VORTEX CORDIS

David Inshaw (b. 1943), Allotment

David Inshaw, “Lower Bockhampton II”, 2007. UK artist.

The mosaic floor of a dining room in a Roman villa in Antandros in Anatolia, which was occupied between the 3rd and 6th centuries AD.

[Source: Christie’s]

Buddhapada, Footprints of the Buddha, depicting a dharmachakra (Wheel of Dharma) at the centre of the sole, 2nd century, Kushan Period, grey schist, Yale University Art Gallery, New Haven

Pablo Picasso, Femme à la bougie, combat entre le taureau et le cheval, 1934

Sun Mask, Haida (Artist unidentified), c. 1870.

RoundelThe Cloisters Collection, 1936 Metropolitan Museum of Art, New York, NY Medium: Pot-metal glass, colorless glass, and vitreous paint

Antonio Saura Maja Oil On Canvas 1957

Untitled 2000 mixed media on paper 80×65cm via

Drakensberg Cave, San Rock Art, South Africa, ca. 500 BCE

This extraordinary mask has been formed from a large, single Lingzhi fungus (Ganoderma Lucidum). The natural structure of the fungus has been coaxed into forming a nose, ears, a mouth and eyes. Two holes on either side allow for a natural twine to have been threaded through so that the mask can be either worn or hung for (perhaps) ritual display. The surface is hard, glossy and dramatically wrinkled. It is believed that such masks were worn ritually to frighten off malevolent spirits. Most extant fungus masks are of black (or blackened) Lingzhi fungus. Pannier (2009, p. 68) illustrates a mask translated as a ‘mushroom’ mask which appears to be made from a single fungus – possibly a Lingzhi – but coloured with red pigment. Nepalese fungus masks are rare. Dating them is difficult. There are few in private or museum collections. The surface is glossy and encrusted with a varying patina suggesting some significant age. Possibly it was darkened with soot although there is no residual smokiness present. The example here is in an excellent, stable condition with just the odd small loss to the extremities as might be expected. The texture is hard and robust rather than crumbly and friable. It has a wood-like consistency.

Incense of a New Church, Charles Demuth, 1921

Claude Coirault. Polynesian Tattoos, N. D. (book published 1993)

-The Grand Canal from Palazzo Flangini to the Church of San Marcuola-

Medium: oil,canvas