 BCE- 350 CE Accession #: CM016 Height: 4 1/8 Inch

Standing Female Figurine, MICHOACAN Lake Cuitzeo Basin, Queréndaro, Western Mexico Classic ca. 50 BCE- 350 CE Accession #: CM017 Height: 6 ¼ Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Artemis Gallery, Erie, Colorado - Ex. David Harner collection, Springdale, Arkansas, Acquired 1950s - 1960s

All images should be 300 dp i All text should be 1/8” from the Trim Lin e All images near the trim should extend 1/8” for bleed

8.5”x11” Magazine Page Safe Area Size 8.25”x10.75” Trim Size 8.5“x11” Bleed Size 8.75”x11.25”

Standing Female Figurine, MICHOACAN Lake Cuitzeo Basin, Queréndaro, Western Mexico Classic ca. 50 BCE- 350 CE Accession #: CM018 Height: 5 Inch

Decorated Tripod Bowl, MICHOACAN  Michoacan, Western Mexico Classic ca. 50 BCE- 350 CE Accession #: CM019 Height: 3 ½ Inch

PROVENANCE

- Current Collection of Jason Osborne, Texas - Artemis Gallery, Erie, Colorado - Ex. David Harner collection, Springdale, Arkansas, Acquired 1950s - 1960s

- Current Collection of Jason Osborne, Texas - Ex. Brad Cowen, Ontario, Canada - Ex. Private collection, Nevada - Ex. David Harner collection, Springdale, Arkansas, Acquired 1950s - 1960s

All images should be 300 dp i All text should be 1/8” from the Trim Lin e All images near the trim should extend 1/8” for bleed

Appendix: Didactic Exhibition Panels

84 Panel content: Catharina Santasilia, Ph.D. / Artwork photography: Jason Osborne / Design: Irvin Medrano

Bio‘s

Catharina E. Santasilia received her M.A. and Ph.D. from the University of California, Riverside, in the Department of Anthropology. She holds a B.A. in Egyptology and an M.A. in Native American Studies, both from the University of Copenhagen, Denmark. Her current research focuses on Early Formative Central Mexico, mainly the site of Tlatilco and its contemporaries. Considering that Tlatilco has been buried under urban Mexico City since the late 1960s, her research has primarily centered around museum collections and archival material to salvaging data on the many objects often lacking provenance. These objects have yielded a world of information allowing for new interpretations of the Early Formative socio-dynamic transformation. She has previously worked for six summers with Belize Valley Archaeological Reconnaissance project, focusing on mortuary practices among the elite Maya.

Dr. Robert B. Pickering, Ph.D. University of Tulsa is Professor Emeritus in the Anthropology Department and was the Founding Director of the Museum Science and Management Master’s degree program at the University of Tulsa. He received a PhD in Physical Anthropology from Northwestern University. For four decades, Dr. Pickering has conducted archaeological and physical anthropological research in the U.S. and Mexico and has served as a forensic anthropology consultant to numerous medical examiners and coroners around the country. Dr. Pickering’s professional career has combined anthropological research with the broader educational goals of museums. He is committed to public education and lifelong learning.

Jason Osborne serves as the Chief Innovation Officer at Ector County ISD public school system in Odessa, Texas. He has always enjoyed figuring out the mysteries of the past, recently ancient Mexican art. His field research in paleontology has rendered the discovery of many first occurrences of species, two new species of pinniped (seals) and a new genus of whale. Jason’s field expeditions were featured on National Geographic and Discovery Channel television and other media outlets such as NPR, Nature, Popular Science, Scientific American, and TEDx. Jason’s role in multiple STEM careers such as neuroscience, paleontology, aerospace, and mechanical engineering have stemmed into the love of public education. In June 2013, The President of the United States and the White House Executive Office of The President honored Jason as a White House Champion of Change for his dedication to increasing public engagement in science and science literacy.

Amy Kim is lecturer and director of the Nancy Fyfe Cardozier gallery at the University of Texas Permian Basin (UTPB). Amy holds an MFA from Texas Tech University School of Art with an emphasis in photography. As a visual artist, her work has been exhibited nationally and at the 7th International Exhibition and Publication on New Media Art at the CICA Musuem in South Korea and the 2020 Ping Yao International Photography Festival in China. In 2021, her article “From Rooftop to Laptop: Photographic Art(ifice):” has been published in the edited volume Teaching about Fake News. Her most recent project Wolfcamp Catalogue focuses on the oil industry of the Permian Basin.

Melanie Sendejo is a West Texas native from Seminole, Texas, and a current student at the University of Texas Permian Basin. She has achieved an Associate in Arts degree from Odessa College and continues to finish her BA at UTPB. Her curriculum studies are directed towards a BA in Graphic Design and a Minor in Communications. Melanie Sendejo’s skill set and interest are in photography, digital design, printmaking, and drawing. Much of her photographic and design interest is regarded as both editorial, portrait, and abstractive art. In 2021, Melanie had completed photographic research and a conceptual photo zine of her hometown, Somewhere Home.

Front Cover

Standing Female Figurine, TLATILCO Central Mexico Early Formative ca. 1200-900 BCE Accession #: EFT001 Type: D3 Height: 14 ¼ Inch Back Cover

Standing Male Figurine with Rattle, JALISCO Jalisco, Western Mexico Late Formative ca. 100 BCE-300 CE Accession #: LFJ002 Type: Ameca-Etzatlan Height: 10 Inch Cover Design Irvin Medrano

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