MAYA POLYCHROME TRIPOD PLATELATE CLASSIC, CIRCA AD 550-950 |

Douglas Hague, California, active in the 1960-1970s
Raphael Moses, Colorado, acquired from the above
Sotheby's, New York, May 2001, lot 527, consigned by the above
Private Collection, Florida, acquired at the above auction

Overall very good condition. Has a stabilized crack from the upper left edge (approximately at the 10 o'clock position), leading toward the dancers head. Otherwise fine, has nice remains of encrustations, slightly worn areas of color as expected. Please note that the true colour is more orange brown rather than the red tone shown in the catalogue illustration.Please note the tripod legs do include the pebble rattles as per the style of these plates.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The "Tikal Dancer" style is one of the most elegant and graceful depictions of Maya court figures. They are typically attired in a full panache of feathers that fan outward given the twirling postures. Here the dancer has extremely elongated legs pressed close together and leans to his right with hands in specific dance gestures, the large feathered back panel has long stiff plumes extending on each side, and wears a striped skirt. His forehead is of the tonsured style of the maize god, adorned with a beaded headdress. The underside of the plate is decorated with a sharply cut step-fret basal rim and has rattle feet.

The "Tikal dancer" plates share a consistent style of painting but the variations of the figures and plate decoration attest to the local workshops creating their own interpretations, further supported by the varying chemical signatures in the clay of different plates. For examples of the Tikal dancer see Reents-Budet, Painting the Maya Universe, Durham, 1994, pp. 196-199, pls. 5.35-5.39.